Jazz or Classical? What Jean-Pierre Hebert Listens to While Coding Algorithms

One of the first modern artists to use computers to create art, Jean-Pierre Hébert describes why he listens to music while coding algorithms.

“The word ‘canon’ in this drawing’s title (Ligne noire continue en canon, 1977-1987) is also a term from music. Something that all composers learn is the art of fugue, and the canon is imitation of the musical line, over time, overlapping, but not in sync, and you have that often when groups are singing, like a chorus singing; all the singers share the melody, but with lags in time, so what you hear is the mix of the different voices together. They all sing the same line, but sometimes the imitations are one, five or ten seconds apart.”

Were you listening to J.S. Bach while you were coding?

“Oh, yes, most of the time. I was either listening to Bach, or Miles Davis, or Thelonious Monk.”

Jean-Pierre Hébert lectures at Art House in Santa Fe, NM on Saturday, July 25, 2015 at 2 p.m. Limited Seating. RSVP required. More information HERE.

Jean-Pierre Hébert pioneered the creation of conceptual drawings based on original code proofed by computer-driven devices. He produces algorithmic, lyrical and spiritual works on paper, sand and water as well as visual music, artist’s books and installations. His work has been exhibited throughout the U.S. and has achieved international recognition. Hébert is currently Artist in Residence at the Kavli Institute for Theoretical Physics at U.C. Santa Barbara and has been awarded a Pollock-Krasner and a David Bermant grants. He received the 2012 Siggraph Distinguished Artist Award for Lifetime Achievement in Digital Art. www.jeanpierrehebert.com