# eternity stirs
my finger stirred the pool. 
iridescent specks at this distance. 
molecules separated by infinities, 
attracted by a gentle gesture. 
matter built on reducible complexity, 
remarkable what emerges from the soup.

the specks of light flash for a moment, 
then flame out. 
the arc of their burning wick 
painting pictures; 
heating arguments;
bleeding in the darkness. 

helpless to start or stop anything, 
bodies in motion, 
tending to stay in motion,
until the fuel runs out.

# can there be beauty in pain?
Flora, Fauna, False gods & Floods continues a theme I began in Beauty in the Hurting. When turbulent acts of god subvert best-laid plans, is there beauty in the broken images of life we leave behind?

Left alone, these images would resolve to nearly symmetrical dreamlike ink blots of meaning:  a flower, a feathered creature, or a figure of worship. In fact, what is most beautiful in their image may lay outside the frame. 

The final resting frame in each composition does not paint the whole picture. You must go looking for it. Interact with each composition by following the controls below.

# **saving**
* **a key** - download transparent uncropped print
* **s key** - download print

# **controls**
* **f key** - toggle speed up / slow down at 5x speed
* **h key** - toggle speed up / slow down at 20x speed
* **r key** - reset the camera view
* **click/touch** - while rendering, toggles between full view and follow view, when finished, cycles through zoom levels
* **click/touch and drag** - change the cropping of the image
* **click/touch again after dragging** - restore the default image crop for the current zoom level

flora, fauna, false gods & floods

These shapes are nothing more than rectangles and lines.

And yet...

There is a concept in painting called 'pentimento', the presence of earlier forms or images that have been painted over. These could be changes that the artist made deliberately, or mistakes that they were able to cover. Sometimes as the paint fades, the pentimenti will be revealed, but often they will remain unseen.

The challenge is to recognize the pentimenti that influence the canvas, but cannot be found there even at the base layer. These are scattered throughout the years of the artist's life.

'Thoughts of Meadow' is a generative system that distorts a chess-like grid into complex shapes. Many of the outputs give the illusion of immense three-dimensional structures using simple geometric principles. It is an attempt to represent the concept of 'pentimento' through the rendering process. Each layer builds upon the complexity of the previous one but also covers it. If you look closely through the gaps in the grid, you can see the incremental changes that took place.

In that sense, this project is a reminder for myself of where I'm from, an incredibly small town called Meadow, and the gratitude I feel for the years I spent there. The first layer of my life's pentimento.

As always, I doubt this project would exist without the work and observations of Vera Molnár. Squares were certainly made for her, I just appreciate being able to borrow them once in a while.

Thoughts of Meadow

- Click and drag (dont forget realease) to find new combinations. Go to the center to close the interference. Go to the edges to open it.
Double click change mode (Auto - Tactil )

INTERFERENCES is about reordering the elements, altering the parts that make up the shapes and identifying the possibilities of color ordering.
Here, the variability is found in the subtle, seeking to challenge the sensitive vision of the viewer, generating displacement effects, or simply proposing a minimal visual design.

Interferences is an excuse to return to color theories from the Bauhaus and Latin American cinetics artist, that made up the artistic avant-garde of the 1950s. From there, the project seeks to continue developing on the relative characteristics of color: those situations in which our experience of the color changes according to the context. How to use color? It's not what colors, but how colors are used that define artists.

The instability appears as a game in the work on the form, breaking out the circle as a standard of harmony and perfection. How far can you continue to recognize a shape? It is this instability that suggests movement, like a photograph of a moment in the sequence, waiting to be completed.

What characteristics does the work of art of web3.0 must have? That was one of the questions that motivated this work. There could be several answers, but I think one of them would definitely have to do with the possibility of change: is not a jpg, is not a .mov: it is a piece of software that you can touch and modify, find new possible outputs and play with variability.

Interferences is a project of #purevisibility: there is no message. There is experience.

Interferences

Disobedience to the rule, precarious balance of eccentric forms, crystallization of a fertile tension between virtual and material reality. 

Here: none of that, whatever it means. 
_D-D-Dots_ is essentially an excuse to play, and that’s what we did. 
We had fun staking, assembling, colouring, and then again destroying and rebuilding, just like we used to do in childhood. 
As we worked, the idea of the circuit became stronger and stronger, but only in its broadest sense. It could refer as much to branched-chain amino acids as to the complex network of an entire city, whose elements connect and exchange flows of any kind. 

We like to keep reading them differently from time to time. However, once a work is finished, its author disappear, or at least no longer matters. 
What do **you** see there, rather?

D-D-Dots

Revisiting one of my first algorithms on the occasion of the Tribute to Herbert W. Franke. All artist proceeds from minting will be directed to *art meet science – Foundation Herbert W. Franke* to support the preservation of Herbert's legacy with ZKM Karlsruhe and technology education through RÜTGERS Foundation.

Rectangles (for Herbert)

*For everyone that should still be there.*

*For everyone that went through hell and came back.*

*For everyone that stood on the sidelines, helpless.*

*For everyone that fights, day in and day out.*

We all deal with unexpected events in different ways - you can never be ready for the worst. What happens to the soul when you get too close to the end? How will you perceive the crossing to whatever awaits?

Will you be alone?

Or will you see the souls of the other *Departed?*

---
&nbsp;
*Departed* deals with the uncertainty of life, feelings of helplessness and how we might be losing touch with our humanity when everything is online, when you are not allowed to see your relatives, when you are not allowed to be with them - even at the worst of times, when you can not even know what is happening. *Departed* is a representation of what the people close to me might be going through.

An experiment in composition that pushes everything I do to new extremes (with familiar elements), *Departed* works around creating various layers with different centers of interest, from colours to shapes, textures to frame.

Departed

This project is an exercise in simplicity, simulating stains of ink made through points and noise. 

Since creating art with code, I’ve wanted to reproduce the physical with the digital. 
Stains On A Canvas emerged from this desire to produce a hand-made canvas painting. 

Stains On A Canvas’s background textures use points or grids, and the algorithm explores the maximum difference between each iteration. The collection is divided into styles, named after popular flowers in my country [Brazil]. Colors are randomly generated to create unique tones paired with the variety of shades and shadows.





-Press from 1 - 9 in your keyboard to adjust the pixelDensity and increase/equalize the resolution quality according to your screen.

-Press "S" to save a .png file in the resolution quality you choose.

Stains on a Canvas

Sudan
Omdurman
Brown dust, hot air
Broken system, broken roads
Sweet sandalwood incense rising in smoke
Ladies wrapped in every color and every pattern
Morning milk tea with cookies out under the mango tree
Hopeful graffiti of revolution on every street wall
A thousand guests, a million cups of coffee
The two Niles converging at one point
Mixing, sorting, moving on North
I will leave for my home soon
But I won't forget
Omdurman
Sudan

This piece was made while I was visiting Sudan and during the time I started meetings to build a school using the charity money collected from all the amazing collectors of Sudfah.  I was inspired by the contrast between the ubiquitous dirt and broken system of Sudan and the beautiful colorful culture and people.  The colorful forms represent to me both the long flowy garments of the ladies and the smoke and aromas rising from the unique incense and perfumes of Sudan.

25% of the proceeds will be donated toward building a school for an underdeveloped community in Sudan.

Sandaliya

inward 🌹 outward
shrinking 🌹 growing
splitting 🌹 merging
suggesting 🌹 negating

Intersections

*Erratic : irregular in performance, behaviour, or attitude; inconsistent and unpredictable*

One’s harmony with the world can become severed while experiencing stress. Feeling lost or confused within a clouded mind, struggling to call upon a creative muse, defending your self-worth against creeping doubts, and projecting flashes of anger towards others. This torrent of bubbling turmoil can sustain by fixating on the moments of chaos, past, and present. Continuing to feed the storm in this way ultimately will lead to burdensome strife and a ravaged mind.

As a nascent artist working to hone my artistic abilities and establish myself within a historical art movement, I have often experienced stress along my journey. This collection captures these internal struggles as fragmented waves of colour arranged across a spectrum of relative calms, chaotic bursts, and winding paths. Each piece reflects a unique sense of uncertainty.

My intent for Erratic was to challenge myself to create a purist’s form of generative art, wherein a set of randomized values are shaped to be used directly as inputs into an instruction path that is consistent in execution and does not use branching conditionals as a means of achieving variety in composition, colour or form. By actively rejecting predetermined features in favour of shaping a domain that is acted upon consistently, I felt I could achieve occurrences of uniquely identifiable emergent design that I otherwise may not have discovered. The work begins with a euclidean coordinate space intended to render a smoothed half-torus which is then randomly mutated through progressive iterations of translations, rotations, polar reflections, slices, twists, and distortions. This pattern of operations produces a nearly infinite set, shaped only by the defined input ranges, from which each piece will be minted. Any knowledge of the instantiated values before viewing could not lead to any reasonable prediction of what will be rendered.

**URL Parameters**

Editions can be rendered in custom aspect ratios/resolutions by using these URL parameters in live mode and are intended for generating desktop or mobile backgrounds, social media banners, and print-quality images for any frame size. Once generated, simply  - *right click, save as...*

- `aspect=W:H` - fits window to aspect ratio, from `3:1` to `1:3` ( ex: `16:9` |  `5:4` | `1:1` )
- `xy=W:H` - renders at resolution, min `500` for both W and H (ex: `1920:1080`)
- `aa=N` - renders at specified anti-aliasing (defaults to 2, maximum is 4)

Example URL for social media banner, with high AA samples:

`https://{ab_url}/{token_id}?xy=1500:500&aa=4`

Erratic

Totem of Taste is all about the donuts. More than donuts, it is about taste buds.
It celebrates the delightful, sweet, and mysterious flavors that the tip of your tongue wants to remember but cannot disentangle.
In a bite, one sense ignites another.
On the palette, a color blends with its ethereal neighbor.
A point moves in tandem with millions of other points to reflect the monumental presence of food in our lives in real-time.
The donuts are made with strange attractors – dynamic systems that are extremely sensitive to initial conditions. The algorithm guides the trajectories of the points until they settle into deterministic shapes to naturally form textures.


[Minimal interaction involved. Press 's' to save to the current screen size.]

Totem of Taste

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.

JPEG

form

floods

flood map

wind

color - base

color - secondary

color - start

form - feathered

form - feather noise

default zoom

This descending auction has a start time of {start_time} at the price of {start_price} Ξ and will exponentially decrease until the resting price of {base_price} Ξ is met.

Drifting apart as the little islands that we are, you may ask yourself
_What is bigger - the inner space or the outer?_

This project was inspired by the multitudes we keep within us. The harsh shadows and the combination of pure 2d rendering with a 3d effect mimic feelings of separation from the rest of the world. Their undetermined scale reflects the seemingly unlimited depths of consciousness.

_The Inner World_ starts its rendering from one or more circular cores representing the centers of our personalities. Each of these cores spawns various thoughts and emotions, flowing as tendrils through the scene, making connections among themselves or reaching for the outside. Their movement ranges from straight and orderly to (seemingly) chaotic, sometimes twisting the clean underlying personality center into a completely different shape. Two rendering styles (illustrative and shaded) with palettes ranging from cool, gloomy and serious to cheerful or dramatic reflect the variety of predispositions.

While waiting for the rendering to complete, look at the focus animation highlighting the circular cores of your piece. You're invited to spend this time pondering how everything you know, everything you have or will ever experience, and even the most majestic sights from stars to microbes fit into the space between your ears.

The Inner World

*3 Minute Meditations* is a set of audio/visual generative-art NFTs designed to provide the listener with a short, meditative experience.  Each *3MM* starts with a **unique fundamental frequency** and composes harmonics on top of it. One of these harmonics is a **binaural beat** that ends in the **delta** or **theta** band (associated with **mediation**, **deep** and **REM sleep**).  The others take shape as a combination of **constant and arpeggiated tones** to form an entrancing soundscape that moves through **temporary dissonance** into **climactic harmony**.  The associated visuals are representative of the sound, and follow a journey that mirrors the **sonic meditation**.

** ***The focus of this piece is the audio, which must be enjoyed with headphones in order to properly realize its effects***. **

Listeners can watch the visuals as well, or close their eyes and **sink fully into the auditory experience**.

3 Minute Meditations

Cryptocountries is a limited-edition series of digital prints using the medium of generative art. Each map is created by first procedurally generating a terrain height map and then rendering a map in a range of different styles and colours. Each print derives its randomness from a corresponding hash constraining the infinite possibilities for each print in the edition to a single unique image.

The series invites the observer to lose themselves in a selection of maps and annotated photographs from the unorganized archives that loosely chronicle the travels of a stranger in a mythical land.


## Prints 

All original token holders that mint a piece over 1.5 Ξ will be eligible for a single edition (1/1) handmade signed print of their edition using a printmaking technique suitable for the style of image (intaglio etching, screenprint, cyanotype, etc.).  The token holder will be consulted in the creation of their print. Size, paper choice, type of ink and even colours can be customized and chosen to suit the token holder's preferences.   

In addition, free signed digital prints on archival paper will be available to the following collectors
- All original holders that mint over 0.6 Ξ will receive a large signed digital print
- All original holders that mint over 0.3 Ξ will receive a medium signed digital print

All token holders will be able to purchase a signed print of any mint they currently own.

More information on prints can be found [here](https://www.michaelgdevereux.com/cryptocountries-prints).

CryptoCountries: The Unpublished Archives of a Mythical World Traveler

This piece began as a formal study in composition using simple layered shapes, but when I started experimenting with animation it took on a life of its own. The final work visualises in form, colour, and motion the tension between social conformity and self-expression. At times all of us are required to keep ourselves under control, so that we can live and work together without having to negotiate a thousand tiny idiosyncrasies. Other times we are free to act as wild as we like, but even within this freedom we often find ourselves expressing different kinds of alignment and harmonisation. Negotiating our lives involves finding a balance between these forces: conformity and harmony on one hand, and expression and freedom on the other. As long as we share space with others, we must always think about how our actions fit in with those of the people around us.

LIA has been making [generative software art since 1995](https://www.liaworks.com), and her work has been exhibited in museums and galleries worldwide. This piece extends her signature process of overlapping simple shapes in complex ways, applying a new quality of motion to paint and re-paint the composition, forming hypnotic, shifting patterns of movement and stillness.

*Instructions*
Animation runs automatically - click/tap to pause and unpause

WARNING:
This art work may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.

Being Yourself While Fitting In

Informed by the experience of separating after a long marriage, (Dis)entanglement explores the endless ways that relationships intertwine. Each unique generative image represents one of many possible moments across the arc of a relationship, from a couple eagerly pulling taut their new connection, to a union defined solely by knots hardened over time. Whether connecting threads are carefully untied, crumbling from neglect, or snapping from tension, many couples can still safely go separate ways when needed. For some, there is no easy escape. Domestic violence, sexual abuse, financial hardship, and cultural norms can all keep someone bound to a partner against their will. To help those in need, 10% of artist proceeds from each sale will be donated to InterAct of Wake County, a private, nonprofit agency that provides safety, support, and awareness to victims and survivors of domestic violence and rape/sexual assault. InterAct is recognized as a tax-exempt, 501 (c)(3) charity by the U.S. Internal Revenue Service (EIN: 58-1320613).

[Dis]entanglement

_Act of Emotion_ investigates digitally-facilitated abstract expressionism: the act of painting itself as a means of expression, extended into mechanical reach.
A reflection upon the future of automation, machine consciousness, creativity, and humankind’s inevitable consequences. As we await the next leap, we cling desperately to our belief that emotive art is an exclusively human experience. 
Inspired by those that came before—pioneering expressionists and contemporaries alike—the system engages in new methods of painting, free from traditionally accepted physical boundaries and artistic expectations. Action painting for the Connected Age; the system is in perpetual concert, recited in real-time and on-demand. 

Questioned by Colin McCahon, and recontextualised here through a generative lens: 
_How to make a painting beat like, and with, a human heart._
The machine’s movements are precise by default, grounded in mathematics. Organic expression must be introduced by twisting and destabilising; a process of broadening bounds that probes the subconscious of both artist and audience. 

Confrontingly minimal abstract compositions highlight the tension between rigid mechanical precision and fluid human intuition. Striping and stippling, swooping and darting; noisy automatism contrasted with coded instinct. 
Gestural abstraction applied with simulation of brush and emulation of media. Presence discovered through colour, texture, light and space; the works emerge as physically-manifested in digital form. 

Are these painted works analogous to physical counterparts? 
Can a machine successfully emotionally connect through this practice?
Let us consider both the intent and the act that realise a painted artwork.

_“Painting is a state of being. Painting is self-discovery.”_ — Jackson Pollock

# Controls:
- **[spacebar]** Pause/resume exhibit
- **[escape]** Reset exhibit
- **[S]** Export a still image at the current render size
- **_Double Click/Tap_** to provide a human touch

# Automatic:
- Render resolution upscales with viewport dimensions. Future exhibits will enhance alongside hardware advance. 
- Playback cadence is hardware-dependent and downscales when limited by hardware. 
- "**Perpetual**" tokens continue their performance indefinitely

# Printing:

Generatively signed giclée print renditions available up to 36x48" / A0.

latest curated release

Act of Emotion
Kelly Milligan

upcoming project releases