The computer-generated screenprint from 1972 is part of the portfolio Art Ex Machina, published by Gilles Gheerbrant in Montréal. Ken Knowlton has written the computer program using EXPLOR. Knowlton often collaborated with Lillian Schwartz in the creation of many early computer animations and computer-generated images.

Lillian F. Schwartz (b. 1927) is an American artist renowned for her pioneering contributions to computer-mediated art. Schwartz is well known for her abstract films, which helped integrate computer graphics into the art world as well as her research into electronic art analysis and restoration. Schwartz's contributions also branched into scientific research, examining topics such as visual and colour perception, and sound.

Schwartz was born in Cincinnati, Ohio, to a large family of Jewish emigres. While working as a nurse in Japan, she became interested in painting and sculpture. Upon her return to New York, she became involved in the art scene, resulting in her introduction to the E.A.T. (Experiments in Art and Technology) group. At E.A.T., artists and engineers were paired together, and Lillian collaborated with Danish engineer Per Biorn to create 'Proxima Centauri'. A kinetic sculptural work that was displayed as part of 'The Machine as Seen at the End of the Mechanical Age' exhibition at the Museum of Modern Art in 1968. Following this, Lillian Schwartz joined scientists at Bell Laboratories in New Jersey, as a 'Resident Visitor'. Schwartz also went on to consult with IBM’s Thomas J. Watson Research Laboratory.

Her abstract films were a collaborative effort, where Schwartz built upon the generative algorithms written by Ken Knowlton, her counterpart at Bell Laboratories. Much of Schwartz's other significant work utilizes a computer-mediated approach to art analysis, such as her study on the perspective construction of Leonardo da Vinci’s Last Supper.