*The mind moves at the speed of dreams.
Hold on! Hold on! Hold on!
I like to think of my brain as a hand,
palm of my soul, fragile nerve bundle.
I think about my brain as I hold my heart
in both hands — a private thing, a pulsing secret.
It fills my palms and bones with heat.
The world is full of heartbeat.
I am trying to hold it all together...*
    &nbsp; -- &nbsp;Excerpt from *STILL MOVING*, by Technelegy

**NOTE: To fully experience *STILL MOVING*, please open in LIVE VIEW and enable your webcam for motion tracking.**

The first project of its kind, *STILL MOVING* is an interactive poem about humanity’s visceral engagement with the virtual – written and published via the blockchain as a token word performance, and embodied by each collector as a uniquely intimate, personalized interpretation. In this epic on-chain ode to the relationship of bodies and machines, literal and figurative wordplay activates the liminal space between text and reader, extending the two-dimensional screen/page into a somatic, material realm where language moves us in every sense of that phrase – up, down, sideways, forwards, backwards, and in otherwise inexpressible directions – urging us to reclaim our dynamism and intuitive physicality in an age of technological acceleration, bodily inertia, and rote gestures.

A collaboration between Nathaniel Stern and Sasha Stiles – rooted in Stiles’ AI-powered verse and Stern’s career in digital, interactive, and networked art – *STILL MOVING* is an ars poetica about what it means to be a human body facing a machine: a showdown, a form of worship, a distraction, a mirror gaze, an other, an alter, an alter. After we bend to our technologies, do we spring back into shape, or assume new forms? Where does input end, and output begin? As we continue to think, work, and play faster than ever while rooted in place, it is still possible to be moved – *really* moved?

*STILL MOVING* also embodies the future of web3 literature, in which the book – read-only – evolves into a read-write-interact experience, and authors begin to adopt such tools as webcams and NFTs in their writerly arsenal. In each unique edition of *STILL MOVING*, camera-based motion tracking (data confined to your local machine only) facilitates a play-full and meaning-full interface between the reader’s physical self and language on screen. Human forms and gestures shape machine expression, and vice versa, cybernetic serendipity inspires poetic association. Make a move, and be moved… Stand still, and instill meaning…

Palettes pair paper, charcoal, and pencil colorings – emblematic of the stationery/stationary – with neon and electric highlights that nod to computational restlessness. Preview images feature lines from the core poem, potent standalone phrases, or rare, gestural graphics and images, caught somewhere between language and illustration, expression and wordless apprehension. 


**FUNCTIONS**

*Click inside the interaction area if any of the function keys below are not working.*

*Space Bar* to toggle Play/Pause the interaction and animation

*'d'* Downloads the current image at the screen/browser resolution

*Up/Down arrows* increase/decrease camera sensitivity by 5
(for use in high and low light situations;
0-150, default is 90; higher numbers = more text)

*Top two keyboard rows (numbers 1 thru 0 and letters q thru p)* also birth semi-mapped text

*'c'* toggles Camera use (if present and on) between keyboard only or both

*'v'* Views/hides the Verse (your poetry / your iteration’s text)

*'f'* toggles Full screen (Live View only)

*'s'* downloads / Saves the entire AI poem to the hard drive

Still Moving

Dreams is an exploration of uneven subdivision. It focuses on the interaction between uniform and crooked lines, and the complex structures that can emerge from simple rules. Each iteration of Dreams is unique, with characteristics determined by the hash created at the moment of transaction. Created by Joshua Bagley

Dreams

**Sales note: The first 16 mints will be eligible for an 8''x8'' signed plot, posted anywhere in the world.**

The vein running through my work, linking each piece to the next and to me as an artist, is the opposition between physical rationalism (the idea that physics seeks to reveal the true nature of reality) and empiricism (the idea that physics seeks to identify the behaviour of the world through experiment). Empiricism describes the world, while rationalism explains it. This conflict has been at the core of me throughout my studies, and I explore the idea further in this project.

Dipolar tries to answer the question "What would electromagnetism look like in two dimensions?", itself rich in the ideas of rationalism. To an empiricist, it is a question which can not be answered, but the answer has impacts throughout physics, from 3D electromagnetism to condensed matter. These questions and those like them have been grappled with for thousands of years, and we will die without knowing if our attempts at answers will be seen any differently from Plato's theory of Forms.

Our three-dimensional universe constrains by its symmetry the behaviour of point charges to the radial fields that we are used to. In two dimensions the fields can curl around the charge, leading to two kinds of fields able to be produced by a charge. When paired with another particle of the same type and equal but opposite charge they create a 'dipole moment', which look alike when composed of either type of charge. Dipolar shows the field profiles produced by these combinations for each type, and as an idealised 'point dipole'.

The style was inspired by the sketches of Euler and da Vinci. Both were revolutionary minds, they sought to understand and explain the world in diagram, a tradition that has been preserved in art and science to this day. More broadly, I've felt inspired by Sol Lewitt and Vera Molnar, in particular their use of dense detail, seeing how it can provide tension in their work and draw the viewer in closer.

*An SVG for plotting can be downloaded by pressing DOWN*
*A 4096x4096 image can be downloaded by pressing UP*
*Plotting speed can be adjusted with LEFT/RIGHT*
*The animation can be restarted with SPACE*

Dipolar

```
░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░

 ██▀███   ▄▄▄        ██████ ▄▄▄█████▓▓█████  ██▀███  
▓██ ▒ ██▒▒████▄    ▒██    ▒ ▓  ██▒ ▓▒▓█   ▀ ▓██ ▒ ██▒
▓██ ░▄█ ▒▒██  ▀█▄  ░ ▓██▄   ▒ ▓██░ ▒░▒███   ▓██ ░▄█ ▒
▒██▀▀█▄  ░██▄▄▄▄██   ▒   ██▒░ ▓██▓ ░ ▒▓█  ▄ ▒██▀▀█▄  
░██▓ ▒██▒ ▓█   ▓██▒▒██████▒▒  ▒██▒ ░ ░▒████▒░██▓ ▒██▒
░ ▒▓ ░▒▓░ ▒▒   ▓▒█░▒ ▒▓▒ ▒ ░  ▒ ░░   ░░ ▒░ ░░ ▒▓ ░▒▓░
  ░▒ ░ ▒░  ▒   ▒▒ ░░ ░▒  ░ ░    ░     ░ ░  ░  ░▒ ░ ▒░
                                              
░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
```

*Screens no longer only frame and display virtual spacetime. Connected together and surrounding us on all sides, their framings and displays have also opened, activated, and added another spatiotemporal dimension to the four in which all of us live.*
—Vivian Sobchack, *From Screen-Scape to Screen-Sphere: A Meditation in Medias Res*

An exploration of a technical concept I call "pixel overpainting."

Rasterized procedural brush strokes with low transparency slowly layer themselves over each other in a rhythmic loop until they achieve colorful equilibrium. They continue to overpaint themselves endlessly. The resulting color mixtures are then quantized and dithered to separate them into patches of pixels that recall the discrete materiality of the screen: a strictly digital variation on color field painting. The resulting texture is not a skeuomorphic grain but an overt reference to the universe of screens that surround us every day. Electric light arranged in a grid, fluttering and flickering everywhere all the time.

Please allow a few minutes for the colors to reach equilibrium.
For best results use Chrome browser with enabled webGL and hardware acceleration. Though it is encouraged to explore the subtleties in viewing the same pixels on different hardware and software to reflect on the subjectivity of contemporary computer graphics and the materiality of CPUs, GPUs, resolutions, pixel densities, browser APIs, and other medium-specific entropy.

Press '1', '2', '4', '8' to change pixel sizes.
Press 'p' or click canvas to pause/resume.
Press 's' to grab a still frame.
Press 'r' to re-paint.

Collectors will be eligible to receive a signed giclée print of a still frame of their mint as well as high-resolution looping media in GIF or lossless video format.
```
░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
```

RASTER

white noise contains all possible harmonics/notes/chords. by filtering out narrow frequency bands from the noise, pure sine wave “notes” become audible. we’ve limited these bands to only ever reveal specific notes from a particular musical scale. 

each piece then, is a unique iteration of this scale with different notes from it gaining prominence. sometimes they will be chordal and sometimes dissonant but always beautiful because the scale is beautiful.

visually, the white noise is represented by particles which congeal into dense lines. each line that appears is a specific note you can hear and it's amplitude is defined by the corresponding particle density. chords are represented by the lines crossing over each other.

so in summary, it's a quite literal visual representation of sound moving from an arbitrary form to musical form. natural order from chaos with infinitely variable patterns depending on which notes are audible. 

*note we’ve implemented the following variables for more radical variation in particle behavior in addition to the random generation of notes and their corresponding patterns.

- particles will either form straight line shapes or curved shapes 
- particles with vary in size from one iteration to another 
- particles will either favor white or black as their prominent b&w bias creating stark contrast between iterations as well as variables in between the two extremes
- some iterations will reveal faster and some slower

Art Blocks Curated

Still Moving #157

Nathaniel Stern and Sasha Stiles

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