There are essentially two ways in which these codes are shared. Joseph Greenberg in his "Essays In Linguistics" states, "language can be approached as a set of culturally transmitted behaviour patterns shared by a group or as a system conforming to the rules which constitute its grammar." Essentially this means, people learn and understand (make meaning) from what they have learned from their group (society) or skilled arts practitioners using the rules (grammar) of creative systems such as (sound, images, text or movement) devise objects (works of art) that conform to their own internal code. These codes must be grasped in order for the viewer/participant to receive multiple levels of meaning. Failure to engage at a deeper level renders the power of the art object impotent, unable to mediate deeper truths to the viewer.
Not all arts practitioners work in serial fashion for various reasons but i wish to demonstrate that "asynchronous" artworks usually curtail the cohesion of a lifetime body of paintings. The final judgement of an artists oeuvre may in fact be judged as "eclectic," "indiscriminate," "conservative," or worse "substandard" and unfairly relegated to obscurity with relation to art historical "significance." No artist welcomes obscurity after a lifetime of contribution to the arts. Recognition, reward and success are sought to varying degrees by all arts practitioners. The obscure, wilful genius in the attic pumping out asynchronous "masterpieces" with no desire for recognition would be an "extremely rare" phenomenon these days with so many avenues open to artists to make their work known, although the "gifted savant" regarded by most as an anomaly, sometimes makes an appearance.
Firstly, "the derivation of the terms or the interior divisions of the work is by means of a numerical or otherwise systematically pre-determined process (permutation, progression, rotation or reversal).
Secondly, the order takes precedence over the execution.
Thirdly, the completed work is fundamentally parsimonious and systematically self-exhausting."
What this means is, the serial work of art is pre-planned using predominantly numerical systems to set up the interior components of the work. The individual works are usually distinct as works in themselves but are also distinctly synonymous with the group they belong to. This is different to "repetition" which is synonymous with "sameness."