Simple and easily identifiable, each squiggle embodies the soul of the Art Blocks platform. Consider each my personal signature as an artist, developer, and tinkerer. Public minting of the Chromie Squiggle is permanently paused. They are now reserved for manual distribution to collectors and community members over a longer period of time. Please visit OpenSea to explore Squiggles available on the secondary market. 

Chromie Squiggle

Parnassus is a generative project inspired by the work of German painter Paul Klee. It is an attempt to bridge Klee's analog practice (often credited as foundational to computer art and pointillism) with the capabilities of generative art.

Parnassus is a heavy script and best viewed on a modern device. 

10% of proceeds will be donated to Ukraine relief efforts.

INPUT
"A": Toggle animation
"P": Portrait lock
"L": Landscape lock
"H": Download uncompressed screenshot
"C": Download compressed screenshot

Parnassus

The Nursery is Sputniko’s first edition of 100 NFTs, a collection of time-based generative art which simulates the organic growth and emergence of life forms. Following her own recent experience of giving birth to her first child, Sputniko worked with creative coder Misaki Nakano to explore creating pieces inspired by the experience of watching her daughter grow over time. The resultant abstract, flower-like forms will slowly change their shape and form over a period of a year. One hundred of these pieces will be ‘born’ when minting begins at Bright Moments London. 

# Coding Growth

## Shape 
When conceiving of a form for these ‘growing’ art pieces, Sputniko and Misaki opted for a bud-like shape each with their own unique DNA: different combinations of petal colours, traits from “frill”, the spaces between the different layers of the bud, to “petal” - the number of layers themselves. 

## Movement
Designing the algorithm for this growth relied on setting each piece to reach a point of maturity within their own time span of growth and this varies for each piece within a set range. Each bud-like shape will slowly unfurl over a period of 48 to 56 weeks until it reaches full ‘bloom’.

## Colour
The changing, abstract forms - reminiscent of the unfurling of flowers, the translucency and buoyancy of jellyfish and cellular division - aim to express the mysterious and enigmatic process of the growth and evolution of living forms. Their different colour palettes, inspired by the idea of each one possessing different personalities, further reflect the uniqueness of each piece.

## Beyond the Screen 

As part of Bright Moments London, audiences will have the unique experience of viewing this  work in the context of a physical exhibition. In an immersive space, in which these pieces are projected onto the surrounding soft, curved surfaces, audiences are invited to witness the ‘growth’ of the time-based pieces under The Nursery’s care.   

## A Culture of Care 

The Nursery also seeks to speak to the over-commodification of the contemporary NFT art landscape. By creating generative pieces that slowly and uniquely change through a period of development, The Nursery examines how the temporal and emergent qualities of generative art may alter how we respond to them as witnesses to this coded growth.

The Nursery

Every Singularity is unique. Each form’s properties; Symmetry, Chaos, Mass, Force and Turbulence are driven by data extracted from the transaction hash.

Singularity

FOLIO is a generative drawing system, inspired by concrete poetry and early computer artwork, that emits an output process for a given input. Each output may be realized digitally, in print, or through another medium. The drawing system, coded in JavaScript, recursively packs bins of data to fill the page, constrained entirely by the use of typographic glyphs and a limited mono-, duo-, or tri-colour palette.

FOLIO

*Inprecision* is exploring the tension between the precision offered by computers and the imperfections inherent in classic art production approaches. The generative system is based on circles and triangles, perfectly aligned with each other and placed on a grid, but rendered with a technique inspired by the look of water color giving a high degree of imperfection in the rendered output. The precision of the underlying system is then again accentuated by a layer of hyper precise line drawings, outlining the used geometries and providing a scaffold for the underlying colors.

*Inprecision* further builds upon my quest to explore emergent compositions in generative systems. The system started with completely random placements of the different geometries, and gradually evolved by putting in the most minimal constraints to ensure an engaging final composition. In that way, *Inprecision* is an exercise in light-touch control with the aim to explore surprising compositions arising from randomness.

This series takes inspiration from both the color and line work of Wassily Kandinsky and the theories in the Suprematism movement. It asks the viewer to meditate on the texture of the paint and paper through its embrace of simple geometry and compositions devoid of literal interpretation.

Inprecision

A collection of on-chain, generative cumulonimbus buddies. Created using vanilla javascript, each unique NimBud features random wires, colors, eyes, mouths, cloud bodies, and more. Each with their own personality.

NimBuds

*Off Script* is a generative system that explores sensoriality through the subject of collage. At its core, the series uses a custom masking algorithm to cut out shapes from algorithmically produced papers, which are then arranged throughout the canvas. It is programmed in Javascript.

Much like the practice of collage itself, *Off Script* elicits a deeply sensorial experience. Generative textures induce a sense of tactility, while askew jagged shapes evoke the punctuated off-beat sounds of jazz. With its synesthetic qualities, the series challenges its own medium, creating a dialogue between the immateriality of digital representation and the corporality of the physical realm. 

*Off Script*'s visual language references various 20th century modern art movements that similarly emphasized medium and material through distilled expressions of shape, color, and composition.

Off Script

Unigrids are collectible digital art pieces 100% stored on the Ethereum blockchain. Each Unigrid consists of 421 individual Pure Javascript generated SVG grids, ensuring each Unigrid is entirely unique. Not only are Unigrids visually unique, but they also hide an ingenious animation and a generated beat to enhance your experience. Unigrids are an experiential piece of art, with a static image for printing, an animation, and companion beat - all generated and stored on the blockchain. You truly need to play around with Unigrids to understand the essence of them. Be sure to hold onto your favorite piece as we will be adding interactive easter eggs for art owners, giveaways, and other engagement with the community.

Unigrids

There are an almost infinite number of ways to wrap a string around a set of pegs. On the surface it may seem like a simple concept but prepare to be surprised and delighted at the variety of combinations the algorithm can produce. Each output from 'Ringers' is derived from a unique transaction hash and generated in Javascript in the browser. Feature variations include peg count, sizing, layout, wrap orientation, and a few colorful flourishes for good measure.

Ringers

*Welcome to your personal KERNEL – your meditative anchor point in this fast-paced brave new world.
Sit back, relax and enjoy.*

**KERNELS** is the mechanical interplay of several Finite-State Machines that form together an elaborate visual system. At the core of the system lives the Kernel (or a version of it), inviting you to stick around and forget about everything, while it is doing all of the computational work for you. The underlying grid of the visual system is both the output and the raw data on which a Finite-State Machine is doing calculations on a per cell basis. The Kernel is telling you, that generating outputs is as easy as 1 + 1.
In stark contrast to the calm nature of the Kernel exist the borders. Here patterns are generated and calculated and put through several sequencers to form momentary outputs.

The program is set up in a way to produce an entire class of drawings: 'aesthetic objects' (as understood by Max Bense) are placed within a metaphysical framework to be processed and observed.
Fine-tuning of all variations and the parametric space of the system is done by 'intuition'.
"Intuition refers to the choosing of possibilities from a given repertoire" (Frieder Nake, 'Cybernetic Serendipity' 1968)

The visual elements are derived from the 80s computer era and are ought to evoke a warm feeling of completeness and simplicity. On a 64×64 grid a variety of glyphs find their home within the single cells, shaped by different algorithms and placed into this world by one of the many color palettes. In total there are 64 custom color palettes with the ability to switch to a more 'rare' inverted configuration.

This work should be enjoyed over time as the images are continuously calculated into more complex machine states.
The work can be experienced in any rotation and aspect ratio and will adjust itself accordingly to screen sizes.

*Controls*
[spacebar] Play or pause the animation
[s] Export current frame as a PNG

KERNELS

If an orchid looks within itself, it realizes that its presence depends on the bugs, birds, and people that pollinate it. The orchid realizes the rain and the sun are within itself. Together, they endlessly change, bloom, and decay, suffused with light, energy, and love.

By examining herself, the orchid forgets herself, and therefore is verified by all things.

Orchids

Underwater is a collection of 100 generative illustrations. The project portrays seven hypothetical species. Left to grow in the underground aquifer of Mexico City, these species are conceived as fictive descendants of ancient Mexican plants.  
The abstract aesthetic of the drawings is inspired by the pre-naturalist illustrations of medieval herbaria, especially the Libellus de Medicinalibus Indorum Herbis. To recreate the beauty of these early scientific illustrations through code, the superformula was combined with space colonization algorithms to generate tepal-like forms with characteristic patterns. 
The flowers that inspired this collection of generative plants are: *Dahlia coccinea*, *Chirahodendron pentadactylon*, *Magnolia dealbata*, *Tigridia pavonia*, *Helianthus armus* and *Sprekelia formosissima*.

Underwater

**What is reality?
Where does it start, and where does it end?
Reflecting on the perception of time, space, and self-existence.
Feeling abundance, spreading gratitude.**

--

Instructions:
- _Click to start audio/visual experience_
- _Press 'i' to toggle infinite mode (default on)_
- _Press 's' to save current frame_
- _Press 'm' to toggle mute_

Infinito

Don't fight it. Just respect it. Made by Dmitri Cherniak with Javascript and GLSL.

The Eternal Pump

# NFT ART CDMX

## Something beautiful
Bosque de Chapultepec is all about how computers can be used as a form of expression. It explores how a generative art algorithm can be used to make something beautiful that is unique to a particular place and time. Bosque de Chapultepec debuted at NFT ART CDMX in 2022, a four day celebration of generative art in Mexico City.
## Central Park of Mexico
Chapultepec is a park in the middle of Mexico City that is known all over the world for its green space. It is a historic place dating back to the Toltec culture in 1000 CE and has also been the site of many battles. Artists have been drawn to the park for a long time. My grandfather, for example, painted the scenery there. Even now, the park is a tropical escape for city dwellers who walk the park's many winding paths surrounded by old trees.
## Chochitos
The look of the project was based on the Garibaldi from El Globo, a famous bakery in the Mexican Republic. Garibaldi pastries are pound cakes dipped in apricot jam and coated with little round sprinkles called "chochitos". A visit to CDMX is not complete without tasting one of these delicious pastries.
## Behind the code:
The algorithm is made up of a system that uses a mix of circle-packing and quadtrees to fill areas of closed shapes with dots of different sizes and colors (like the chochitos). The underlying form of the composition is generated algorithmically using shapes constructed on the fly using points and lines. The shapes are lined up in a queue and then swept for possible areas where dots can be deposited so long as the dots do not overlap.  
# An SVG is available! 
The SVG is a fully scalable resolution agnostic version of the image. To access the SVG - View the output in **Live View**. When the output has *completed rendering*, press the "p" key and the SVG will automatically download. * Note rendering time may take up to 5 minutes.

Bosque de Chapultepec

Archetype explores the use of repetition as a counterweight to unruly, random structures. As each single component look chaotic alone, the repetition brings along a sense of intentionality, ultimately resulting in a complex, yet satisfying expression.

Archetype

“Apparitions” is an exploration of the space between algorithmic and organic. Each “Apparition” is unique to the transaction that originated it. Created by Aaron Penne

Apparitions

Escher-style tiling of a plane, gone wrong. Each image spins hash-driven colors, shapes, and symmetries into infinity. Fly through the spiral as it morphs between beauty and madness. Keys: F = Fly through/back, D = Distort on/off, Esc = Stop, S = Save image.

Inspirals

"What were the skies like when you were young?" - the orb

100 Sunsets is an exploration of the feeling of sunsets, the transformation from day to night, the intersection of color, gradients & time. The work explores the atmosphere and uses colors derived from atmospheric optics.  

This summer, I spent some days living on a boat with my family, and I loved watching the sunsets on the water.   I found myself often transfixed, and invariably having the discouraging thought about how nothing I could code would even come close to the wonderful chaos, the noise and oscillations I was seeing on the water surface.  It would be impossible to recreate these looks.  But I remember thinking, would it be possible to recreate the feeling? 

These studies are an attempt to capture the feeling -- of watching the sun set, of seeing a day end, and the start of something new. 

Press ‘h’ for high resolution, and ‘s’ to save an output image.

100 Sunsets

Velum: Latin for curtain.

Inspired by the question: What do you get if you blend the visual DNA of two mid 20th Century artistic movements into a 21st Century generative art algorithm?

The original ideas evolved by Abstract expressionism and Pop art tell very different stories in the history of post war American art. My approach however is more about just stealing from the visual lexicon of mark-making that characterizes these artistic movements ignoring much of the contextual conversations around them . When I started out building my first primitive for Velum I was picturing in my mind something that looked more like a gestural paint-stroke typical of abstract expressionistic painting. Adding Pop art stylized outlines to the structures however separated them from the background and gave them a floating quality. Liking this effect I quickly forgot about my first idea of making paint strokes to explore the emerging curtain-like elements and found ways to make them dance.

Velum

Cool air, warm dirt, lemonade berry perfume.
An amphitheater vignetted by the closing day.
The sun is the star of the show, and the ocean is the stage.
Immense beauty tinged by a deep sense of uncertain anticipation for what is to come.
This is how my first days of adulthood closed. A mix of comfort and discomfort, peace and turmoil.
My intention with this work is to capture my memories of those nights, rendered in simulated oil pastels.

Sunset from the Bluffs

Perfectly symmetric - imperfectly drawn. Exploring the contrast between precision and chance in a playful spacecraft / papercraft setting. 

Paper Armada

Intricada means ‘interlaced’ in Old Occitan, a Romance language spoken in the south of France. This project explores the balance between emergence and control.

**Emergence**
Intricada is created with autonomous agents drawing very small dots and following simple rules, positioned according to geometrical patterns. I’ve designed Intricada like a simulation, giving initial conditions and see what comes out of it. Each piece is the result of thousands of unpredictable consequences.

**Variation**
This collection includes a very large number of possible variations. Some properties are specific to the agents and allow to define their rules, colors, number of children, angle… Many parameters influence the initial position and direction of the agents, palettes… Each combinaison creates a very unique output.

**From far and near**
From a distance, an Intricada piece may look like intersecting circles, geometric patterns, confetti, a perspective design... When you get closer, you can see that these shapes are composed of multitudes of agent trajectories. Finally, if we get even closer, we can see that these trajectories are composed of points (several hundreds of thousands per output).

**Interaction**
In live mode:
- Press [s] to save an image to disk
- Press [n] to toggle noise
- Add `&size=#` to the end of the live view URL to render a variation of your edition at another resolution

Intricada

Passages

In aerial photos from 1945, you can see dozens of buildings crammed around the main street of Gallarta - a town 13 km northwest of Bilbao. The street leads to a small open pit where they extract iron. Images from 1956 and 1965 show how the road becomes shorter, and houses once surrounded by fields are now on the pit's edge. Some of them disappeared to facilitate access to the ore. The mine grew, consuming mountains, meadows, and settlements.

Gallarta disappeared in 1977, replaced by a chasm extending across the area until today. The open pit extraction in the mine stopped being profitable only six years later. The scar it left on the surface of the mountainous area is a monument to the disappearance of this and numerous other towns with similar stories.

Cantera is a project that brings these stories to a non-physical, generative space. It replaces atoms of stone and soil with digital bits. It draws landscapes inspired by the imagery of Basque stone quarries and iron mines and writes narratives about non-existent habitats where the boundaries between extraction, shelter, and natural forms become indistinct.

Cantera

These cute companions live 100% on-chain where their bytes are cleverly stored in a scalable vector format. Built with quality components and complex algorithms, each Algobot is issued with a unique serial number and a NIFTY license which permits them to help out on any commercial projects where you might require their assistance.

Algobots

What lies between everything else? A reflexion on scale, shapes, the infinitely small and the infinitely big.

Void

One of the many intersections of art and mathematics is the field of patterns and symmetries. 

This project explores the visual expression of various planar symmetries by using colourful, maze-like structures. The precision of these mathematical patterns are offset by a playful use of dimensionality and an imperfect grid as basis for the linework.

Orbifold

Leaning into a retro 70s groove, the perfect art for your space-pad. The input is simple, just two tiles, but how they're rotated and placed, that's the magic.

70s Pop Series One

**Sparkling Goodbye** is a generative painting algorithm that celebrates all departures. It's a Farewell to the past, a Bye-Bye to the familiar, and a See-You-Later to faces that you will soon forget.

Each **Sparkling Goodbye** is meticulously loaded with machine-picked emotions, made from the finest ingredient (100% pixels, full refund if you find any impurities in our ingredient). This hands-off approach makes every single  **Sparkling Goodbye** a chaotic blend of happiness, sadness, serenity, and anxiety. With every glance, you'll discover the impulsiveness of the machine touch as you savor the delightful interplay of dramas that only a maniac generative algorithm can create.

Let **Sparkling Goodbye** create a moment for you. It will insist that goodbyes are not meant to be said with tears but with sparkling water.

Sparkling Goodbye

Undercurrents is a pure generative art collection made with code using p5.js and glsl.

The collection attempts to capture the essence of Tokyo's multifaceted character and the unseen layers beneath the surface of the city's dynamic urban landscape. The bright abstract patterns, layered with a subtle fabric-like texture, allude to the interplay of modernity and ancient traditions that define the city. The intricate layers of the artwork hint at the depth of Tokyo's high-context culture, where communication relies heavily on implicit understanding, nonverbal cues, and shared cultural knowledge.

Undercurrents

On a cosmic stage, these actors sing an infinite song. What do they reach for? Who are they searching for? Do their faces show wonder—or sadness? Sometimes they sing for themselves, sometimes they sing for the crowd, and sometimes they sing for the void. Like us. (25% to environmental charities)

The Opera

How can one create a work inspired by a city where one has never set foot? Moreover, a place on the other side of the world, whose history and cultural richness are of such dizzying density? I quickly realized that my work could only be imagined, dreamed, imbued with my Western culture, tinged with my distant prejudices. I worked with a visual approach above all, around a few chosen colors, representative tree species, and some clichéd symbols: for example, the composition is organized around 3 abstract shapes, including the circle, directly inspired by the rising sun on the flag, the rectangular shape of a kakemono, or a cityscape.
My distant feeling, entirely subjective, towards the city of Tokyo and the few images that came to me, was that of a place where tradition and modernity, nature and urbanism were intimately mixed. Not in opposition, but in an indissoluble tangle, a form of organic fusion despite some contradictions. But also, the place of dramas that history reports to us, such as the earthquake that this year marks the centenary of.
Coming to Tokyo was an old, somewhat intimidating dream for me. I have been here for a few days now, confronting my artistic proposal with the reality of this enigmatic city. I have taken only a few timid steps, cautiously trying to understand snippets of its functioning. Suddenly time stops, because I have perceived the whisper of a tree. I know nothing of the language, but I understand its language.
"Kumono Shingou" means "Cloud Signals" it is the title of a poem by the Japanese author Kenji Miyazawa, who was an agronomist dedicated to the social cause, at a time when successive natural disasters struck the country while modernity transformed it at a dizzying pace.
It is with a sense of grace that I receive this gift of a title for my work, which was given to me by Kazumasa Teshigawara (Qubibi). It is a small door that has opened for me on an element of Japanese culture. This is what Qubibi does: he creates small doors and opens them slightly to allow us to glimpse, with kindness and simplicity, but also in enigmas, a little light and soul, a fleeting spark, a reflection of what, hidden, is the very treasure of humanity.

One cannot absorb a culture, only experience it. Some encounters can connect you to it, much like synapses in your brain connect pieces of information and influence the construction of your being.
Certainly, one does not come to Japan to find answers, but rather to encounter questions. And here I am, in the middle of the night, gazing up at the sky, wondering: what do the clouds want to warn us about? Suddenly, I am enriched by my ponderings. Who am I, here ? A mere dot on this Earth, a human somewhere on the road, from the cradle of Nature en route to our technological and dematerialized utopias.

——— 
"Kumono Shingou" 
- Generative artwork in 100 editions
- Released for Bright Moments "The Tokyo Collection" on May 5th, 2023
- Coded in Vanilla Javascript 
- Format portrait 9/16, 4K résolution 2160 × 3840 pixels
- In live mode, pass a parameter ‘scale’ to the URL (up to scale=5.4) to get a higher definition output
- In live mode, press ’s’ to get a .SVG file suited for experimenting with a pen plotter

Kumono Shingou

A generative algorithm that draws the impression of a landscape from a multitude of possibilities. The unique seed from each token drives the parametric assortment of lines, colors, and forms into a constructed composition.

Subscapes

The theme of this work is fireworks and festivals, which symbolizes summer in Japan.

With fireworks as the central theme, it consists of the water surface reflecting the fireworks, the city lights in the distance, the silhouettes of the torii gates and arch bridge, and the twinkling lanterns. The shady black background expresses the smoky atmosphere.

The drawing algorithm of the work is inspired by traditional woodblock prints and contemporary scratch art. Base layer is drawn with pale watercolor-like gradation. On top of that, the shady black background is drawn. Then, the outline of the fireworks is carved out.

The color of fireworks is based on a chemical reaction called a flame reaction. The color palette of this work is also composed of typical flame reaction colors or their mixtures. Each color palette is inspired by the four seasons in Japan.

Enjoy the atmosphere of Japanese firework festivals with this work.

Hanabi

"Public Art" is a generative art piece with a concept of exploring new histories in art. As demonstrated in [0xhaiku's previous work, "Receipt,"](https://slbls.art/receipt) the transaction information engraved on receipts suggests that new art finds value in the record of transactions, connecting you to the art. In this work, a color palette inspired by Vermeer, Hokusai and others is used to generate tiles with a generative oil painting-like touch. This symbolizes history, expressing the hope that new art will truly become "public" through the changes and transitions of history.

Tiles
The tiles are simulated based on inspiration from the actual streets of Omotesando in Tokyo. The color palette incorporates colors inspired by the floors in Vermeer's paintings, ukiyo-e, and others. The oil painting-like strokes are generated using generative techniques, giving each tile its unique charm.

2D Canvas
This work is drawn using only a 2D canvas, without the use of libraries. 3D representation is not utilized. Since 0xhaiku's previous work "Receipt," they have been fascinated by the allure of wrinkles and shadows, and "Public Art" serves as a study in creating the illusion of three-dimensionality on flat surfaces using generative noise.

Receipt
The receipt includes information on the Seed generated by ArtBlocksEngine at the time of the transaction, as well as token-specific elements. At the BrightMoment event in Japan, physical receipts with similar information printed on them will be distributed. 0xhaiku values the idea that everyone can participate in new art without relying on authority and has chosen the motif of everyday street receipts.

Twitter
[https://twitter.com/0xhaiku](https://twitter.com/0xhaiku)

Public Art

Watercolor Dreams is an exploration in simulation, a meditation on traditional techniques in watercolor, and an ode to serendipity. Where will this curve end? When will this shade fade? How will the movement come alive? Sit back, relax, and watch the colors wash over the canvas.

Watercolor Dreams

Translucent color bubbles playfully mix and morph to create organic and ephemeral blobby forms. [Shortcuts] spacebar: pause/resume, s: save screenshot, 1→5: high→low resolution. If needed, please adjust resolution or window size for optimal performance.

Bubble Blobby

An ode to Roy Lichtenstein, incorporating his iconic version of Ben-Day dots, halftone dots, angled stripes, and solid color patches. Inspired by Roy's sea and landscape paintings, each artwork generates a unique combination of patterns, shapes, and colors.

Ode to Roy

Those structures suddenly appeared, yet they don't talk to us. Yet.

Messengers

Andradite comes from the transposition of my Modo7 protocol into sculptures. Heavy brutalist shapes that come together to create dark monolithic structures half way between sculpted objects and troglodytic architecture. The name of the script comes from the andradite, a stone which crystallizes following cubic patterns and can be found in deep dark color. The gradient backgrounds create depth and mood and recall the way they showcase the stones in professional mineral photographs.

Andradite

Memories define us. Made of countless fragments, they are an ever-changing snapshot of our past. Frammenti is a digital explosion of life, inspired by our most personal treasures.

Frammenti

"Return" is a meditation on returning inward, cyclical change, and the beauty of iteration. The composition of each piece slowly loops, providing a new experience for the viewer over time. Created by Aaron Penne

Return

Fidenza is by far my most versatile algorithm to date. Although the program stays focused on structured curves and blocks, the varieties of scale, organization, texture, and color usage it can employ create a wide array of generative possibilities.

Fidenza

Leaving a room doesn't free you, it only shifts you to a newly constrained space. Your freedom is bound by parameters. This is Parametric Freedom. Use arrows to control wind and gravity and space bar to stop animation. Type M or L to increase or decrease density. Would you like a PNG?  Just hit S.

Libertad Parametrizada

A study in composition using simple shapes and layout rules. When repetitive patterns fail, and the symmetry isn't quite right, the images are strangely evocative. Somewhere between art deco, pop art, and sci-fi.

Eccentrics

Divisions creates playful abstract compositions that can go all the way up to eleven.

Divisions

When feeling stuck, go back to your roots. Rinascita is the legacy of Essenza, rebirth through epiphany. A celebration of gratitude, joy, and family. In a sudden awareness of the raw greatness of life.

Rinascita

This project is a visual representation of realities that are out of phase. Interference patterns, colorful echoes, and emerging secrets are explored. Mathematical functions produce constant motion, but rarely, a peaceful scene resolves within the chaos. Click or press any key to pause. *Photosensitive seizure warning: These artworks contain flashing colors and moving patterns.

phase

“Fragments of an infinite field” is a compositional system in which an idealized plant species is generated and arranged in a potentially infinite field of foliage. The main environmental parameter of the composition is the determination of a season of the year. The season determines the landscape’s colors and defines specific phenomena for each of them, such as rain in summer, snow in winter, petals falling in autumn, and pollen in spring. The flower has several possible variables, which can be macro aspects, affecting the entire population of the species, or micro, affecting each individual of the species differently. For example, the number of petals can be equal in all individuals or not. The number of filaments and other structures of the flower can undergo minor deviations, generating small mutations. The confusion between the figure (plant) and the background (earth, sky, other natural elements) is fascinating from a compositional point of view. The background colors are, most of the time, colors present in the figures, often breaking the boundary between them and, therefore, generating chromatic masses. In this project I also intend to research the following question: How to create parameters that resemble a living organism's growth? In this sense, the project approaches digital morphogenesis and the development of procedural organisms.

Fragments of an Infinite Field

Stratified landforms constructed from many small strokes of colour. The hash of each token describes a coordinate within a multidimensional generative space, locating a unique composition that lies along one of many possible longitudes.

Meridian

“Phototaxis” is a simulated environment populated by simple machines. After Valentino Braitenberg’s 1984 book “Vehicles,” there are four kinds of machines with different wiring and behaviors: Explorers, Aggressors, Lovers, and Cowards. Each line charts the history of one machine’s movement. The core of this code was the foundation for my MicroImage series of works dating back to 2001. I’ve worked on it in fits and starts since then, and in 2021 it was further developed for Art Blocks. Press ‘P’ to play/pause, ‘B’ for the big bang, ‘1’–’5’ to change the magnification, and ‘L’ to reveal the lights’ locations.

Phototaxis

Himinn is a painterly cloud study exploring light, color, and the generative composition of clouds in the sky. The algorithm creates natural forms and the illusion of ever-changing atmosphere through carefully structured layers of color and shape. Himinn means “a sky”, and it has been incredibly fun to paint the skies with code.  

Himinn

Rituals combines generative music and generative artwork to create 1000 unique windows into a singular parametric universe. The music and art are crafted to infinitely evolve, giving collectors a subtly new experience upon each viewing. If left running, a single Ritual will continue generating music and art without repeating for ~9 million years. We invite you to hold space for yourself and enjoy a moment of mindful stillness. The first 200 were minted IRL in Venice, CA, USA in September 2021.

Rituals - Venice

An unknown illness has struck the world and is spreading rapidly. Humanity enters quarantine while the world's greatest scientists get to work on finding a cure. As you look upon samples through the microscope glass, you can't help but wonder what horrors you're about to witness. What is it? Where did it come from? How far has it progressed? Do we even have a chance?

Quarantine

"Edifice" is a series of 976 massive, deteriorating structures built on strange terrain. It is an exploration of buildings being conceptualized, constructed, and eroded away under a wide variety of conditions. Edifice's outputs run the gamut between minimal and maximal, with some showing few large, static blocks of color, and others many small, highly textured and warped shapes. Each image is progressively constructed in front of the viewer's eyes. It is a system full of surprises that I'm excited to share with the world.

Edifice

Abstract typographic elements slide together to create new characters. In some compositions, a single character is featured. In others, characters string together to form words and sentences, which the algorithm shapes into often-familiar layouts. // The type designer Gerard Unger said “it is almost impossible to look and read at the same time”. Asemica invites you to look without the burden of legibility. // Created by Emily Edelman, Dima Ofman, and Andrew Badr. Command-S to download a vector file. // Dutch Auction Tiers: 10 / 7 / 5 / 4 / 3.4 / 2.8 / 2.4 / 2 / 1.75 / 1.5 / 1.25 / 1 / 0.75 / 0.5 / 0.25 / 0.1

Asemica

Lines are bent and shaded. There are no wrong turns. [Interaction in live view: press 1-7 or left/right arrow keys to see the stages of sketch construction: 1-grid, 2-divide, 3-tile, 4-bend, 5-shade, 6-color, 7-texture]

Bent

Since the dawn of humanity, the Moon's phases have fascinated humans, influencing any number of activities on Earth including ocean tides, seasons, harvests, migrations, hunting, crime, sleeping, sex, and has inspired countless works of art. The first lunar calendar, dated to 32,000 BC was discovered, drawn on animal bone in caves. It's believed hunters during the last Ice Age used these portable lunar calendars to anticipate the behavior of different animals like Mammoths. Since then, our Moon has been imprinted across all our ancient and modern cultures, even becoming the system from which our Gregorian calendar evolved from. In the present day, investors in crypto have used the Moon symbolically. 

What does it mean for all of us in crypto to be so ahead of our time, all while using the same metaphor of the Moon for the various measures of success and individual goals we collectively share in crypto? And how will the future appreciate our ambitions and perseverance within the present moment's growing pains on our way to mass adoption? These are some of the questions that Gazers ask.

On the surface, Gazers function as a lunar calendar, algorithmically synching closely with Moon phases in the sky, joining the blockchain with one of humanity's longest running lineages in art. Gazers seeks to create a community of collectors celebrating the change of our perceptions that happen over time, our collective goals in crypto, and our love of color theory, astronomy, and generative art. 

What we are building in blockchain and NFTs will primarily be for the benefit of the future. As such, this artwork was designed to pace itself and speed up its frame rate over time, scaling into anticipated advancements in technology that will steadily allow the artwork to run at faster speeds while at larger scales. Each NFT starts out with the assignment of a date from the past 20 years. These dates correspond to events that happened under particular New Moons that shaped my path as an artist. This is the Origin Moon trait and how Gazers is in part a conceptual self portrait. 

Starting from the Origin Moon, each New Moon that arrives will speed up the potential animation of the NFT. For example, an NFT with a 20 year old Origin Moon might run at 20 frames per second, appearing as an animation. But one with an Origin Moon fresh from the sale will run closer to 1 frame per second, appearing more like a slowly evolving painting. Every moment, the frame rate of the artwork speeds up fractionally, indecipherable to our eyes. Stacking these advancements over time creates a generational evolution of experience. There is something undeniably beautiful about everything speeding up within our lifetimes, but the Moon, high above us, continues to carry on at the same meandering rate of 29.53 days in each cycle. Much like these blockchain technologies and NFT markets, this artwork was designed to be collected by the present, but appreciated in a greater sense than we can even imagine by the future. 

I created Gazers to be like a living artwork, to be lived with, and to not only have the artwork evolve over time but also the appreciation and experience of viewers. As I coded the work, I imagined it hanging on the wall of collectors, a fixture in their physical space. Collectors might spend a moment admiring their work, walk away for a couple hours, and then come back to be delighted, noticing the most subtle of shifts. Each layer of the work consists of pattern designs. With the passage of time, the thickness of the layered lines pulse and the direction a design moves will advance or rotate, changing our perception of color in the most subtle and optical of ways. Each day at midnight, each layer receives a new set of rules in terms of how to rise or shine over the next 24 hours. The result is color that rises and sets, echoing the change of light in our sky.

My use of color has consistently been what I've been best known for across my 20 year artistic career. In all my work until now, I've made all the color and design choices as I've painted as a human in the moment. But in Gazers, I designed a complex system around color theory as I understand it, joining my talent for coding with my vision for color. 

Many NFT collectors of my work might be familiar with the additional experiences some of their NFTs unlock at my website. Rather than use a Gazers NFT to unlock a website, I decided this time to create rendering modes that unlock within the code over time. These additional modes of viewing are intended to help a collector better understand the architecture of their artwork's design and also benefit from greater enjoyment of it. The addition of these experiences should present an additional benefit to HODLing for some. 

Every 29 and a half days, we reach a Moon phase called the New Moon. This is when the dark side of the Moon is fully visible and no sunlight is reflected from the lunar surface back to Earth. In Gazers, each New Moon phase creates a New Moon design. In this artwork, the hash seed creates color theory and design rules. These rules are deterministic and dictate all the moons that will generatively be created into infinity. Time reveals our moons. Pairing time with deterministic generative code creates the ephemeral moment. We can all agree that looking at the Moon in the sky never seems to be the exact same experience twice, nor the exact same from different locations. I wanted to echo this nature in Gazers and emphasize the urgency and rarity of our present moment and how an artwork can capture this. 

As individuals, we all have our own version of the Moon and what reaching it means. Just as our goals change over time, often subtly, sometimes dramatically, so will our moons, creating a visual representation that might coincide with what's changing inside of us. In crypto, we are all ahead of our time. We are all gazers. And we are all waiting for our next Moon.

Gazers

The algorithm that was built for Getijde (Dutch for 'Tide') was meticulously designed. It's the result of spending most of the year cooped up inside four walls with a strong desire to escape. Countless hours were spent perfecting details to guarantee that each mint will be of high enough quality to be exhibited on screens and in print.

Getijde

Incomplete Control is about letting go, allowing room for error and imperfection. It is a meditation on the relation between analogue and computational aesthetics. The output space is a continuous spectrum. Each iteration has its own character to discover and enjoy, if you are willing to give it the time.

Incomplete Control

In this meditative exploration of color and form, iridescent structures emerge from transformations to a flat plane, each emanating an ethereal glow. [Shortcuts] spacebar: pause/resume, q: toggle quality, s: save screenshot. This artwork is responsive and adapts to any screen size. Note: requires a WebGL2-enabled browser.

Glow

Random and anarchy, chaos and structurality. Jiometory No Compute is a living motion experimental study, a contemplative geometry organism that lives now and forever. Each individual units movement contributes and flows into a generative path for a greater purpose. Together they try to achieve a symbiosis, although an « ideal » computer program is very relative. Exploring domains of definitions and warping an input data-set leads to unexpected behaviors, sometimes surprising, often fascinating.   Interactions : Zoom-in / Zoom-out / Drag left and right / Best view in full-screen. 

ム サクイ デ ムチツジョ、 コントン ト コウゾウセイ。 Jiometory No Compute ハ、 セイブツテキ ナ ウゴキ ノ ジッケンテキ ケンキュウ デ アリ、 ゲンザイ ソシテ エイエン ニ セイチョウスル シコウテキ ナ キカガクテキ ユウキブツ デス。 ココ ノ ユニット ノ ウゴキ ハ、 オオキナ モクテキ ノ タメ ノ セイセイ ニ ナガレコミ、 ツカワレマス。 « リソウテキ ナ » コンピュータ プログラム ハ ヒジョウ ニ ソウタイテキ デス ガ、 ソレラ ハ キョウセイ ヲ タッセイシヨウ ト スル ノ デス。 テイギ ノ ドメイン ヲ タンサクシ、 ニュウリョク データセット ヲ ワープスル コト デ、 ヨキシナイ ドウサ ガ ハッセイシ、 トキニハ オドロク ベキ、 シバシバ ミリョクテキ ナ ドウサ ヲ ウミマス

Unique working GameBoy Cartridges certificate are redeemable for every holders of the Jiometory No Compute artworks to be displayed as a special and rare piece of hardware art. Because they are completely hand-made / crafted, those will be available in small batches for an additional fee, some more informations about the cartridges will be released after the sale.  

25% of the sales from this drop over 0.1 will be donated to Unicef to help to save children’s lives, to defend their rights.

Dutch auction starting at 5Ξ and decreasing every 5 minutes to resting price of 0.1Ξ as follows: 5 > 4 > 3 > 2.5 > 2 > 1.5 > 1 > 0.75 > 0.5 > 0.25 > 0.1

Jiometory No Compute - ジオメトリ ハ ケイサンサレマセン

Chimera is a mutation, its genetics a merging of past and present. 

New creative mediums almost always ingest those that came before. Pictograms and hieroglyphics turned into paintings, which eventually became moving images and photoreal graphics. Spoken words evolved into written text, eventually becoming complex screenplays, computer code, and a world of hyperlinks. Most mediums are not discarded, but combined or extended to incorporate new technology or ideas. 

When a new medium comes into existence, the capabilities of both the artist and viewer increase in number. The potential subjects within said medium can grow in complexity as well, some fully dependent on the medium that holds them. Other subjects are timeless, popping in and out of multiple movements and genres throughout history. An example of the latter is still life. From ancient carvings through contemporary art, scenes of commonality, beauty, and metaphor have persisted. Traditionally viewed as a type of technical practice or meditation (the bottom of the “hierarchy of genres”), some examples of still life have gone on to be among the most important works in art history. 

Chimera is a natural progression of still life. It is an old tradition in the very new medium of on-chain generative art, a movement that will have an enormous presence in the future. Chimera simultaneously reaches into the past while exploiting the capabilities of the present and seeks to represent a unique moment in time, a generation of art in between digital and physical realities, encapsulating where we came from and where we are going. 

NOTES:

The first 32 editions minted will be accompanied by a 1/1 16”x16” giclée print on linen canvas, stretched, mounted, and varnished by hand. They will be available free of additional charge to any original holder that provides the artist with a mailing address. See examples on @mpkoz social media. Canvas prints will only be produced once, but museum-quality paper prints will be available for an additional cost to any holder in the future. 

Chimera is graphically intensive. Modern hardware is recommended. Ensure that your browser has hardware acceleration enabled.

The charitable portion of this release will be donated to various cancer research efforts, including MMRF and others.

Chimera is dedicated to my mom. 

CONTROLS:

“A”: Toggle animations
“R”: Toggle autorotation
“C”: Capture screenshot
“H”: Capture HD screenshot (CPU intensive) 

—

Thank you to all that participate in, share, or otherwise support this release. It means more to me than I can say.


Chimera

The Wrapture is a generative edition with unique properties. Technically it is capped at 666 editions, however holders of The Eternal Pump have the opportunity to limit the edition to less than 50 if they can cooperate.

The rules are fairly simple: as long as no one trades, sells, or lists their edition for sale in the next year, no additional editions will be made available for minting. However, if one collector breaks the rules, the remainder of the 666 editions will be opened up to the public for minting. If no one breaks the rules for one year, the edition will be capped and collectors will be free to “move” the art with no repercussions.

Collectors will be faced with an interesting dilemma - should be fun to watch. 

Made by Dmitri Cherniak with Javascript and GLSL.








The Wrapture

Maps for Grief explores the hyper-connected existence, filled with individuals who share common intents, ideals and feelings, but tend to live their sentiments in isolation. Its compositions oppose areas of fluid movement and immobility, revealing the structure of the piece itself: two interacting force fields that dictate the direction, as well as the strength – or absence – of movement.

On the keyboard: Press A to have the lines gently animate. Use the 1/2/3 keys to inspect the fields that make up each iteration.

Maps for grief

Screens have been at the heart of art mass production and mass consumption for ages. From screen printing techniques, first developed in China around 1000AD and later popularized in western art culture by e.g. Andy Warhol, to the screens on our devices used to consume both digital art as well as most traditional art we experience in our life.

The "Screens" series is a celebration of modern art. It is inspired by the aesthetics inherent in screen printing along with the compositions and colors of both Bauhaus, Constructivism, and pulp fiction sci-fi covers.

The compositions in "Screens" is based purely on strict geometries and plays with the tension, and symphonies that can be created from combining simple rules. The end result can range from chaotic non-figurative to strongly ordered isometric scenes.

The generative system underlying the rendering mimics the screen printing process by rendering and applying a single color at a time to a master image. Each virtual screen may be more or less aligned with the master, creating a lovely flawed balance to the precision of the rendered geometry.

Screens

“𝙸 𝚊𝚖 𝚒𝚗𝚝𝚛𝚒𝚐𝚞𝚎𝚍 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝚜𝚑𝚊𝚙𝚎𝚜 𝚙𝚎𝚘𝚙𝚕𝚎 𝚌𝚑𝚘𝚘𝚜𝚎 𝚊𝚜 𝚝𝚑𝚎𝚒𝚛 𝚜𝚢𝚖𝚋𝚘𝚕𝚜 𝚝𝚘 𝚌𝚛𝚎𝚊𝚝𝚎 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎. 𝚃𝚑𝚎𝚛𝚎 𝚒𝚜 𝚠𝚒𝚝𝚑𝚒𝚗 𝚊𝚕𝚕 𝚏𝚘𝚛𝚖𝚜 𝚊 𝚋𝚊𝚜𝚒𝚌 𝚜𝚝𝚛𝚞𝚌𝚝𝚞𝚛𝚎, 𝚊𝚗 𝚒𝚗𝚍𝚒𝚌𝚊𝚝𝚒𝚘𝚗 𝚘𝚏 𝚝𝚑𝚎 𝚎𝚗𝚝𝚒𝚛𝚎 𝚘𝚋𝚓𝚎𝚌𝚝 𝚠𝚒𝚝𝚑 𝚊 𝚖𝚒𝚗𝚒𝚖𝚞𝚖 𝚘𝚏 𝚕𝚒𝚗𝚎𝚜, 𝚝𝚑𝚊𝚝 𝚋𝚎𝚌𝚘𝚖𝚎𝚜 𝚊 𝚜𝚢𝚖𝚋𝚘𝚕. 𝚃𝚑𝚒𝚜 𝚒𝚜 𝚌𝚘𝚖𝚖𝚘𝚗 𝚝𝚘 𝚊𝚕𝚕 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎𝚜, 𝚊𝚕𝚕 𝚙𝚎𝚘𝚙𝚕𝚎, 𝚊𝚕𝚕 𝚝𝚒𝚖𝚎𝚜.”

'Automatism' is inspired by the practice of artists where they are given a writing implement and a blank surface, and they go freestyle, almost mindlessly filling up the space with whatever comes to their minds and out of their hands. I've often wondered where a machine's mind and "hand" would wander given the same opportunity.

This project explores the age-old computer art phenomenon of inviting the viewer to actively participate in the interpretation of the visual output. The way "Sharp-E" draws the strokes is through a mix of various movements — irregular curves, straight lines, sudden changes in direction — in a classic random walk algorithm, while avoiding overlaps with previously drawn strokes. There are no pre-programmed forms per se, but nevertheless it can be common for the viewer to perceive images, symbols, meaning in the generated output.

So where does your mind wander? What forms, symbols, and meaning do you see?

Controls:
• 'D' toggles pausing/drawing or continues space-filling after the first stop
• 'R' reassembles the piece (This automatically happens every minute)
• 'S' saves the output

Automatism

Memories of Qilin is inspired by traditional East Asian art. It channels the sense of movement and fluidity found in classical Chinese brushwork, while drawing from the colors, patterns, and forms of ukiyo-e woodblock prints. 

The series explores elements of folklore, evoking the mythological imagery of dragons, phoenixes, flowers, and mountains.  The title references a fabled chimerical beast found throughout East Asian mythology (while the qilin is its Chinese name, it is also known in Korea as the girin and Japan as the kirin) that represents prosperity and luck.

Viewers are invited to interpret elusive forms that verge on representation. As with the stories passed on through generations, each piece is imagined, organic, and ever-in-flux.

Memories of Qilin

Ancient Courses is a generative experience that explores the aesthetics of meandering rivers and the settlements that form on their banks. The design is graphic and cartographic with bold color palettes rendered against map iconography and line sensibility. From the river banks, roads stretch across the landscape: sometimes a single access road, other times sprawling towns. The river meandering is simulated via a custom algorithm which closely models the real world process.

Press 'r' to reset the simulation.
Press 's' to save an image to disk.
Press 'h' to re-run the simulation at print res. This is significantly slower than the default screen res version. The progress bar at the bottom of the screen shows how long before the print-res image is automatically saved to disk.

A limited number of Ancient Courses mints will come with a Treasure Map feature. The original purchaser will receive a physical print.

Ancient Courses of Fictional Rivers

The universe in which we exist is an ever changing ebb and flow of energies that coalesce into observable patterns of repetition and harmony. By practicing mindfulness one can observe their part in this universal flux and achieve a powerful sense of connection to the whole.

Click / Touch to begin the audio-visual experience.

Flux

For as long as I can remember, I've always loved walking around the city. The crowds, the movements, the colors, the lights... As I grew up, I learned to explore the different corners, always on the lookout for new alleys to explore, the desire to discover again and again particular architectures, saturated spaces, paintings or stickers never seen before, frozen traces of passages in these anthills that are our cities.

Hōrō is an invitation to stop time to make room for exploration, observation and contemplation in scenes mixing the purity of architectural lines with the unpredictable movements of passers-by, where Jackson Pollock meets Anni Albers, and Hassan Massoudi meets Piet Mondrian. So many influences that mix to create an explosion of movement and send us back to physical, digital or spiritual wanderings, in which we can both get lost and find ourselves.

The Hōrō series proposes to explore representations of multiple flows through different abstract areas, while playing on a wide chromatic diversity rich with 55 palettes inspired by as many graffiti artists, urban calligraphers using color as a trace of their passages.

"Art enables us to find ourselves and lose ourselves at the same time." - Thomas Merton


On live view, press num keys [1-9] to redraw and export an up to 9x resolution version of the scene.


Hōrō, the Art of Wandering
Lionel Radisson | makio135

Hōrō

Anticyclones are a weather phenomena.
They pierce through darkness to instill peace and calm. Their planetary scale reminds us of how little we are and how powerful they can be.

High pressure, rotation, air flow… The "Anticyclone" series is an artistic exploration and interpretation of those concepts.

The rendering borrows its aesthetics from traditional and organic media like paper and crayons, to lend an analog/archival look.

"Can a computer draw like a human?"
The question is asked and challenged once more through "Anticyclone".

[Press the left/right keys to explore the different steps building the final image. Bottom/top for the first/last step. Can be intense for your machine]

Anticyclone

This series delves into a glitch style technique called pixel sorting, which is generally known to be used as a post-processing method in photography. Pixel sorting is a procedure that isolates segments of pixels and sorts their positions based on any number of criteria (i.e. luminosity, hue, saturation). 

Assorted Positivity is a generative approach to making pixel sorting art without any photographic base. The algorithm uses several types of noise to generate an initial design, each one unique to the token and specifically conducive to pixel-sorting. The sorting displaces pixels in various directions based on their grayscale value; and hues determine how the sorting ends. Sometimes the sorting lends itself to a sort of drip look and other times it presents itself as depth and shading.

This project was initially influenced by my desire to sort past the ubiquitous negativity online and focus on the positivity, generosity, and genuine thoughtfulness that I have witnessed around this genart space--with collectors, artists, and people who simply appreciate the community.

Integrated into each piece is an uplifting adjective that is visible, yet blended into the art. At a glance, the viewer may not notice the steganographic message that is conveyed by an international visual method of telegraphing words. Each word is one that I imagine being used to describe people in the community, their actions, artists, and/or their work.

Every output brings me joy, and is a reminder to treat others with kindness and positivity.

Watch as the pixels sort themselves out. 

Rendering is best viewed in Chrome on a desktop with a high end GPU.

A portion of the proceeds will go toward the international Make-A-Wish Foundation in the hopes of bringing some joy to critically ill children around the globe.

Assorted Positivity

Sudfah (Arabic for "happy accident") is a generative collection celebrating the beauty that can emerge from chaos, mistakes, and accidents.

A single calligraphic line intends to tell one story (sometimes wandering and confused in its own right, but always meandering from one side to the other).

Digital liquid is spilled upon it and takes the ink in directions that are unexpected, uncontrolled, and tell a much more interesting story than the one the line intended.... and often more beautiful.

Sudfah

_Alan Ki Aankhen_ is an exploration of other-worldly cityscapes in the visual aesthetic of Fahad’s distinct style with pen and paper. The title, translated as _Alan’s Eyes_, alludes to Alan Turing’s machine intelligence test - a thought experiment foreshadowing a moment in which we can no longer differentiate between the real and the artificial. Though first proposed in 1950, the topic feels especially relevant today, as even our creative practices are being carried by shifting technological tides.

The algorithms and decision-making encoded into this generative art project intentionally imitate Fahad’s approach on traditional mediums - composition rules, textures, and overall themes. The visual elements are inspired by Fahad’s memories from his nomadic life. You’ll find intricate windows from Rajasthan, massive Egyptian pyramids rising from the horizon, a density of civilization only seen in New York, and the moon - a comforting and shared sight no matter where you stand.

Alan Ki Aankhen

**Running Moon** depicts the nuanced interaction between clouds and moonlight. It is a search for boundaries between structure and fluidity, precision and errors. It is a quest for harmony. 

The rendering of **Running Moon** is inspired by stained glass and watercolor. It captures the sharpness of the glass and the softness of light using abstract forms. As organic shapes gradually expand to fill the space, brush-pen-like stripes solder these pieces together to form intricate compositions.

Running Moon

Pointila explores what happens when you combine the meticulous dots reminiscent of Pointillistic painting techniques with the channelled randomness of generative art, whilst also examining how subtle changes in parameters can paint similar forms in different styles.

Pointillism emerged from a collision of art and science in late 19th century French painting. Developed by Georges Seurat, his appeal to science, rigour and order built upon the broken brushstrokes of the Impressionists, as painting began to reckon with the emergence of the new technology of photography. Unbeknownst to Seurat, this response to one technology would foreshadow another – that of digital displays and pixels.

Rigour and order was manifest in the distinct dots of colour that give Pointillism its name. From a distance, the eye mixes these dots into vibrant, luminous scenes. This optical mixing bears a striking similarity to the way pixels work to display images on screen for us today.

“It’s done mechanically?” was a question posed at an 1894 Neo-Impressionist exhibition. The answer then was no. Pointila is both more and less mechanical than the Pointillist work that provoked the question. More, in that the hand of the artist has been replaced by the work of the computer – an extension of Seurat's efforts to remove the free hand of the artist. Yet less, with the ultimate position of each of the millions of dots decided randomly, unknown to the hand of the coder.

The Pointila algorithm first divides the canvas into columns. It then traverses the canvas dropping dots along those columns. From just a handful of layers, landscapes emerge. They take on a variety of forms: from rolling plains and steep canyons to jagged peaks and dreamy moors. Some are sharp and tense, others hazy and ethereal. They are coloured with handpicked palettes and animated with bold glitches – a nod to the shared optics of Pointillism and pixels.

Subtle changes in initial parameters give rise to similar landscapes painted in different styles. Faint echos, perhaps, of the different styles we see from Seurat in the numerous studies related to his masterpiece Un dimanche à la Grande Jatte.

Pointila is designed for display and interaction. Clicking on a live mint will trigger an animation loop between the primary and secondary palettes, click again to pause. Press 0, 1, 2, 3 or 4 on your keyboard to change glitch state.

Pointila

*Arcadia* is a homage to the fridge-worthy landscape art of our youth. Childhood techniques of creating art are re-imagined by the scribbles of a nostalgic, computer-assisted mind.

**Spacebar**: Skip animation and load final image (useful when rendering in high resolutions)
**Up arrow**: Speed scribbles up (default speed is the highest)
**Down arrow**: Slow scribbles down

Arcadia

Fontana is Latin for fountain. 

This project is a playful attempt at abstractly capturing the flowing movement of a fountain using precisely drawn elements that evoke a static and considered rendering of a subject that is in constant flux. The visual language is reminiscent of hand-draughted technical drawing, a precise and methodical practice that progresses at a radically different pace to the flowing and capricious movement of water. To increase this tension between dynamic motion and static mechanical process I wanted the surface textures to appear worn and aged like a drawing that has spent its life in the bottom of a mechanics drawer. This process of abrasion and discoloration is occurring on yet another scale of time adding complexity to the references of time passing. 

Woven into the very fabric of Fontana is a fully generative solution for creating color expression. This means there is no reliance on preset palettes with every output being an entirely unique color articulation of the color story I want the project to reveal as a whole. Far from being random I attempted to create an approach which produces colors that evoke early 20th Century art and design media. With this intention I wanted  outputs to look like they could be working drawing artifacts from this period of time.

Fontana

Autoglyphs are the first “on-chain” generative art on the Ethereum blockchain. They are a completely self-contained mechanism for the creation and ownership of an artwork.

Autoglyphs

CrypToadz are a collection 6969 small amphibious creatures trying to escape the tyrannical rule of the Evil King Gremplin. Created by Gremplin, with a small bit of help from his friends.

This project is in the public domain. Feel free to use the toadz in any way you want.

CrypToadz

QQL is a generative art NFT project by Tyler Hobbs and Dandelion Wist Mané that empowers collectors as co-creators.

CrypToadz

by GREMPLIN

Description

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