| Cat # |
Category Title |
Creator / Author / Artist |
Work / Title / System |
Date / Year |
Structural, Generative, or Compositional Mechanism |
Primary Source / Reference Link |
| 9 |
Compositional, Generative & Cinematic Engines |
Jorge Luis Borges |
“The Garden of Forking Paths” & Labyrinthine Poems |
1941–1970s |
Used hexagram combinatorics and infinite permutations as metaphors for non-linear temporal labyrinths. |
Poetry Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Hermann Hesse |
The Glass Bead Game |
1943 |
Universal language synthesized from hexagram combinatorics, mathematics, and counterpoint music. |
Nobel Prize Literature Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Maya Deren |
At Land & Ritual in Transfigured Time |
1944, 1946 |
Avant-garde experimental cinema structuring non-linear temporal shifts and player movements on game/divination rules. |
Film-Makers’ Cooperative |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage |
Music of Changes |
1951 |
Mapped pitch, duration, tempo, dynamics, and silences to hexagram casting charts to remove authorial ego. |
John Cage Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage |
Seven Haiku & 31’57.9864″ |
1952, 1954 |
Extended coin-casting process to micro-temporal structures and graphic score notation. |
John Cage Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage |
Williams Mix |
1952 |
First magnetic tape music piece where splice angles, pitch shifts, and cuts were determined via I Ching charts. |
John Cage Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
Merce Cunningham |
Generative Choreography Method |
1950s–2000s |
Used coin casting to dictate choreography duration, body shapes, dancer pairings, and spatial directions. |
Merce Cunningham Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
Allen Ginsberg & William S. Burroughs |
Cut-Up Poetry & Chance Permutations |
1950s–1960s |
Used hexagram moving-line mechanics alongside cut-up methods to decide where text fragments were spliced. |
Beat Museum / Ginsberg Estate |
| 9 |
Compositional, Generative & Cinematic Engines |
Kenneth Rexroth |
Hexagram-structured Poetry Translations |
1950s–1960s |
Translated and composed poems using hexagram themes to dictate stanza structures and line breaks. |
Kenneth Rexroth Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Marcel Duchamp |
Chance Operations & Non-Retinal Aesthetics |
1950s–1960s |
Applied non-retinal, multi-dimensional geometry and chance procedures parallel to I Ching principles. |
Tate Modern |
| 9 |
Compositional, Generative & Cinematic Engines |
Mark Tobey |
Calligraphic “White Writing” Canvases |
1950s–1960s |
Used I Ching meditations and calligraphic line dynamics to dictate spatial brushwork across canvases. |
Museum of Modern Art (MoMA) |
| 9 |
Compositional, Generative & Cinematic Engines |
James Whitney |
Yantra & Lapis |
1957, 1966 |
Avant-garde abstract cinema using early analog computers and chance matrices to generate mandala visual patterns. |
Center for Visual Music |
| 9 |
Compositional, Generative & Cinematic Engines |
George Brecht |
Chance Imagery & Fluxus Event Scores |
1957–1966 |
Systematic use of chance and I Ching mechanisms to dictate musical, visual, and performance event triggers. |
MoMA / Fluxus Collection |
| 9 |
Compositional, Generative & Cinematic Engines |
Wallace Berman |
Semina Magazine |
1955–1964 |
Beat journal using coin casts to determine the random assembly order of unbound poems/prints in pocket folders. |
Getty Research Institute |
| 9 |
Compositional, Generative & Cinematic Engines |
Jess (Collins) |
Trickey Cad & Translations Series |
1950s–1970s |
Used coin casts to assign spatial coordinates, panel selections, and paste-up cuts in comic collages. |
San Francisco MoMA |
| 9 |
Compositional, Generative & Cinematic Engines |
Charles Olson |
The Maximus Poems |
1950–1970 |
Used hexagram configurations to dictate page visual field composition and spatial-historical relationships. |
University of California Press |
| 9 |
Compositional, Generative & Cinematic Engines |
Kurt Kren |
3/60 Bäume im Wind & 15/67 TV |
1960, 1967 |
Austrian structural film with mathematical frame-cut lengths derived from hexagram line tables. |
Light Cone Film Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Earle Brown |
Available Forms I & II |
1961, 1962 |
Open-form mobile composition where conductor and performers trigger sequence segments via chance matrices. |
Earle Brown Music Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Raymond Queneau / Oulipo |
Cent Mille Milliards de Poèmes |
1961 |
Combinatorial poetry book yielding 1014 distinct sonnets based on hexagram-like line permutations. |
Oulipo Official |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage |
Atlas Eclipticalis |
1961–1962 |
Combined star maps with I Ching chance operations to generate orchestral score layouts. |
John Cage Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
Barney Childs |
Allegro for Three Players & Any Five |
1962, 1965 |
Graphic scores where performers toss coins mid-performance to determine entry points, pitches, and stops. |
American Composers Forum |
| 9 |
Compositional, Generative & Cinematic Engines |
Philip K. Dick |
The Man in the High Castle |
1962 |
Used Wilhelm/Baynes translation as a narrative plot generator to dictate story turns and character fates. |
Philip K. Dick Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Judson Dance Theater (Rainer, Brown) |
Chance Choreography Scores |
1960s |
Experimental dance movement scores generated by coin tosses to dismantle habitual physical movement patterns. |
Museum of Modern Art (MoMA) |
| 9 |
Compositional, Generative & Cinematic Engines |
Sol LeWitt |
Conceptual Art & Instruction Rules |
1960s–1970s |
Algorithmic wall drawings (“The idea becomes a machine”) based on 64-part combinatorial rule-sets. |
Sol LeWitt Wall Drawings Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Daniel Buren |
Architectural Stripe Permutations |
1960s–Present |
Visual conceptual art using the 64-part matrix to establish color-stripe permutations in public installations. |
Daniel Buren Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Stan VanDerBeek |
Movie-Drome |
1963–1966 |
Multi-projection dome theater with film and slide sequencing chosen by I Ching chance tables. |
Tate Modern |
| 9 |
Compositional, Generative & Cinematic Engines |
David Tudor |
Fluorescent Sound & Rainforest |
1964, 1968 |
Custom audio hardware circuit wiring, feedback loops, and transducer placements dictated by casting charts. |
David Tudor Archive / Getty |
| 9 |
Compositional, Generative & Cinematic Engines |
La Monte Young & Marian Zazeela |
The Well-Tuned Piano |
1964–Present |
Microtonal pitch ratios and sustained harmonic duration matrices governed by hexagram resonance principles. |
MELA Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Gerrit Lansing |
The Heavenly Country |
1965 |
Structured stanzas in esoteric, ceremonial poetry chapbooks via hexagram line structures. |
PennSound Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Dom Sylvester Houédard [dsh] |
Typestracts & Hexagram Poems |
1960s |
Concrete typewriter art mapping red/black ribbon settings to Yang/Yin lines in folding chapbooks. |
Tate Britain Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Paul Sharits |
Ray Gun Virus & N:O:T:H:I:N:G |
1966, 1968 |
Structural flicker films mapping single-frame color edits to chance tables to induce retinal strobe rhythms. |
Light Cone Film Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Gordon Mumma |
Mesa |
1966 |
Custom cybersonic processing console voltages and filter gates calibrated to hexagram values. |
Gordon Mumma Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Pauline Oliveros |
I of IV |
1966 |
Real-time tape delay feedback switching points and filter sweeps governed by coin casts. |
Pauline Oliveros Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
Dick Higgins |
Dangerous Music & Fluxus Performance Scores |
1960s |
Performance instructions for theatrical happenings written using hexagram permutation matrices. |
Fluxus Digital Collection / MoMA |
| 9 |
Compositional, Generative & Cinematic Engines |
Keith & Rosmarie Waldrop |
Burning Deck Press Chapbooks |
1960s–1990s |
Used selection matrices for collage poetry, determining phrase cuts, line lengths, and margins. |
Brown University Archives |
| 9 |
Compositional, Generative & Cinematic Engines |
Raymond Queneau / Oulipo |
A Story as You Like It (Un conte à votre façon) |
1967 |
Precursor to “Choose Your Own Adventure” using branching tree-structures derived from hexagram transitions. |
Oulipo Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Octavio Paz |
Blanco |
1967 |
Multi-directional poem structured on trigram spatial grids and multi-column visual layouts. |
Poetry Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Alison Knowles & James Tenney |
The House of Dust |
1967 |
FORTRAN computer poem using combinatorial I Ching algorithms for stanza/environmental generation. |
Whitney Museum of American Art |
| 9 |
Compositional, Generative & Cinematic Engines |
Syd Barrett / Pink Floyd |
“Chapter 24” (The Piper at the Gates of Dawn) |
1967 |
Lyric adaptation directly quoting Wilhelm-Baynes translations of Hexagram 24 (Fu / Return). |
Pink Floyd Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Toru Takemitsu |
November Steps & I Hear the Water Dreaming |
1967, 1987 |
Mapped Yin/Yang dynamics to timbral shifts between traditional Japanese and Western orchestral textures. |
Schott Music |
| 9 |
Compositional, Generative & Cinematic Engines |
Cornelius Cardew |
The Great Learning |
1968–1971 |
Choral work based on Confucian texts and organized via cyclic I Ching structural rules. |
Musica Nova Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Karlheinz Stockhausen |
7 Tage & Spiral |
1968 |
Intuitive music scores where performer shortwave radio reactions are bound by chance casts. |
Stockhausen Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Armand Schwerner |
The Tablets |
1968–1999 |
Used chance operations to determine missing text gaps and structural damage in pseudo-archaic translations. |
PennSound / EPC Buffalo |
| 9 |
Compositional, Generative & Cinematic Engines |
Robert Smithson |
Yucatan Mirror Displacements |
1969 |
Used hexagram symmetry and entropy principles to dictate rotation angles of mirror earthworks. |
Holt-Smithson Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage |
33 1/3 & Roaratorio |
1969, 1979 |
Turntable performance (33 1/3) and audio location mapping from Joyce’s Finnegans Wake (Roaratorio). |
John Cage Trust |
| 9 |
Compositional, Generative & Cinematic Engines |
Ad Reinhardt |
Ultimate Paintings |
1960s |
Monochrome 3×3 grid tonal shifts based on the Nine Halls (Jiu Gong) trigram spatial grid. |
Ad Reinhardt Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Nam June Paik |
Fluxus Video Operations |
1960s–1970s |
Used coin casts to set signal frequencies, magnet placements on cathode-ray TVs, and video editing cuts. |
Smithsonian American Art Museum |
| 9 |
Compositional, Generative & Cinematic Engines |
Lygia Clark & Hélio Oiticica |
Neo-Concrete Sculptures (Bichos) |
1960s–1970s |
Geometric metal plane sculptures shifting according to hexagram folding logic. |
Tate Modern |
| 9 |
Compositional, Generative & Cinematic Engines |
Alison Knowles |
Scrapbook for Small Advancement & Paper Art |
1960s–1970s |
Used coin casts to select organic ingredients, flax density, drying times, and pigment mixtures for paper art. |
Alison Knowles Studio |
| 9 |
Compositional, Generative & Cinematic Engines |
Ted Nelson |
Xanadu Hypertext Architecture |
1960s–1980s |
Non-linear, interlinked node network inspired by the layered commentary architecture of the Yijing. |
Project Xanadu |
| 9 |
Compositional, Generative & Cinematic Engines |
Hollis Frampton |
Zorns Lemma & Magellan Cycle |
1970, 1970s |
Structural film metric grid where alphabet letters are replaced by film loops using binary hexagram logic. |
Criterion Collection |
| 9 |
Compositional, Generative & Cinematic Engines |
Annea Lockwood |
Glass Concerts |
1970 |
Micro-glass soundscape score built via coin tosses for strike intensity and material sequences. |
Annea Lockwood Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Michael Snow |
La Région Centrale (The Central Region) |
1971 |
Structural camera-movement film executed by a robotic arm programmed on binary chance matrix algorithms. |
CFMDC Distribution |
| 9 |
Compositional, Generative & Cinematic Engines |
Octavio Paz, Roubaud, Sanguineti, Tomlinson |
Renga |
1971 |
Multilingual collaborative poem using hexagram casting to assign stanzas and translation turns. |
Poetry Foundation |
| 9 |
Compositional, Generative & Cinematic Engines |
Jackson Mac Low |
Stanzas for Iris Lezak |
1971 |
Systematic chance poetry using coin casts for vocabulary, pauses, and line lengths. |
Jackson Mac Low Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
bpNichol |
The Martyrology (Books 1–9) |
1972–1998 |
Concrete poetry epic using moving-line transformations to mutate letterforms across stanzas. |
Coach House Books |
| 9 |
Compositional, Generative & Cinematic Engines |
Alejandro Jodorowsky |
The Holy Mountain |
1973 |
Cult/Arthouse film using hexagrams to determine set design dimensions, character transformations, and scene edits. |
ABKCO / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Italo Calvino |
The Castle of Crossed Destinies |
1973 |
Combinatorial narrative engine where stories are generated through non-linear matrix permutations. |
Harcourt / Houghton Mifflin |
| 9 |
Compositional, Generative & Cinematic Engines |
Ben Johnston |
String Quartet No. 4 (“Amazing Grace”) |
1973 |
Microtonal Just Intonation combined with structural variations governed by hexagram lines. |
Smithsonian Folkways |
| 9 |
Compositional, Generative & Cinematic Engines |
David Bowie |
Cut-Up Lyric Engine & Chance Writing |
1974–1980 |
Used Burroughs/Cage-inspired chance permutation engines and hexagram-like cut-up methods for song lyrics (Low, Lodger). |
David Bowie Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Gary Snyder |
Turtle Island & Ax Handles |
1974, 1983 |
Poem sequence structures mapped to the 12 Sovereignty Hexagrams (Xia calendar sequence). |
New Directions Publishing |
| 9 |
Compositional, Generative & Cinematic Engines |
David Melnick |
Pcoet |
1975 |
L=A=N=G=U=A=G=E poem constructing artificial, non-lexical words from trigram matrices and line tables. |
EPC Buffalo Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Iain Sinclair |
Lud Heat: A Commonplace Book… |
1975 |
Psychogeographic poetry mapping London churches to hexagram vectors to dictate walking routes. |
Granta Books Archive |
| 9 |
Compositional, Generative & Cinematic Engines |
Brian Eno & Peter Schmidt |
Oblique Strategies |
1975 |
Creative prompt deck modeled on the I Ching as a decision engine for overcoming blocks. |
Brian Eno Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Trisha Brown |
Locus |
1975 |
Cube-based movement choreography generated through hexagram spatial grids. |
Trisha Brown Dance Co. |
| 9 |
Compositional, Generative & Cinematic Engines |
Beryl Korot |
Dachau 1975 & Text and Commentary |
1976 |
Experimental multi-channel video editing structure mapped to loom binary grids and 64-part combinatorics. |
Beryl Korot Studio |
| 9 |
Compositional, Generative & Cinematic Engines |
Channa Horwitz |
Sonabuttons & Language Series |
1960s–1970s |
Graphic notation system mapping time, pitch, and movement across an 8×8 (64-square) grid. |
Channa Horwitz Estate |
| 9 |
Compositional, Generative & Cinematic Engines |
Raúl Ruiz |
The Hypothesis of the Stolen Painting |
1978 |
Avant-garde feature film resolving narrative mystery through combinatorial hexagram logic across tableaux vivants. |
Institut National de l’Audiovisuel |
| 9 |
Compositional, Generative & Cinematic Engines |
Prabhakar Barwe |
Visual Canvas Series |
1970s–1980s |
Coin casting used to divide canvas space, select color fields, and place objects. |
National Gallery of Modern Art, India |
| 9 |
Compositional, Generative & Cinematic Engines |
John Cage & Merce Cunningham |
Changes and Disappearances (Print Series) |
1979–1982 |
Visual print series created by casting coins to choose colors, press pressure, plate orientation, and paper. |
Crown Point Press |
| 9 |
Compositional, Generative & Cinematic Engines |
Larry Austin |
Canadian Coastlines |
1981 |
FORTRAN program with I Ching subroutines selecting pitch, tape speeds, and speaker panning. |
Computer Music Journal / MIT |
| 9 |
Compositional, Generative & Cinematic Engines |
Per Nørgård |
I Ching (Percussion Solo) |
1982 |
Multi-percussion work translating hexagrams via Nørgård’s mathematical infinity series. |
Edition Wilhelm Hansen |
| 9 |
Compositional, Generative & Cinematic Engines |
Chris Marker |
Sans Soleil |
1983 |
Experimental essay film structuring non-linear memory montages and temporal jumps on I Ching chance logic. |
Criterion Collection |
| 9 |
Compositional, Generative & Cinematic Engines |
Barry Truax |
Sequence of Earlier Heaven & Powers of Two |
1984, 1995 |
Electroacoustic sound movement mapped to Earlier Heaven trigram oppositions across speaker grids. |
Simon Fraser University |
| 9 |
Compositional, Generative & Cinematic Engines |
James Tenney |
Changes: 64 Studies for Six Harps |
1985 |
Computer-assisted microtonal work mapping 64 hexagrams to harmonic soundscapes. |
Frog Peak Music |
| 9 |
Compositional, Generative & Cinematic Engines |
Joël-François Durand |
Unlieu |
1985 |
Mapped 64 hexagrams to microtonal interval matrices, pitch centers, and timbres. |
Joël-François Durand Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Tian Zhuangzhuang |
The Horse Thief |
1986 |
Fifth Generation Chinese cinema utilizing cyclical narrative structures rooted in ancient Yijing fate dynamics. |
British Film Institute |
| 9 |
Compositional, Generative & Cinematic Engines |
Harry Mathews |
Cigarettes |
1987 |
Oulipian novel structuring plot and character interaction paths on a 64-part matrix. |
Dalkey Archive Press |
| 9 |
Compositional, Generative & Cinematic Engines |
Peter Greenaway |
Drowning by Numbers & The Pillow Book |
1988, 1996 |
Arthouse cinema using 100-step combinatorial structural grids and trigram calligraphy body art. |
British Film Institute |
| 9 |
Compositional, Generative & Cinematic Engines |
Jean-Luc Godard |
Histoire(s) du cinéma & Film Socialisme |
1988–1998, 2010 |
Avant-garde video/film montage editing dictated by chance juxtaposition and Ten Wings commentary structures. |
Cahiers du Cinéma / Gaumont |
| 9 |
Compositional, Generative & Cinematic Engines |
Chou Wen-chung & Zhao Xiaosheng |
Taiji Composition System |
1980s |
Formally mapped line changes onto 12-tone matrices, pitch classes, and rhythmic dynamics. |
Chou Wen-chung Music Center |
| 9 |
Compositional, Generative & Cinematic Engines |
Iannis Xenakis |
Stochastic Composition Models / Automata |
1970s–1980s |
Integrated binary and combinatorial math of the I Ching into cellular automata composition models. |
Les Amis de Iannis Xenakis |
| 9 |
Compositional, Generative & Cinematic Engines |
Udo Kasemets |
IChing Music |
1990s |
Generated algorithmic performance instructions directly from hexagram castings. |
Canadian Music Centre |
| 9 |
Compositional, Generative & Cinematic Engines |
Will Alexander |
Asia & Haiti |
1995 |
Prose-poem blocks structured via cosmic/elemental hexagram dynamics. |
City Lights Books |
| 9 |
Compositional, Generative & Cinematic Engines |
Sonic Youth |
NYC Ghosts & Flowers |
2000 |
Thurston Moore used coin tosses to determine guitar tuning configurations and pedal settings. |
Sonic Youth Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Steve Carll & Bill Marsh |
Tao Drops, I Change |
2003 |
Collaborative poetry collection with line cuts, stanza breaks, and language shifts mapped to hexagrams. |
Subpress Collective |
| 9 |
Compositional, Generative & Cinematic Engines |
Richard Berengarten [Burns] |
Changes |
2006 |
64 poems mapped to 64 hexagrams, structuring stanzas, rhythm, and imagery around line changes. |
Shearsman Books / Official Site |
| 9 |
Compositional, Generative & Cinematic Engines |
Paul Naylor |
Book of Changes |
2006 |
64 poems writing formal responses to structural hexagram configurations and line dynamics. |
Singing Horse Press |
| 9 |
Compositional, Generative & Cinematic Engines |
Lou Reed |
Hudson River Wind Meditations |
2007 |
Used coin casting to select ambient sound loops and drone textures. |
Lou Reed Archive / NYPL |
| 9 |
Compositional, Generative & Cinematic Engines |
Joseph Kosinski |
Tron: Legacy |
2010 |
Mainstream sci-fi film featuring Kevin Flynn using the I Ching inside the digital Grid as a guide for non-action (Wu Wei). |
Walt Disney / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Jon M. Chu |
G.I. Joe: Retaliation |
2013 |
Mainstream action film explicitly adopting Hexagram 63 (After Completion / Li & Kan) as the Arashikage clan insignia. |
Paramount / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Frank Spotnitz / Ridley Scott |
The Man in the High Castle (Series) |
2015–2019 |
Mainstream adaptation featuring characters performing yarrow-stalk divination to cross parallel realities. |
Amazon MGM Studios / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Paul Feig |
A Simple Favor |
2018 |
Mainstream neo-noir thriller using I Ching hexagram art and consultation entries as central plot clues. |
Lionsgate / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Tyler Carter & Eric Goddard-Scovel |
No Blame |
2022 |
Carter describes it as “an amorphous digital book of poetry and art [that] consists of 64 pages, with 48 poems (i.e., 16 static original poems and 32 poems shuffled by algorithms partially derived from the casting of I Ching hexagrams) and 16 works of generative art.” |
No Blame |
| 9 |
Compositional, Generative & Cinematic Engines |
Daniel Kwan & Daniel Scheinert |
Everything Everywhere All at Once |
2022 |
Mainstream Oscar winner embedding Yijing cosmology (Wuji, Yin/Yang balance, hexagram shift logic) into multiverse mechanics. |
A24 Films / IMDb |
| 9 |
Compositional, Generative & Cinematic Engines |
Autechre |
Algorithmic IDM Electronic Music (Max/MSP) |
1990s–Present |
Utilized Max/MSP software generators based on binary hexagram permutations to program drum patterns. |
Warp Records / Autechre |
| 9 |
Compositional, Generative & Cinematic Engines |
Richard Burdick |
I Ching Music Catalog (Opus 1–300+) |
1980s–Present |
Over 300 works mapping hexagram line variations directly to microtonal scale systems. |
I Ching Music Official |
| 9 |
Compositional, Generative & Cinematic Engines |
Digital Generative Artists / Coders |
Shaders, Procedural Level Design, Max/MSP |
Contemporary |
Mapped 6-bit binary hexagram dynamics into GLSL graphics shaders and procedural game code. |
OpenProcessing / GitHub |
| 9 |
Compositional, Generative & Cinematic Engines |
Leah Ke Yi Zheng |
Change, I Ching (64 Paintings) |
2025/2026 |
Fine art installation of 64 non-representational canvases mapping specific hexagram tensions. |
Leah Ke Yi Zheng Studio |