Our studio, Aranda\Lasch, was formed in the early 2000s to explore algorithmic systems and generative processes as a means to understand the world around us and make things within it. Whether encapsulated in physical or computational techniques, these processes act with their own degree of autonomy from our own biases and as a result, open up new ideas and sensibilities while dismantling traditional notions of authorship. They allow one to code the possibility of discovery and surprise into the creative process in a manner that can be widely shared and because of this transmissibility, algorithms frustrate the idea of a single author, inviting speculation on the shared nature of creativity. For this reason we have always understood our work to be a collaboration between each other, those who share with us and those who inspire us. 

Over the years, the studio has indulged in a number of obsessions. One is the conviction that history is a generative source with which to constantly entangle. Whether it is through stories, characters, techniques, or events, history acts as a medium active with properties that constantly reshape and transform our concept of the present. We look back to move forward, like hitching a ride. It is here that we encounter Albrecht Dürer (1471-1528) and his masterpiece Melancholia I (1514) to inspire a deep dive into the process of engraving as a representational technique reinterpreted through the contemporary medium of code. By scratching metal away from a plate, an inversion of conventional drawing, engraving allowed a work of art to be reproduced and disseminated widely. In addition to the piece’s masterful delineation, its allegory resonates with us as well. In Dürer’s time melancholy was associated with insanity but also with creativity. In the engraving, the winged personification of melancholy -- the work is widely regarded to be a self-portrait of the artist -- is surrounded by the tools and elements of geometry. For Dürer, as for a handful of others who came before and after, who test the porous borders between art, science and religion, geometry is a vehicle for imagination, a shadow of the divine and a portal to the infinite. 

This work Primitives is a kindred meditation on infinity through an exploration of a novel geometric structure using algorithm and code, the tools of today's geometers and mystics, made visible through the anachronism of the engravers trade translated into pure 1’s and 0’s. Primitives grows through a single shape that can repeat and scale in specific ways that are never random, but rather tightly governed by geometric logics. It is about drawing infinity through a radical modularity; ordered but aperiodic. Unlike a regular crystal, whose molecular pattern is periodic (or repetitive in all directions), the distinctive quality of this quasicrystal is that its structural pattern never repeats the same way twice. Endless and uneven in aggregate, Primitive clusters can be described by the precise arrangement of a single modular part. As these small units aggregate together they form larger figures that themselves combine into ever larger movements, always a little bit different from any other. In this sense, quasicrystalline patterns have an infinite capacity to create and carry information. 

We are here because this is a medium for sharing in perpetuity. In the last couple of years, on the cusp of our third decade of practice, we have watched with awe and delight a renaissance in generative work as it's adopted by an entirely new generation around blockchain technologies. This inspired us to enter this new space with our own enduring questions of form and geometry, modularity and variability, historical continuity, and the thirst for endlessness. Primitives is what we selected as our primer into generative art on-chain because both the work and the medium grapple with these questions. 

Some Notes:
On the screen, Primitives is represented as a two-dimensional projection of a three-dimensional figure. Each invocation comes with a sequence of projections, or rotations, around this object. As Primitives spins, there are moments when its blocks snap into alignment with other blocks  revealing its underlying lattice and crystalline nature. Each projection can be saved as a high resolution image for printing. Primitives can also be saved in three dimensions as an .obj file for a variety of uses including the creation of a physical object through 3-d printing or fabrication. Below is a list of interface instructions:

'left' + 'right' arrow keys to rotate 
'up' + 'down' arrow keys to zoom in 
'g' regrows geometry 
'i' saves image 
'o' saves .obj

Thank you,
Aranda\Lasch
2022

Primitives

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

The contemporary moment is defined by the appearance of artificial systems that mimic intelligent behaviours with uncanny skill: bots that you can converse with, machines that can act as pets, and even the algorithms that recommend ads to you. At times they appear as strange beings; alive. To make sense of this phenomenon, we are forced to reconsider our notion of the living state beyond what we are familiar with on Earth. 

Calian is an infinitely zoomable and scrollable exploration of lifelike behaviour. It exhibits ambiguous natural-digital forms in a dynamic rendering. Species grow and compete; they get carried by the elements; they face boom, bust, and echo. 

What makes something alive? To go beyond recognition of terrestrial biology we need to delineate general principles and apply them to new intelligent systems. Calian uses the fruits of my research into the origin of life to create persistent, complex systems that we can experience and study (*). We can identify properties of living matter but these fall short of a satisfactory and succinct criterion. When does agency begin? Or identity? Calian asks you to ponder this as you wander through its ecosystems. 

Feel free to explore but be careful: although life is pervasive, living things are delicate. Your interactions affect the ecosystem, obliquely. 

Calian continues a thread of my work probing deep scientific questions with artistic means. It furthermore connects to my previous Artblocks projects Mazinaw and Glass through the theme of ambiguity: while Mazinaw suggested the hand of an unknown creator, and Glass visualized the intrinsic ambiguity of our quantum mechanical universe, Calian's amorphous forms bear characteristics both of familiar organic matter and digital technology. 

Interactive features allow you to explore each ecosystem, infinitely, both in depth and in scope. As you wander, the shader repopulates the world from its initial condition, while the physical laws governing the dynamics themselves evolve.

See Display Notes for Controls.

(*) For more on Calian's dynamics and its grounding in my research, see the Calian page on my website.

Calian

Scribbles on Scribbles on Scribbles ➿ This series is an exploration of chaos and order – how seemingly random movements in the microscopic scale can be more than meets the eye. Simple guiding rules transfigure chaotic movements into beautiful order. Life, as we know it, can be expressed in a similar fashion. Our decisions, unexpected occurrences, and even our seemingly meaningless place in the Universe are not just mere coincidences, but providential orchestrations of the Designer. [ Mints will be sold via a dutch auction. Starting price will be set at 3eth and decrease every 5 minutes with a resting price of 0.25eth. i.e.
3eth, 2.5eth, 2eth, 1.5eth, 1.25eth, 1.0eth, 0.75eth, 0.5eth, 0.25eth ]

Scribbled Boundaries

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

Primitives #372

Aranda\Lasch

More in Art Blocks Curated

Memories of Qilin

Emily Xie

Calian

Eric De Giuli

Scribbled Boundaries

William Tan

montreal friend scale

amon tobin

Art

Company

Learn