Progression explores the visual effects of traveling through sequences of colors. Arranged in vertical or horizontal segments of varying sizes, the project reveals how neighboring colors activate each other, creating vibrations and perceptual shifts across the composition. Each color's presence reverberates throughout the entire piece, generating chromatic echoes and harmonies. As colors transition within each segment—either in distinct steps or smooth gradients—they produce different visual phenomena. Distinct steps create a push-pull effect that undulates across each individual color, while smooth gradients blur edges and create visual ambiguity. The color sequences also create an illusion of depth as certain transitions appear to move forward or backward in space based on their hue and value.

This project builds on the work of artists who have inspired me to investigate color theory in my own work, such as Paul Klee, Josef Albers, Mark Rothko, and Gene Davis. Klee approached color like music, observing how colors resonate with their neighbors like musical notes forming chords. Albers identified the "fluting" effect—the visual bending that occurs when arranging colors in mathematically even steps. Rothko demonstrated how subtle transitions of color create atmospheric effects that pull you in for deeper consideration. And Davis explored how stripes of color generate rhythm and movement across a composition, adding a kinetic dimension to his work.

Implosion (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Volume (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Stereo (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Inner (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

various corners 🌹 various colors 🌹 various directions

Inner (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Pages (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Web is a network spawned in the dark, resting within a smart contract waiting to be explored. It is a performance of the Internet itself, a non-linear choreography of a thousand webpages. The pages are expressed as raw HTML structures, empty from content. Some feel vaguely familiar, as if we remember visiting them in the past, some come straight from the depth of the machine.

Web is not a utility, but an expression of the machine. Wandering it suggests a forsaken usage and navigability, but it is just an echo of information architecture crafted with the cold introvert yet careful handling of the machine, leaving you getting lost and walking in circles.

Web is a monument to the hyperlink, a poem dedicated to machine learning and a computer's dérive within itself.

The mid grey chiseled computer interfaces of 1997 have always reminded me of sculptures created in bas-relief, a technique going back to the stone carved petroglyphs that is as ancient as humankind's first steps in making art. The combination of illusion and tactility found in these interfaces shows our longing to have the computer experience to be part of the material world. Therefore it comes as no surprise that the programming language of Ethereum is named 'Solidity'. The blockchain is software, yet it behaves and feels like hardware.

🪨

Window pays tribute to interface culture, and as such, the work is responsive and not scaling. When the work is viewed on a smaller scale, details will disappear, yet the composition stays recognisable. It is like stepping back to see a work from a distance. The work can also increasingly reveal more details when made larger. As a result Window will keep unfolding in the future as resolutions will grow.

The work follows standard window interactions. Double clicking or tapping the title bar will toggle between full browser and windowed view. On a laptop or desktop in windowed view, you can drag and resize your Window as you please. When made tiny, it makes for a nice profile pic. Clicking or tapping the background will cycle through three different background colours.

Window comes in seven latent colours and both in Windows Classic or Mac Classic style. With the feature ‘Latent colour’ I look at the invisible steps within the procedure of a generative artwork. I love the idea that the script has chosen to feature a colour, but in a later step could fail to make it to the composition. By showing the colour as a feature, I try to extend the visual work with deeper invisible layers of the generative process. Check the features to see what colour is seeded.

In honour of the blockchain and the web, the work is written in vanilla JavaScript, using no dependancies, and generates standard HTML DOM aiming for a closer feel of the user interface.

The button has been in a continuous state of shapeshifting over the expanding history of collective interface design. Endless webpages filled with designs, haptics, styles, expressions, subcultures, interactions, effects, all layered over this simple and elemental entity leaving in its wake a fundamental material presence within interface culture.

The internet is an unimaginably vast ecology of data and processes. Deeply stored data is immutable like buried granite, where other is constantly in flux like a rushing mountain stream. The whole system is in continuous evolution through endless processes reshaping the data interacting with each other and with ourselves. At the opaque surface of this churning ocean of bits is the exchange between both the realm of the computer and that of ourselves. The interface. And in the centre of this human machine culture lives the button. A binary entity reaching out from the very core of the machine's logic to touch, at the surface, our reaching finger, after which it dives back down in order to toggle some state from a zero to a one.

Compression has been the driving force behind the image-based internet since the early 90s. No compression, no Netscape, no social media, no NFTs. The JPEG compression has specifically enabled photography-based imagery on the net. It has always served that purpose and over time become the de facto default for showing high quality imagery online. But compression always leaves a trace, which has become the lens through which the network sees the world of uploaded images.

"A painting is not a picture of an experience, but is the experience." ― Mark Rothko

JPEG tries to create an image programatically fully expressing that signature compression. An image that is like empty made from barely nothing, yet fully present in its blazing appearance. A work deeply material, expressing itself through the language of code and codec only. This is not a JPEG depicting an image. The JPEG is the image itself.

Delving into the depths and peculiarities of the digital, tethered to art history, JPEG found its way to the surface. Generated color fields are utilised to trigger the compressing algorithm, resulting in a world of raw visual entities. Where the abstract expressionists cut out the depiction in painting, aiming to let the artist convey pure emotion, JPEG cuts out the artist's emotion and lets it emerge from within the algorithm. Carefully you could categorize the work as compressionism. An art form where the machine speaks in its own raw language, but nevertheless makes a direct touch to our human heart.

JPEG is a collection of generative images in the JPEG file format. The work tries to break with the idea of the fixed file format, therefor creating the JPEG entirely from code using no image material whatsoever. The individual JPEGs are generated responsively at the moment of viewing based on the token hash as a random seed. You can literally drag the JPEG out from the browser window.

JPEG pays tribute to interface culture, and as such the work is responsive and not scaling. When the work is resized, the work is again rendered and compressed. When viewed smaller, details will disappear, yet the composition stays recognisable. It’s like stepping back to see a work from further away. The choice of color wanders from monochromatic tones to the brutality of complete randomness and everything in between.

In honour of the blockchain and the web, the work is written in vanilla JavaScript, using no dependancies, and generates a standard JPEG. This way the file is downloadable, aiming for a materiality that comes as close as possible to the standard browser.

alignDRAW - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

The 'Paper Prompts' can be found in the published academic paper, 'Generating Images from Captions with Attention', submitted in November 2015. You can view the paper here:

https://arxiv.org/abs/1511.02793

In 1983, Bill Atkinson was working on MacPaint, a graphics application for the Apple Lisa. While drinking a beer at a local bar, he noticed an animated waterfall in a beer sign on the wall. The effect was created by rotating an image under a mask. Back home he applied the animation using simple diagonal lines producing a moving dashed line. The ‘marching ants’, or animated selection marquee that became ubiquitous in interface culture, were born.

I have always been spellbound by the selection marquee. The elegance and sensitivity of this element of GUI is unlike anything else. Extending the idea of circling a word with a pencil it is a physical manifestation of our mental capacity to select, bringing in all the unique material beauty that only the computer can offer. Paraphrasing Bruce Nauman, on the one hand it’s just a daily used functional element, but on the other when seen for what it is, it is a profound experience. Like something between a beer and a waterfall.

The mid-grey chiseled computer interfaces of the late nineties tend to evoke early sculptures created in bas-relief, a technique arcing all the way back to stone carved petroglyphs that is as ancient as humankind's first steps in making art.

By carving into a flat surface, the play of shadow and light holds strangely between drawing and sculpture. – Flat and three dimensional at the same time, the bas-relief is an art discipline on its own.

Skipping past the more elaborate reliefs found in classical traditions around the world, this discipline takes a wondrous turn with chiaroscuro grisailles. Painted using only grayscale tones, these faux three-dimensional surface sculptures are created by only using highlights and shadows in paint.

It is this bridge that leads to the early computer interface, like an expanded grisaille, hyper-charged with interactivity and live procedurality. A double flattening of perception, brimming with its own reality. Both practices wish to be in two places at the same time, making the bas-relief appear destined for the computer interface: existing in a space of illusion, but also right here at our fingertips.

Similar to the most ancient uses of bas-relief, communicating early language in stone walls and tablets, these Bas-relief works are also scribed with coded shapes. Their boxes represent the language of data behind their making – programmatic code that allows humans and machines to communicate. The concentric shapes, columnar and tabular layouts, and interactive boolean states are presented as artifacts of digital language in a form like ancient tablets. These works immortalize this era for cultures looking back thousands of years from now, curious about the computer age and basic units of communication during this time.

Bas-relief, by Jan Robert Leegte, is a dedication to this long history leading to the computer interface, and an offering for millennia to come.

The iframe HTML element is an element that allows a web document to embed the contents of another web document within itself. iframes are at the core of fxhash. They are portals opening our view to rich content.

This work is a portal to itself. It loads itself within itself 20 times. It's not pretty, it reminds us of WordArt, it's a little bit hacky, it might break when our tools to display HTML will change. But it's a proof that the limits of our tools are only limits until creativity breaks them.

This work is not purely deterministic, because it simply cannot be. Slight timing differences due to loading times being different each time an iframe is loaded will make each visualization slightly unique.

Exploring the interaction of four parent colors.

Endless Nameless is an exploration of composition. We start with a square. The square is divided into sections. The sections are filled with color pairs. Sometimes all colors are used. Sometimes fewer colors are used.

Each Monogrid artwork gets initialized with a start up algorithm that builds up a set of rectangles and fills them with pixels. The style of the initial filling depends on the position in the main grid.

The first row (#00-0F) starts with a low density pixel grid. The density increases up to the middle row (#70-7F), where the pixel grid converts into a line grid. From the middle (#80-8F) to the bottom (#F0-FF) the density decreases again.

The color balance fades from white on the left column (#00-F0) to black on the right column (#0F-FF). The complexity of the initial setup is highest in the middle (#77, #78, #87, #88) and gradually reduces to the outside. The dynamic of the animation works in the opposite direction. The simpler the structure, the higher the dynamic of the movement.

There is a set of 16 animations at work. 4 noise based animations, 4 shifting animations, 4 modulo based animation and 4 reset animations, all run in parallel. Each animation selects a rectangle from the initial setup and edits the pixels in this area. The selection process runs independently and animations can overlap which results in a new style of animation.

Mountains are grand natural statements of sculptural expression. They are birthplaces of sublime monumentality and romanticism. Their crumbs are the raw materials that provided us with a long tradition of sculpture.

In another realm there is the ambiguous materiality of the digital, the human-made bits and bytes, in constant flow through systems, from which a new order of materials emerge at the surface of the interface. Among them is the user interface phenomenon of the drop shadow. A material bereft of all our notions of materiality, it being nothing but the absence of light cast upon a surface due to an obstructing object. In the work the shadow has been severed from a non existent casting object making it less then nothing. But also the drop shadow being a digital simulacrum adds another step deeper into ethereality, making it almost a shadow of shadows. This places it in direct opposition to the most earthly rooted of them all, the mountain.

Mountains and Drop Shadows is a continuation of a line of work going back to 2013, with the net art piece www.mountainsanddropshadows.com in which a live script would continuously fetch images tagged ‘mountains’ from online databases. Because of this, the landscapes would become anonymised and delocalised, merely becoming an image, often ending as a humble desktop image.

For this most recent iteration of the work, querying databases felt like a thing of the past, as all those images have been added to the datasets of various image generating AI services. Mountains and Drop Shadows, 2023 uses AI generated mountain images, a mashup of all images of existing mountains, fully erasing the subjectivity of the photographer and a-localising the image.

The work is a sculptural desktop standoff between a mountain dreamt up by the internet and a drop shadow. Embodiment vertigo on the summits of the interface.

The generative long form NFT collections introduced a highly successful format in showing the range of coded art as a series of instances. Yet, in its novelty also housed the centuries old model of the edition, a (limited) series of isolated outputs.

The Internet exists as a network of content which is built to be seen. And as Web2.0 emerged, each observer within this network also became content. In Walled Garden all collectors share the experience of the same central procedural artwork. Perspective creates the unique output rather than variation. And as perspective forces attendance, the observers are all present within the work, and they too become a part of the installation.

The architecture of the garden recalls herman de vries' Sanctuary, in which the GUI becomes the wall to an online peep show. This aspect also brings in Marcel Duchamp's Étant donnés, peeping at an online wild garden in all its beauty, only to be come aware of all the others looking back.

Walled Garden is a place we can look at and be looked at, but not touch. A sanctuary we own, but cannot enter.

Homage is a collection of 110 on-chain animations 🌹 project by Rafaël Rozendaal 2022 🌹 svg code by Reinier Feijen 🌹 smart contract by Alberto Granzotto 🌹 based on the work of Josef Albers 🌹 License: CC BY-NC-ND 4.0

The one thing we cannot buy on Black Friday is Black Friday itself...

But what if we could?

"Black Friday Sale" allows anyone to own Black Friday, or at least its image. It can be yours forever, secured on the blockchain as surely as if you had right-click-saved it.

[aside] is a protocol that enables the immobilization of any NFT on the Ethereum blockchain and conditions its release to external phenomena, whether natural (weather, earthquake, storm), astral (solar eruption, planetary transit), economic (inflation, deflation), financial (stock market), demographic, or social. Once locked, these NFTs remain non-transferable for a dedicated period of time or until a specific real-world event happens, therefore restricting the tradability of the artwork by tying its commercial becoming to the outside world.

A 10K Drop is an NFT collection of ten thousand PFP character images released as a cultural event. The number ten thousand and the format of a series of characters generated programmatically from a library of visual elements is taken from the first collection of this kind, the Cryptopunks by Larva Labs which dropped in June 2017. Successful drops provide community, inspiration, and wealth. Unsuccessful ones provide embarrassment and loss. Buying early rides one of these waves. Waiting to see how a collection performed reduces risk but also reduces reward. For every Bored Apes, a dozen Disinterested Dogs.

Buying an individual token in such a collection became known as “aping in”. Going further and buying all of the cheapest available NFTs in a collection is known as “sweeping the floor”. This desire for belongings and belonging, for ownership, that grows in and around successful 10K Drops is both driven and frustrated by the fact that other people also own tokens in the collection. Without that ownership, the market could not establish the value that makes the collection valuable and desirable. With it, an individual’s ownership of the collection can never be complete.

10K Drop is an artistic fulfilment of this desire. Each individual NFT in the collection is a generatively created drop of 10 Ks, viewable as a live animation or as a high-quality static image. It is locked until the price of Ethereum also becomes 10K - ten thousand US dollars. This is a 10 K drop that will drop at 10K, a 10K drop squared. In this it produces an experience of total ownership that is increased rather than being frustrated or reduced by other collectors also owning a token in the same series. This is a familiar strategy from my previous projects Tokens Equal Text and Black Friday Sale, with a more complex visual aesthetic applied to the moment of NFTs entry into mainstream cultural consciousness in order to enable us to reflect on the desires that they produce and frustrate as a reflection of more general property relations.

All NFTs will be locked for a maximum of 10 years (until 24 July 2034 | timeStamp= 2037312000). Date after which they will all be unlocked.

Maya Man’s unique contribution to Social Codes offers a new way to think about software and performance. Her deep explorations in art, dance, and code come together in “can I go where you go?” As a video clip of Maya dancing plays, her code analyzes the video frames one by one to generate a silhouette. This contour becomes an ever-changing shape the viewer can take charge of by drawing with it, or they can simply watch as the software performs itself.

FAKE IT TILL YOU MAKE IT borrows from the bubbly language and pastel aesthetics of text driven instagram graphics to scrutinize the promotion of wellness, self-care, and confidence on social media.

The piece concentrates on the rhetoric employed in these posts. Persuasive, upbeat, and relentlessly inspirational, there’s a sense of authority embedded in each one. By remixing words and phrases sourced from these types of existing instagram posts, the program generates combinations that mimic their cheerful tone, but range from feeling vaguely familiar to totally absurd.

Text is wrapped in the sugar cookie aesthetic world of “girl power positive vibes boss babe” kind of media, imitating the graphics designed to catch your eye as you’re scrolling through your feed. Visual variables include the output’s background style, color palette, and layout, as well as other decorative elements such as stars ✹, hearts ♡, flowers ✿, and sparkles ✧ :D

Online, these media objects survive on likes, comments, and shares. What do I believe? becomes What do I want to appear to believe? Fake it till you make it! Maybe your dream life lives here: In a digital, fantasy world where the algorithm plays god and loving yourself feels like looking into the light of your screen.

ଘ(੭ˊᵕˋ)੭* ੈ✩‧₊♡ ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ

Ugly Bitches is a collection of GAN generated dolls who are ugly inside and out. Trained on images of over a thousand contemporary and vintage dolls, each one was randomly paired with a comment sourced from a female influencer’s Instagram and altered by the artists to replace “beauty” adjectives with “ugly” and feminine nouns, such as “woman” with “bitch.” Finally, each of the dolls pose in front of one of thirty-two unique Dall-E backgrounds generated based on popular influencer destinations. Warning: These Ugly Bitches don’t attempt to reclaim, empower, or celebrate... they’re just being themselves.

☆ released on the occasion of the Tribute to Herbert W. Franke

I’m Feeling Lucky focuses on the contemporary culture of astrology and how it prompts us to make sense of ourselves through its structures. Barthes calls astrology a “confirmation of the real.” There is comfort in the promise of realness over fantasy. Even if it's influenced by randomness, confirmation bias gives way to some kind of feeling of faith.

The title of the collection comes from Google’s “I’m Feeling Lucky” button which initially embodied the energy of software and chance, but has evolved over the years in a way that parallels the fast-paced commercialization of the internet.

I don’t feel lucky anymore, but I want to Feel Lucky again…

Mostly black on gray.

Memories of relationships and love reflected through color. Bright Moments NY, November 2021.

Traveling from dark to light, through the colors in between. Bright Moments CDMX, November 2022

Points of change and new opportunities.

Three years of learning. Bright Moments Paris, February 2024.

“The rhythm of a design is characterized by the placement of its elements and the direction and speed of their visual movement.”

-Foundations of Design

Generative urban abstraction inspired by my early career in Chicago.

Web is a network spawned in the dark, resting within a smart contract waiting to be explored. It is a performance of the Internet itself, a non-linear choreography of a thousand webpages. The pages are expressed as raw HTML structures, empty from content. Some feel vaguely familiar, as if we remember visiting them in the past, some come straight from the depth of the machine.

Web is not a utility, but an expression of the machine. Wandering it suggests a forsaken usage and navigability, but it is just an echo of information architecture crafted with the cold introvert yet careful handling of the machine, leaving you getting lost and walking in circles.

Web is a monument to the hyperlink, a poem dedicated to machine learning and a computer's dérive within itself.

JPEG, 640x480px, 2013

PXL DEX is a series of fully on-chain real time animations, where each pixel is a token in itself. PXL DEX is the first artwork within the PXL ecosystem, an ongoing work series to experiment with pixels as utility tokens. The collection consists of 256 NFTs that are deployed via a custom Smart Contract on the Ethereum Mainnet.

The NFTs can be minted for 0.5 ETH plus 0.000001 ETH per pixel. Each pixel is actually a PXL token and will initially be owned by the PXL DEX Smart Contract to be assigned to the minted NFT. PXL tokens can be withdrawn and deposited by the owner. The minter is allowed to mint up to 500.000 PXL tokens along with the NFT. Each Deck has an additional allowance of 500.000 PXL to be minted any time later. The allowance is bound to the NFT and will transfer along with the NFT ownership.

A single Deck can hold all available PXL tokens, there is no limit on the Smart Contract level. The only limitation is the GPU of the computer that displays the Deck.

Cargo is a series of abstract paintings created with animated pixels that are constantly moving without ever repeating. It is painting new patterns on the fly in between macro and micro compositions with a duality of different rhythms and continuous synchronicity. The focus is alternately drawn to detail, then distracted by movement elsewhere and caught up in the overall picture. This rhythm turns the visual complexity into an active experience.

ASDF: “My work should offer individual ways of interpretation, or even allow one to find some self in it. It wants to inspire some thoughts about dynamics and systemics and also just mesmerize the audience, capture them in a little fantasy, or just for a brief moment in a state of satisfaction.”

SABOTAGE #1006 / This artwork is not just about the art, but also about an intimate personal experience. The collector is invited to the creation process, to be in dialog with the artist, while watching him creating the artwork in a video chat. The creation of the art will become a performance and eventually the collector will become a part of the artwork.

https://sabotage.kim

The formal structure of a book is beautiful by itself, but its aesthetic is the tacit atmosphere within which events take place in a story.

“I’ve learned over the years to look at computers in a very specific way. I believe that beyond being our companion tool for an easier everyday life, through art they can escape the utilitarian aspect that was attributed to them primarily. I type my code. I look at the screen. Something manifests. It’s light. Not just some magical abstract movement of energy happening in the realms of a silicon world. There’s something in front of my eyes that leaves the surface of a rectangular device to inhabit the room in which I’m present. The idea behind this collection is to manifest those experiences using code to shift and transport pixels in realtime. To use the computer as the light generator that it is. It’s something that I’ve been working now for several months and it feels like a genuine expression (or at least the attempt) of what I describe above.”

“Squares” utilizes the shape of a square as a unit of construction, combining and overlapping them at various scales to create interplays of color, structure, and atmosphere. The overall effect is something along the lines of Bauhaus meets Blade Runner, as complex rectilinear forms float untethered through fields of light and texture.

A collaboration between the ATP Tour, Art Blocks Engine, and Martin Grasser, LOVE is a collection of unique digital artworks that uses in-match sports data to celebrate impactful moments from the 2022 Nitto ATP Finals in Turin, Italy.

"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."

- Erick Calderon

Terraforms by Mathcastles. Onchain land art from a dynamically generated, onchain 3D world.

A moment in time on the big screen. Bright Moments Tokyo, May 2023.

923 Empty Rooms is an evolution of An Empty Room, commissioned by the Los Angeles County Museum of Art (LACMA) for the Coded: Art Enters the Computer Age, 1952–1982 exhibition. An Empty Room was installed at LACMA from 9 April to 2 July 2023.

Animated Gif, 700 x 700, 70 frames, 10 fps

Lorna Mills' artistic approach revolves around repurposing visual content she discovers on the internet. Her work serves as a commentary on the overwhelming abundance of images and videos readily available online. These creations possess a peculiar and often whimsical quality, highlighting the inherent absurdity within the digital imagery landscape.

What distinguishes Mills' art is its deliberate divergence from sexual themes. Although her pieces may bear the hallmarks of the traditional male perspective, they undergo a transformation through her unique female viewpoint. This inversion of the conventional male gaze narrative introduces a compelling layer of complexity, prompting viewers to reevaluate their assumptions about imagery, gender, and societal norms.

Nein Brotman Nein draws from a scene in the 2009 gay adult film Pizza Cazzone, in which Danny D, credited as Matt Huges Pizzabäcker, penetrates a ball of pizza dough. Mills isolates this absurd gesture—detached from its original erotic context—and loops it into a visual non sequitur. Mills’ reframing of this material neutralizes its original intent, replacing erotic charge with absurd spectacle. By looping a moment of exaggerated physicality, Nein Brotman Nein transforms pornographic source footage into something closer to slapstick, undermining its original narrative logic.

Animated Gif, 700x700, 15 frames, 10fps

Animated Gif, 700x700, 15 frames, 10fps

Animated Gif, 700x700, 34 wishful clicky click frames, 10fps

Animated Gif, 700x700, 80 frames, 10fps, 2021

Animated Gif, 700x700, 70 frames, 10fps

Animated Gif, 700x700, 10 frames, 10fps, 2019

Animated Gif, 700x700, 10 frames, 10fps, final mint of 2022

Animated Gif, 700x700, 53 frames, 10fps

Animated Gif, 700x700, 20 frames, 10fps, 2021

Animated Gif , 700 x 700, 10 frames, 10fps

Animated Gif, 700x700, 16 frames, 10fps

Animated Gif, 700x700, 31 frames, 10fps

Animated Gif, 700x700, 20 frames, 10fps, 2020

Animated Gif, 700x700, 20 frames, 10fps

Animated Gif, 700x700, 55 frames

Animated Gif collage, 800 x 600, 15 frames, 10fps

Animated Gif, 700x700, 25 frames, 10fps, 2021

Animated Gif, 700x700, 21 frames, 10fps

Animated Gif collage, 800 x 600, 21 frames, 10fps

Animated Gif, 700x700, 51 filthy little frames, 10fps

Animated Gif, 700x700, 8 frames, 10fps, 2020

Animated Gif, 700x700, 25 frames, 10fps, 2020

Animated Gif Collage, 935 x 720 px, 70 Frames, 10fps

Animated Gif, 700x700, 15 frames, 10fps

Animated Gif, 700x700, 38 frames, 10fps

Animated Gif, 700x700, 25 frames, 10fps

Animated Gif, 700x700, 68 frames, 10fps

[test] is a generative script that tests various image processing/downscaling algorithms, exploring the image's resilience to resolution and dither.

The Mona Lisa is often used for image-based algorithms [compression, noise reduction, image scaling and interpolation, edge detection, color correction, etc …] due to its detailed and recognizable features. Over time, the original painting remains in a continuous flux of digital transformations as it serves as a benchmark for these algorithms & programs. These endless variations push the material limits of the original painting... Pixels are stretched, assorted, down/up-sized, and re-arranged, making the Mona Lisa a digital motif of endless variation.

[test] is an exploration of form within the limitations of the past, where colors and resolution were limited and screens were textured, hued, faded. Even within these limitations, the generative potential of a single image is endless and the possibility for new images arise with each output.

Each NFT in Donovan’s QWERTY series depicts rhythmic, mesmeric arrangements of a single, repeating letter or symbol represented on computer keyboards. The 26 letters and 30 symbols that make up the layered, gridded compositions of the QWERTY NFTs are rendered in varying degrees of legibility, striking a balance between recognizability and obscurity. These screen-based images take on the qualities of woven textiles, and they are the result of the artist’s meticulous pattern development, organization, and refinement, which she executed through algorithmic processes.

Loie Hollowell’s first-ever NFT project, titled Contractions, comprises 280 unique, generative works that center on the artist’s embodied experiences with childbirth. Based on Hollowell’s Split Orb sculptural paintings, which she began creating following the birth of her second child, the Contractions NFTs feature two bifurcated orbs situated one on top of the other, with the top orb representing the artist’s brain and the lower orb signifying her pregnant belly and cervix. This new series brings Hollowell’s explorations of bodily landscapes—with a particular focus on sex, pregnancy, childbirth, and motherhood—to the digital realm. Contractions will be presented on Pace Gallery’s booth at West Bund Art & Design in Shanghai from November 10 to 13. As an extension of the project, Hollowell will create several new paintings of Contractions NFTs.

Individually, the mints of this token are very simple. Each mint generates half of two cube forms, and each half is assigned random hues (in multiples of 10, from 0 to 360). Collectively as a project, this token challenges the approach of looking for "rarities" in a new way. How the cubes are rendered leaves the possibility for multiple mints to potentially join up on the sides with colors that perfect match each other. Will you find your lost twin?

John Gerrard has built a practice developing simulation as a language and material, using this mode to examine issues related to energy, consumption, and environmental exploitation. “Smoke Hands (Dark) 2022” is a spatial WebGL sketch showing the artist’s hands cupped around dark smoke. The work was produced in early 2022 to test ideas around subjects of ecology, responsibility, futurism, and politics. Click and drag in background to look around the scene. The smoke, which is produced by a particle system, recalls the artist’s previous works, “Western Flag (Dalhart, Texas) 2017” and the earlier Smoke Tree series of 2006-7. “Smoke Hands” juxtaposes a symbol of destruction with a gesture of offering, instantly evoking the tension, absurdity, and peril of our dependence on carbon-based energy. As the artist says, “I like the sense that we are holding an uncertain future in our hands — or that we are protecting a global petro system that is in essence impossible.”

196 nations and regions realised as gasoline spills on the world ocean.

Centering on a generative thin film refraction algorithm each country and region in Petro National reflects its per capita annual consumption of petroleum, with low-consumption countries and regions manifesting a very thin spill leaning towards the blue green spectrum to high-consumption countries and regions being thick, lustrous and highly iridescent forms. Society consumes 100 million barrels of oil every day with radically differing patterns between global north and south.

Each broad consumption category in the works encompasses different atmospheric, wave and sea colour traits which are further affected by the minting seed address.

Petro National is a first webgl piece both online and onchain which extends my sustained work over two decades in game engines. These respond to historic intersections of energy and power. See Western Flag (Spindletop, Texas) 2017 as an example or visit johngerrard.net

Each of the 196 generated worlds runs on local time as dictated by the time zone of its capital city. Night, day and seasonality will be experienced across the year in the work with long days in summer and short in winter. Countries and regions are openly allocated to collectors upon mint.

These are spatial worlds - click and drag on the scene to look around. Press R on a keyboard to slowly rotate the camera, O / P to zoom. G for full screen in generator mode.

For more information see : https://www.pacegallery.com/journal/john-gerrard-petro-national/

Production credits. Producer : Werner Poetzelberger, Programmer : Helmut Bressler.

Released under alias YMMSH.

1000x780p /// 250f /// 25fps /// 3c /// 2021

810 x 900 pixels, 288 frames, 256 colors, 25 fps, 2021

780x780 pixels, 24 frames, 5 colors, 25fps, Nicolas Sassoon 2011-2021

THE HOTTEST GENERATIVE ART PROJECT OF THE DECADE! HERE'S WHAT THEY'RE SAYING: → "EXCITING!!!" ← → "AN ABSOLUTE MASTER CLASS IN HTML & CSS" ← → "I COULDN'T BELIEVE MY EYES... OR EARS!" ← → "THEY'RE EVEN BETTER FULL-SCREEN!" ← → "🤯 MIND BLOWING 🤯" ← → "SO COOL" ← → "EXCITING!" ← → "AN OVERWHELMING SENSATION" ← → "I COULDN'T LOOK AWAY!" ← → "IT WORKS ON ALL MY DEVICES! 🤳" ← → "THESE NFTs ARE GOING STRAIGHT TO THE MOON!" ← → "I'VE NEVER SEEN ANYTHING QUITE LIKE IT" ←

YOU DON'T WANT TO MISS THIS! THINGS ARE MOVING FAST, SO ACT NOW BEFORE IT'S TOO LATE! 🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀

June 7, 2023: Mood inflation
June 9, 2023: Keep your head up

.glb by john karel

https://internet.flowers is a digital garden made from flowers taken directly from the artist's personal browsing history. Using a Chrome extension she built, every website she visits is scanned and an AI model she trained searches through all the images on those pages to find flowers. When a flower is detected, it is cropped and saved. Over time, all the collected flowers are added to the "garden."

Each flower is quite literally a piece of the artist’s own personal data and, by selling these flowers as bouquets, Mika intentionally leaks and trades her private browsing data.

This project is part of Mika’s ongoing interest in digital footprints, data as currency, and the hidden systems behind personalized advertising. It offers a quiet but direct look at how online behavior is constantly tracked, collected, and monetized, often without our full awareness. https://internet.flowers makes this process visible by turning private data into something beautiful, publicly exposed and openly traded. (◕‿◕✿)

Gerhard is a collaboration of Richard Nadler and Leander Herzog on fxhash. A generative animation based on multiple layers of color and data, mixed, moved and painted over in realtime. Some fragments stick to the canvas while others get discarded to leave the existing layers visible, allowing a complex surface to emerge and build up over time.

Richard Nadler created the textures to control composition and color. Leander Herzog created the code for the interplay between the layers, motion and interactions. Both artists use different tools and are not aware of the details of each others process, meeting through the interface of pixels. This collaboration is enabled by twitter and fxhash, as the generative art community continues to explore abstraction in summer 2022 – while extreme temperatures, wildfires, ongoing conflicts and volatile markets continue to escalate.

For her first performance on the blockchain, Marina Abramović revisits one of her most personal and autobiographical works ‘The Hero (2001)’ to present in collaboration with CIRCA this digital exploration of time, immateriality and audience participation. Filmed at 25 frames per second, never before seen footage has been separated into 6,500 unique frames to create The Hero 25FPS.

Math Art is the first NFT drop by Herbert W. Franke, forefather of media art. This 100 piece-collection is drawn from his iconic 80s series Math Art where mathematical investigation is translated into visual art, with a stunning variety of forms that is strikingly reminiscent of Pop Art.