“What interests me is the essence of the structure, to have in my hand the base of all possible construction. Naturally, colors do not give you this kind of understanding; that is something that is provided by a structure, which let's say is a way of organizing the world. The organization of elements that produce a world; it produces an aesthetic. It is a play in a Wittgensteinian sense that reveals the truth or the logic of things."
Elena Asins (Madrid, Spain, 1940 – Azpirotz, Spain, 2015) was a visual artist, writer, lecturer, and critic. The artist pioneered the convergence between theoretical computer science and the mini- mal and geometrical tendencies of the 1960s. Asins' artistic research was initially linked to concrete poetry and the experimental circles that emerged in Spain during the final decades of the Francoist dictatorship. Among these groups was the Coopera- tiva de Producción Artística y Artesana (Cooperative of Art and Crafts), where fine arts converged with poetry, linguistics, music, and architecture. After 1968, the Centro de Cálculo (Computer Center) of the Universidad de Madrid was another important center where Asins came in contact with comput- er-generated art. In subsequent years, the artist extended her artistic and intellectual research at Universität Stuttgart (1970), Columbia University and the New School for Social Research in New York (1980-1987). The development of Asins’ work was informed by the aesthetic of Max Bense, the linguis- tic theories of Noam Chomsky, the music of Mozart, Wittgenstein’s philosophy and mystical texts from the Old and New Testament. For Asins, the work of art is a time-experienced object that reveals the truth or the hidden order of things.