“𝙸 𝚊𝚖 𝚒𝚗𝚝𝚛𝚒𝚐𝚞𝚎𝚍 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝚜𝚑𝚊𝚙𝚎𝚜 𝚙𝚎𝚘𝚙𝚕𝚎 𝚌𝚑𝚘𝚘𝚜𝚎 𝚊𝚜 𝚝𝚑𝚎𝚒𝚛 𝚜𝚢𝚖𝚋𝚘𝚕𝚜 𝚝𝚘 𝚌𝚛𝚎𝚊𝚝𝚎 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎. 𝚃𝚑𝚎𝚛𝚎 𝚒𝚜 𝚠𝚒𝚝𝚑𝚒𝚗 𝚊𝚕𝚕 𝚏𝚘𝚛𝚖𝚜 𝚊 𝚋𝚊𝚜𝚒𝚌 𝚜𝚝𝚛𝚞𝚌𝚝𝚞𝚛𝚎, 𝚊𝚗 𝚒𝚗𝚍𝚒𝚌𝚊𝚝𝚒𝚘𝚗 𝚘𝚏 𝚝𝚑𝚎 𝚎𝚗𝚝𝚒𝚛𝚎 𝚘𝚋𝚓𝚎𝚌𝚝 𝚠𝚒𝚝𝚑 𝚊 𝚖𝚒𝚗𝚒𝚖𝚞𝚖 𝚘𝚏 𝚕𝚒𝚗𝚎𝚜, 𝚝𝚑𝚊𝚝 𝚋𝚎𝚌𝚘𝚖𝚎𝚜 𝚊 𝚜𝚢𝚖𝚋𝚘𝚕. 𝚃𝚑𝚒𝚜 𝚒𝚜 𝚌𝚘𝚖𝚖𝚘𝚗 𝚝𝚘 𝚊𝚕𝚕 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎𝚜, 𝚊𝚕𝚕 𝚙𝚎𝚘𝚙𝚕𝚎, 𝚊𝚕𝚕 𝚝𝚒𝚖𝚎𝚜.”

'Automatism' is inspired by the practice of artists where they are given a writing implement and a blank surface, and they go freestyle, almost mindlessly filling up the space with whatever comes to their minds and out of their hands. I've often wondered where a machine's mind and "hand" would wander given the same opportunity.

This project explores the age-old computer art phenomenon of inviting the viewer to actively participate in the interpretation of the visual output. The way "Sharp-E" draws the strokes is through a mix of various movements — irregular curves, straight lines, sudden changes in direction — in a classic random walk algorithm, while avoiding overlaps with previously drawn strokes. There are no pre-programmed forms per se, but nevertheless it can be common for the viewer to perceive images, symbols, meaning in the generated output.

So where does your mind wander? What forms, symbols, and meaning do you see?

Controls:
• 'D' toggles pausing/drawing or continues space-filling after the first stop (if available)
• 'R' reassembles the piece (This automatically happens every minute)
• 'S' saves the output

Automatism

Somewhere between worlds forgotten and worlds not yet discovered, Sisyphus labours tirelessly. At the mercy of the Gods and their disdain for his cunningness, his destiny is bound to his artistry. Rock by rock, trench by trench, on mountaintops and in the pits of the underworld, Sisyphus forges his creations. When will he have bought his freedom? When will he have made his peace? As the Gods keep playing dice and the numbers roll in, Sisyphus toils relentlessly.

The Liths of Sisyphus

Inspired by the physics behind electrical motors and alternators, Rotor projects varied shapes in circular motions to convey the ever turning, invisible magnetic fields that make elements go around. At a more basic level the work also explores how polygonal shapes can morph into circular sections and vice-versa.

With a subtle hint to information theory, the animation automatically pauses at a very specific moment (depending on traits) whereas the evolution thus far is condensed and captured into the still thumbnail. While the thumbnail possesses lower entropy than the full animation, studying it can reveal many of the traits a mint has and, once familiar with the collection, enable imagining its plausible history and future.

After clicking on the artwork, the following commands are available:

* Press 'p' to resume the animation after automatic pause (there's more coming!). Press again to pause / resume.
* Press 'a' / 's' to alter depth perception
* Press 'z' / 'x' to bring elements closer or farther
* Press 'c' to constrain the work
* Press 'r' to restart

Bonus: put on some tunes, hit different patterns of a, s, z, x to the beats, and allow yourself to envision the rotor become vinyl.

Rotor

“little boxes on the hillsides, child” is a series of abstract suburban cityscapes powered by a program of LIA’s own design and development. Over the 25 years of her artistic career, LIA's working process has typically involved as much intuition as it does engineering skill, and this piece is no exception. Growing from an initial Processing sketch by way of the artist's careful selection of angles, transparencies, and line weights, a virtually infinite sequence of house-like forms appears and disappears. LIA conceives of her practise as a conversation between her own fluid concepts and the formal precision required of software code; when accidents or bugs appear, they are often treated as a part of this conversation and incorporated into the final work. In this piece the “cheeky blue” and “cheeky red” features arise from a bug in calculating the colour spread, and have been retained for their aesthetic contribution to the images. Taking inspiration from the song “Little Boxes” by Malvina Reynolds, this piece is a contemplation of houses and cities. The cyclical relationship between the construction of homes, the lands and environments they have replaced, and the ecosystems that will eventually replace them is echoed through an infinite production of geometric compositions. “little boxes on the hillsides, child” is the successor of “little boxes on the hillsides, mother”, presented in the exhibition “Synthetic Imagination” at bitforms gallery San Francisco, October 2–November 15, 2021. The NFTs minted on Art Blocks are the children of the “mother” work: brilliantly colourful, they are rendered in stillness as an artifact of the mother program's generative output, whose ancestry can be activated on the Art Blocks website by pressing the 'a' key to reveal the animated process behind the production of the still image. Dutch auction starting at 5Ξ and decreasing every 5 minutes to 0.2Ξ (5→4→3→2→1.5→1.25→1→0.75→0.5→0.4→0.3→0.2), 25% of sales over 0.2 ETH will be donated to charity (5% to the Processing Foundation, 20% to COTAP - Carbon Offsets To Alleviate Poverty).


little boxes on the hillsides, child

Adorable and purrfect, these carefully bred kitties express a wide range of emotions and personalities. They live entirely on-chain and they just love receiving pets.

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Automatism #193
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