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All these sources of "truth". (by that I mean inspiration) and "realization" (by that I mean arriving at some end-reality) result in a fragmented communicative structure.

The further I get inside my work--not only the intuitive, the mind-and-label "Hell--the less I find I have to do or like to do with the world around me.

When I step into the human pattern that surrounds me, I come out with even less of myself. I am afraid that all these patterns and human habits, all this garbage, interferes with the creative process. So I try to leave as much of it out as I can. The less I am in love with "nature" and "people", the clearer is my work.

Formula for the "code of life."

In the late fifties I became aware of a connection between science and contemporary art as a result of the visit to my studio of Dr. Fritz Lipmann, a scientist at Rockefeller University, where he was conducting research on the genetic code, or "code of life."

Looking at my early works, tablets, and plaques, this scientist asked me many questions, for instance, why I had placed the letter M or S next to the letter L, etc. I found it very hard to answer him; I gave him a sequence of my thoughts as nearly as I could remember them. "Because I liked it this way, because it fit better this way, or because I didn't want it to create a sound or a word." Dr. Lipmann sent me some photostats of charts relating to the "code of