Introduction
DAM dates Hébert’s conception of algorithmic drawing in sand to 1997, credits collaboration with David Bothman and records Ulysses at SIGGRAPH in 1999. Conception and exhibition remain distinct dates.
View full image ↗Jean-Pierre Hébert, Ulysse ephemeral: wheel, a 2002 sand-trace video still from DAM. This is a later work in the practice, not a photograph of the 1997 concept or 1999 exhibition.
Jean-Pierre Hébert; David Bothman · Artwork and image rights remain with their holders; research reference does not assert an open licence.
Source · Sand Installation / Ulysses ↗RESEARCH ACCOUNT
Hébert’s algorithmic drawing in sand
ANTI-AI ARCHIVE · Revised 2026-10-03
Work and historical context
This entry for Jean-Pierre Hébert; David Bothman is dated 1997, under the original title Sand Installation / Ulysses. Engineering differences among installations remain unchecked; the 1997 conception is not the opening date of the 1999 exhibition.
Section sources: Jean-Pierre Hébert — Digital Art Museum
Process and material
DAM dates Hébert’s conception of algorithmic drawing in sand to 1997, credits collaboration with David Bothman and records Ulysses at SIGGRAPH in 1999. Conception and exhibition remain distinct dates.
Section sources: Jean-Pierre Hébert — Digital Art Museum
Viewing the work and its documentation
The sand works involve generated paths, material surfaces and disappearing traces. The illustration is a 2002 video still of Ulysse ephemeral: wheel, documenting the continuing practice rather than the 1997 concept or 1999 exhibition.
Section sources: Jean-Pierre Hébert — Digital Art Museum
Art-historical significance and comparison
Editorial interpretation: Rules can produce marks beyond paper and screens. Sand brings disappearance and execution into the work, providing a comparison for contemporary digital-to-physical practice.
Section sources: Jean-Pierre Hébert — Digital Art Museum
Sources for this account
Read work statement and historical date fields; code not independently executed.
Engineering differences among installations remain unchecked; the 1997 conception is not the opening date of the 1999 exhibition. The account and translation are AI-assisted, pending independent human review. Section references identify evidence without claiming independent verification of every historical statement.
Continue with a comparative question
Rules can produce marks beyond paper and screens. Sand brings disappearance and execution into the work, providing a comparison for contemporary digital-to-physical practice.
Dates & version record
Date displayed for this node: 1997 · Historical date recorded for the source: 1997
Uses the historical precision supported by the source; 2026-10-03 is the archive addition date.
These dates refer to the historical event or recorded version, not this page’s publication date. The original date precision and unresolved questions are retained.
Original sources & further reading
These links lead to the cited paper, article, institution or conference page. External texts retain their source languages.
Sand Installation / Ulysses
https://dam.org/museum/artists_ui/artists/hebert-jean-pierre/
Current cited URL
Engineering differences among installations remain unchecked; the 1997 conception is not the opening date of the 1999 exhibition.
Provenance, translation & verification
Archive node #060 · Generative-art expansion: artists, works and execution
Research materials & supplement references · 1
Expanded register of generative artists and crypto ecosystems · Read work statement and historical date fields; code not independently executed. · 044
Date as recorded: 1997
Jean-Pierre Hébert — Digital Art Museum ↗
Jean-Pierre Hébert — Digital Art Museum
Archive account based on the listed research materials, not a full translation of the linked work. AI-assisted translation; independent human review pending.
Official material was read within the stated scope; see the source note for reading limits and outstanding checks.
Cite this node
ANTI-AI ARCHIVE. Hébert’s algorithmic drawing in sand. Art-history node #060. https://salondesrefuses.cn/en/art-history/298
For specific historical claims, also cite the original sources above and include your access date. This account is not a full translation of the linked work.
Adjacent nodes follow chronological order; adjacency does not establish direct influence or causation.