When Hervé Graumann created a painter-machine, gave it a name and something to work with (ink, paper, and electricity), he did not realize that he had just created a personage which was to plunge him into obsession and challenge the very individuality of his artistic production. If at first “Raoul Pictor” was indeed something produced by Graumann (after all, hadn’t he written all the lines of code in the program?), it now seems it has gotten paint all over its author. Is it possible that the author, an individual who creates and expresses himself, has now been reduced to the mute speech of his machines?
Without hiding behind such questions of identity, Graumann nonetheless situates his work on that abstract, blurry boundary between author and machine. (…)
in documenta X guide