The Note G (2022) is inspired by Note G, written in 1843 by Ada Lovelace, who is regarded as the world’s first computer programmer. Tan Mu reinterprets this algorithmic manuscript, originally designed for the Analytical Engine—a mechanical general-purpose computer envisioned by Charles Babbage—unveiling the history of computing and the often-overlooked role of women in its development. Note G is the final annotation in Sketch of the Analytical Engine Invented by Charles Babbage, a work by Luigi Federico Menabrea. Lovelace's notes, which included a method for the engine to calculate Bernoulli numbers, made a groundbreaking contribution that not only pushed the Analytical Engine beyond its original conception but also laid the foundation for modern computer programming. Moreover, she envisioned the potential of computers to handle complex tasks beyond numerical computation, such as generating music and creating graphical patterns—an astonishingly forward-thinking insight into the possibilities of computing. Lovelace's legacy remains a cornerstone of our understanding of computer programming, inspiring generations of computer scientists. To this day, her pioneering work continues to shape modern computing and highlights the profound impact of women in science and mathematics.

Q: Could you discuss the background and inspiration behind this piece?

Tan Mu: This work grew out of my research into the early history of algorithms and computer programming, particularly the overlooked contributions of women. As I studied the origins of computation, I was struck by how many foundational tasks in programming and data processing were carried out or even led by women, yet their roles were gradually erased or diminished in historical narratives. This imbalance compelled me to respond through painting.

The image in the work is based on a handwritten note added by Ada Lovelace while translating Charles Babbage’s writing. In this annotation, she proposed an idea that was radically ahead of its time: that mathematical equations could evolve into intelligent algorithms, and that machines might one day generate music, images, and patterns rather than simply perform calculations. Her ability to imagine computation as something creative and generative deeply moved me.

While researching her life, I learned that Ada Lovelace died at the age of thirty six, which closely mirrors my own age today. This coincidence made her story feel even more immediate and personal. Despite her short life, her ideas have profoundly shaped the development of computer science and continue to influence the world we inhabit now. Painting this moment felt like a way of preserving and honoring that vision.

Q: Why did you choose to focus on Ada Lovelace’s annotated page?

Tan Mu: Although this page exists only as an annotation, its influence extends far beyond the book itself. It articulates the transformation of equations into intelligent algorithms and lays the conceptual foundation for automatic computation and modern programming. In many ways, this single page forecasts the future of computing.

In the painting, I deliberately chose to blur the content of Note G. The equations and specific steps are no longer fully legible. This obscurity mirrors how the historical contributions of women in computing have been gradually erased or rendered indistinct over time. The black background, a visual language I often use when depicting objects, isolates the page and forces the viewer to confront it directly, elevating its presence and significance.

Even though no human figure appears in the painting, the work reflects how individual decisions made under specific historical conditions can shape the trajectory of humanity. By focusing on this annotated page, I aim to capture a pivotal moment in intellectual history and pay tribute to Ada Lovelace as both a thinker and a visionary.

Q: Your work frequently addresses the development of algorithms. Why do you see this as an important subject to record?

Tan Mu: My practice examines the evolution of computational power, both in terms of processing capacity and algorithmic logic. Nearly every major transformation in modern society, from material science to artificial intelligence, has been driven by advances in computation. Algorithms are not abstract tools. They actively shape how we think, communicate, and perceive the world.

I have created many oil paintings that trace this development, ranging from material foundations such as Silicon (2021, 2023), Antimony (2020), Logic Circuit (2022), and Mapping (2021), to historical computing systems like DEC’s PDP 10 (2021), Quantum Computer (2020), and Quantum Gaze (2023). Works such as The Binary Dream (2024) and Punched Card 1 and 2 (2022) also reflect my interest in early computation and the often unacknowledged labor behind it, particularly the role of women.

I believe painting is a powerful way to record these developments because it transforms intangible technological milestones into physical, lasting objects. These works function as a future archive. Just as we now look back on 1997 and Deep Blue’s chess victory as a turning point in artificial intelligence, future audiences may look back two hundred years to the origins of algorithms and recognize our present moment as equally pivotal. Through painting, I trace this expanding timeline of computation and invite viewers to reflect on how algorithms have shaped our past, defined our present, and will continue to influence our future.