The field is a work inspired by the current trend in image synthesis made possible by machine learning technology. The latent spaces (the algorithmic structures that make AI image synthesis possible) can be seen as a part of our human collective unconsciousness; a hyper dimensional field of unlimited outcomes, inspired by our human symbols and language.

Exploring this new type of space, it sparked the idea of exploring the algorithmic essence of my own artworks. What would the structure behind my creative processes look like? What if I could visualize the algorithmic structures of my own mind that produced my artworks in the past?

These questions led me to The Field, a multidimensional machine hiding in my subconscious.

# THE GENERATOR
The first step to reach The Field, was to capture the algorithmic structure behind all my artworks. By compressing several hundred artworks from HyperHash, EnergySculpture, UltraWave & HashCrash into a 64X64 matrix, a noise image has been created. This was done by adding up all these works together.

This noise image I call The Generator was the starting point to explore possibilities for the creation of a new work. This 64x64 matrix filled with noise data was embedded in the source of the piece and functions as the core of The Field algorithm.

# THE FIELD
The Generator is being transformed into a multidimensional field of colors and motion, called The Field. The motions of the field relate to natural processes of creation and destruction. The field is like a fluid, solid and gas-like structure at the same time. It goes from a noisy formless state to a solid material state and back.

The field is created in a few steps. First a 2d noise pattern is being created from The Generator. This 2d pattern is made by picking random points from the 64x64 matrix. This is the fundamental background of the Field.

The second step is to use this pattern to set the field in motion. By using the color data per pixel, movement is being initiated. The colors are in that sense multifunctional, on one hand it visualizes random colors extracted from The Generator on the other hand the colors are used to set the field in motion and showing the interrelationship between the colors in an extra dimension: time. This creates the 3D effects, but also creates the effect of lighting bouncing in the field.


# REGRESSION, DESTRUCTION & CREATION
The creation of the field felt for me like a form of regression. Reviewing the concepts of my previous work, thinking about what overlapped in terms of topics conceptually and design wise drew me back in time.

The main topic of this work represents is the cyclical nature of creation and destruction. By revisiting my old works and literally destroying them, this new work was created. In this way the work reflects on the causal relation between creation and destruction (what's created will someday be destroyed, something has to be created to be destroyed). A  universal essence of our causal reality behind all that is, a balance between forces, from light to dark, from warm to cold, from dry to wet, from finite to infinite.

This theme of creation and destruction is visible quite literally in The Field. Every mint of The field has a unique position in the field with color filtering added on top. The locations in the field are composed of  either creational vortices (expanding spirals) and destructional vortices(contracting spirals), a combination of the two in a balanced state (order) or a combination of the two in an unbalanced state (chaos). 

The positions and coloring are a combination of hand-picked settings by me and totally random settings generated by the hash input from the token.


# Extra
- By pressing the buttons a,s,w,d you can move through the field.
- By pressing L you can activate LavaMode.
- By scrolling you can zoom in and out.

**** BEST VIEWED IN FULLSCREEN LIVE MODE ON DECENT GPU. ****

The Field

Ori is an art series that draws inspiration from paper folding to create deeply abstract and highly contrasting imagery. The loose interpretation of origami dynamics quickly dissolves as physical rules are bent and reimagined.

An artifact of this process is the distinctive fold lines, which symbolize the Yoshizawa-Randlett diagrams that serve as instructions for Origami. The practice of Kirigami (folding and cutting paper) is also represented and is occasionally visible as highly destructured forms.

Contrasting the precision of the folding engine is a spray paint simulation that gives the image its color. Paint is applied with a wandering nozzle, sometimes overflowing past boundaries and dripping downwards. Inspired by the freeform nature of graffiti, the spray paint layers are chaotic and unrefined.

Note: The spray paint simulation may take many seconds to fully render.

After the render is complete, press any key to destroy the artwork.

The Caretaker awakes. After a millennia of slumber it must again usher its minions into the expanse. It must sustain. It must replenish. So it guides its horde out to the stars, visiting countless worlds to restart the cycle. For an eternity the cycle has repeated, minding and tending this garden of worlds. Now it is time for the garden to give back. This event has come to be known as *The Harvest*.

*The Harvest* depicts worlds that exist in eternal symbiosis with the Caretaker. We witness the spectacle of monumental chromatic beams as they impact the surface of these beautiful, alien bodies. The Caretaker assigns different constellations to each planet, giving rise to unique combinations of beams as they extract the much needed nectar. This project has been inspired by a life-long fascination for science fiction and space exploration. Aiming to capture a moment of awe, the beams reach to their origin, emulating a cathedral-like atmosphere in the vein of Hugh Ferriss, while borrowing inspiration from Micheal Whelan’s landscapes. All in the effort of capturing a sense of how small we are in relation to the cosmos.

*The Harvest* is built on p5js, and takes advantage of its 3d api. With the orthogonal view enabled, the algorithm uses volumetric rectangular units to create the stylised illusion of alien landscapes. Each beam has a position, color, reach and yield that is calculated and procedurally drawn over time.

The Harvest

**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.”

Cargo is the latest work in Kim Asendorf’s ongoing work series of pixel pattern animations. Starting with [monogrid](https://monogrid.xyz) in 2021, and [Sabotage](https://sabotage.kim) in 2022, both highly conceptual series, therefore visually very raw and unimaginable. Asendorf discovered various interesting details in these works, which eventually became fundamental in his artistic expression.

Cargo is a real time WebGL software written in JavaScript and GLSL. At its core is a flip-flop render buffer, also known as feedback buffer. That means the animation is alternately rendered in two different frame buffers. This technique allows the usage of the previous frame of the animation as an asset in the current rendering, which allows for a series of reactive animation strategies.

An initial image with variable structures and patterns is rendered and subsequently loaded into the frame buffer. A fragment shader is used to apply a set of animation algorithms that make the pixel move and a set of reset algorithms that constantly try to recreate the initial image. The final animation happens in selected containers and is always a combination of two algorithms, one from each set. By regularly animating and partially resetting the pixels, a wide range of movement patterns appear.

Cargo is a responsive and pixel exact artwork and it will fill the screen on any display size, thus changing the total amount of used pixels accordingly. This results in the fact that the detail level in the artwork is changing depending on the dimensions. The overall structure is consistently stretching the x and y axis independently. Single containers scale along the dimensions and offer more pixels to render the patterns at a larger representation compared to a smaller representation. This behavior leads to a brilliance, perfect pixels, a crisp rendering with nothing like compression artifacts.

This software includes the [simplex noise](https://github.com/jwagner/simplex-noise.js) JavaScript implementation by Jonas Wagner and the [cellular noise](https://github.com/stegu/webgl-noise) GLSL code by Stefan Gustavson.

Cargo

LoVid’s signature video work mixes handmade analog synthesizers with digital tools in immersive Red, Green, and Blue (RGB) compositions that celebrate luminosity, chaos, relationships between craft and engineering, and connections between body and tech.
 
Tide Predictor, LoVid’s first onchain generative work, builds a bridge from video synthesizer patches to algorithmic code-derived imagery. This collection is formally and technically inspired by hardware-based image generation, and places experimental moving-image, circuit boards, and electrical signal-based video art at the conceptual roots of generative art.

Tide Predictor is a modular video synthesizer patch model, designed to reflect the analog spirit by working with three channels: RGB. Tide Predictor reimagines NTSC-encoded, oscillator driven electrical current based video synthesis while adding digital randomness/unpredictability, and transformations based on code, along with each mint’s unique content.
 
In the late 19th century, mechanical analog computers used rhythm and repetition to anticipate the rise and fall of water levels. In addition to “tides”, which are low frequency oscillations of the ocean, higher frequency changes or “waves” are frequently discussed in reference to both water and electrical signals. By working with looping - and explicitly addressing the period (=1/frequency) for each RGB color - Tide Predictor extends analogies between the flow of water and the flow of electricity.

LoVid’s Tide Predictor brings these relationships from the blockchain, through your screen, straight to your retina!

Art Blocks Curated

Tide Predictor #340

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