The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. The Interpretation of Microstructures of Metallic Artifacts historytechniquemakingobjects
ƒ/8 and be there "f/8 and be there" is an expression popularly used by photographers to indicate the importance of taking the opportunity for a picture rather than being too concerned about using the best technique. Often attributed to the noir-style New York City photographer Weegee, it has come to represent a philosophy in which, on occasion, action is more important than reflection. Wikipedia en.wikipedia.org photographytechnique
Iconography It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist. Cyril Stanley Smith, A Search for Structure artexperiencetechnique
Understanding technique Technique is an essential aspect of any work of art from a trivial trinket to the greatest painting, and some specialized study of it is essential to full appreciation. Though museum labels and catalogs refer to materials and processes — “bronze,” “fresco,” “parcel gilt,” “tempera,” “lacquer on wood,” and so on — they usually display only superficial attention to the essential details of the artist’s technique. Cyril Stanley Smith, A Search for Structure technique
Resonances The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them. Cyril Stanley Smith, A Search for Structure toolstechniquecraft
Wang tiles Wang tiles (Hao Wang, 1961) are a class of formal systems. They are modelled visually by square tiles with a color on each side. A set of such tiles is selected, and copies of the tiles are arranged side by side with matching colors, without rotating or reflecting them. The basic question about a set of Wang tiles is whether it can tile the plane or not, i.e., whether an entire infinite plane can be filled this way. The next question is whether this can be done in a periodic pattern. In 1966, Wang's student Robert Berger solved the problem in the negative. He proved that no algorithm for the problem can exist, by showing how to translate any Turing machine into a set of Wang tiles that tiles the plane if and only if the Turing machine does not halt. The undecidability of the halting problem then implies the undecidability of Wang's tiling problem. Wikipedia en.wikipedia.org Truchet TilesThe Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy mathalgorithms