Generative ALU Form no 1 is part of a set of propositions that originated in the work of Woody Vasulka Syntax of Binary Images (1978). They form a field of activity focused on language, in this case digital language, and they work as closely as possible to its logic in order to achieve an act of poetry. Moreover, the question is asked whether poetry can emanate from such a poor language which uses only two signs, 0 and 1, to describe everything, and also constrains and forces these signs to create using this specific arithmetical logic (ALU).

The matrix object, mathematical, computer object, with strong graphic potential is at the center of this exploration, of which we find traces of interest in artists like Paul Klee (Rhythmisches, 1938), François Kupka (Abstractions, 1930-1933), François Morellet (6 random distributions of 4 black and white squares, based on the odd and even digits of the number Pi, 1958) or Julio Le Parc (Surfaces series, quantitative sequences).

In Generative ALU Form no 1's interactive environment, image is linked to sound. The coherence between the two is built simultaneously in interaction with the variations produced by the visitor walking through the room moving his arms. Thus, when the visitor advances towards the image, he simultaneously varies the resolution of the image and the micro-temporal decorrelation of the spatial components of sound. When he moves his arms, he varies the magnification factor of the image and the circular frequency of Azimuth, thus producing fine variations between spatial pulsations and variations in pitch of sounds.