Bridget Riley’s painting Fall (1963) contains less information than white noise but it works much more successfully on the human sensorium than white noise, thereby gererating more discorrelative tooth. White noise is ultimately less discorrelation because it abdigates the question of form precisely at the point of exploiting form to the fullest. In attending to the specificities of form rather than its outer limits, Riley’s optical paintings more successfully elicit the attention of the viewer.
- Alexander Galloway
