This exhibition “Programmed: Rules, Codes, and Choreographies in Art, 1965–2018” explores the possibilities of integrating algorithms and technology into the world of art. The artworks included either consider programmes as a language or discuss about these systematic rules themselves. In a world that is gradually occupied by codes and programmes, these artworks explore the nature of these technologies by placing them out of their original contexts or reflect on the relationships between the rationality of mathematical rules and the sensibility of human minds. Casey Reas’ “{software} structure #003A” displays the instantaneous intersections of the circles on an entire wall. The lines and dots move in arbitrary directions and speeds following the interactions between invisible circles that determine these lines and dots. It instantly reminds me of many famous computer programs that generate random arts, such as “10 PRINT”, which can generate endless and somewhat arbitrary patterns within one simple line of code in BASIC. Ironically, most computer languages, presumably including Javascript which the artist used, build their “randomize” function based on the computer’s system time. In that, the numbers or any data that come out of the function are not completely unpredictable. Charles Gaines’ Walnut Tree Orchard: M1, M2, M3 is a triptych that shows the process of a black-and-white photograph being quantified and digitalized. To me, it shows an unexpected aesthetic sense in mapping design. It evokes the attention of seeking beauty in the seemingly dull and rigid systematic working process. Super Mario by Cory Arcangel recontextualizes the video game Super Mario Brothers. The artist removes everything from the game except for the game’s iconic scrolling clouds. Thus, the monitor repeatedly displays nothing but highly pixelized white clouds and the blue sky. To me, it shows an alternative landscape made of a piece of sky that the original game designer tried to mimic through computer programmes. When this roughly simulated reality and fantasy is taken out of its original context of being the background of an arcade video game, it starts to question the relationship between our reality and the Mario world, the sky and a characterized representation of the sky.