Do experienced programmers achieve the ability to code instinctively or achieve a visceral understanding of a path to follow when deciding how to solve a problem? Certainly the ability to program does not rely on muscle memory other than typing or clicking a mouse, but I believe there are reflexes that are developed over time that aid with the ability to create an algorithm.

Learning to program is similar in some ways to learning a new language. There is the need to adhere to a certain syntax that can vary from language to language. Languages also have different built in structures and functions can change how the language is used. Even if you are experienced in one language, gaining a familiarity with the strengths and idiosyncrasies of a new language takes some time. Building that comfort level is in a way developing a mental muscle memory that allows the programmer to focus on higher level problem solving. Beyond programming syntax, there’s the need for software architects that can determine the shape of the the entire project or platform, and an even more intuitive sense is needed.

After weeks of struggling with abstracting the core idea of an algorithm, I chose to express an algorithm as a path.

Patterning is finding order or creating combinations within a system that can seem chaotic. When first considering patterns in algorithms, I found them to be intrinsically linked. It was impossible to think of a pattern that could not be described through an algorithm, since algorithms use patterns to reach a desired goal. I focused on the patterns that many programming languages have in common, such as the use of loops. At this point in my thought process, I was focused on the abstraction found in language needed to handle many different situations that shared a repeating pattern.

To find new ways of perceiving patterns, I decided to investigate the paintings of Gene Davis referenced in Sparks of Innovation. I was intrigued by the idea that “Davis notes his artistic patterns bear resemblance to patterns in music” (Root-Bernstein & Root-Bernstein, 1999, p.117). After looking at several dozen images of his work, I decided to try to recreate his Jack in the Box painting using an algorithm, since the repetitive nature of the work would allow me to take advantage of the loops I had begun with

Could algorithms aid in critiquing art? The Feldman method taught in many undergrad art classes suggests that following pre-determined steps could at least aid the novice. I chose to analyze what I felt to be a visual representation of order and disorder with Jack-in-the-Box by American painter Gene Davis. Davis described his work of colored “intervals” by stating “‘There’s a system there – an order – which I discover after the fact.’” (Root-Bernstein and Root-Bernstein, 1999, p. 117). Simply visually perceiving the work provides some clues about this order, as you can see in this recreation:

Mark Newport, artist-in-residence in the Fibers department at the Cranbrook Academy of Art, generously provided his perspective on creativity though an hour-long conversation. Mark thought of creativity as a way of “looking at problems and opportunities in a way that seems less conventional” but also “people doing things they’re not supposed to do, but it works out.” His work with superhero costumes that look like a “onesie” is a good example, which takes two ideas, pop culture and knitting, and combines them in a new way, satisfying the novel aspect.