Run Bits Run

A solution.

How to made a drawing happen. Well let the bits run. Play around. Alone. Anyway the bits run without your permission: you are a part of the running bits so you are running concurrently with all the possible drawings.

‘Run Bits Run’ is my variation on the movie’s title ‘Run Lola Run’. Perhaps an odd choice for naming an article on drawings made from common screen pixels. But from my point of view, considering pixels and photoshop layers as unseen building blocks, my choice is not so far from the three parallel stories making the movie’s overall story plot.

The movie tell us, I quote:

… Lola needs to get a-hold of 100,000 marks (the movie pre-dates the Euro by a couple of years) in 20 minutes in order to save her boyfriend, Manni, from near-certain death at the hands of the bad guys. What we receive is three alternative versions of those 20 minutes, event sequences starting out identically but diverging quickly into three different realities on the basis of Lola’s trifling encounter with a dog on a stair… more on Run Lola Run

From the film “Run Lola Run”.

So it seems that the overall plot is taking place in some sort of multiverse where the ‘same characters’ live parallel lives without interfering with each other. Only the audience of the movie, acting as an outside privileged observer, sees and knows the whole truth.

The direct output.

Now, I wouldn’t abuse to much the scientific term multiverse. I am only playing around. ….. In his strict sense multiverse is only a popular name stemming from a interpretation of quantum mechanics by Hugh Everett so the term is not directly related to screen pixels. But if I consider pixels as a visual substrate of some sort of underlying or parallel drawing world, something analogous to a stack of photoshop layers, where each layer has his own life, then the above drawing made with black markers on paper and scanned into this article, may well originate from the following bunch of (pseudo) random pixels….

The labyrinth.

….. A bunch of pixels evolving into my head into other pixels configurations, leading to the picture below, picture residing now implicitly in the above layer and explicitly in the picture layer below:

One way out.

And so , after some further experiments with the underlying stack of layers living in the drawing space, I get the picture below:

The escape from the labyrinth.

And finally, stopping somewhere without obvious reason why here 0r there, I see the final picture as the whole thing, forgetting the other concurrent layers buried into the primordial bunch of pseudo random pixels

The final frontier.

This is perhaps a childish way of playing around with well know tools as layers and pixels. But it my also point to underground streams of visual forms whose surfacing into plain view my contribute new emotions and feelings..

….As the following pictures perhaps does: