The author's informal research in the 1970s explored iterative and generative systems using motion-picture film. His approach was practice-based and occurred in the context of artists studying the structure and materiality of the film experience. Based on historical and contemporary notes he accumulated about his film Red+Green+Blue, the author evaluates the generative art that emerged using this analogue-based medium in the light of recent discussion of digital and binary-based interactive installations.

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