In the early 1990s, Roman Verostko developed his custom Hodos software to pursue increasingly complex algorithmic compositions, producing multipanel pen-plotter drawings he called Aureoles, presented as two pages of an open book. He likened these works to illuminated manuscripts, describing his studio as “a 20th Century electronic scriptorium illuminating the codes of our times,” a concept that reflects both his interest in calligraphy and the contemplative ritual practices of his earlier life as a Benedictine monk. Through these works, including the Diamond Lake Apocalypse series, Verostko explored the intersection of technology and spirituality, seeking an “epigenetic” union of algorithms and human intuition. His drawings encode symbolic and eschatological narratives within generative processes, merging visual complexity with a sense of sacred structure, and bridging centuries-old traditions and contemporary digital artistry.