I am thinking that in this article is correspondence with an essential principle underlying pictopoiesis: that the material reality of the painting and its beginnings with the fundamental building blocks (the black dot “atom”), is what the painting all works back to, and traceably so. In fact, how closely this principle of pictopoiesis, of material connection with source and origin, seems to me to correspond with the science in the article.
With the above in mind, a caveat comes in, as to attributing artistic viability to something produced by a computer and its digital means. The computer is not a living thing and cannot therefore provide testimony to lived in experience. Only humans can do that.
I reside in my paintings, I lived in them when I made them. They have their origin in me and the fact that I was fully present in their making. They say that in their silent way.
The image is of the painting now, as it has become and is becoming, all a continuum: