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

*Daisies* is a generative doodling system that draws the daisy flower shapes over and over again. The daisy doodles, with this new medium, have been changed from unconsciously drawn by hand on the paper to randomly drawn by machine on the screen.

This project is also my personal reminder of my first time making art with code when I created a simple flower shape using a circle and ellipses. Now that shape has evolved and becomes the main subject of my first on-chain generative art.

Daisies

All maps are presented as-is with no guarantee of accuracy or completeness, and are provided without any warranty whatsoever, either express or implied. In no event shall The Artist be held liable for any damages or loss of profits arising from use of the maps, which may not be suitable for legal, engineering, financial, or navigational purposes.

Any resemblance to real locations is purely coincidental, and nothing perceived by the viewer is to be construed as a "legal description". All markings, sections, symbols, patterns, and other visual elements are purely aesthetic devices; they should not be interpreted as geographical, topographical, meteorological, biological, economic, sociological, or political phenomena. Furthermore, all perceived textures, imperfections, shadows, and marks of damage are mere simulations of an analog printing process, and in no way imply the or existence of, or ownership over, a corresponding physical paper map or anything the map may appear to depict.

The maps are not intended to provide any utility to the buyer. All sales are final, and refunds will not be given for any misprints, discolorations, inaccuracies, imprecisions, or unintended features of any kind.

All maps are licensed under a Creative Commons Attribution-NonCommercial 4.0 License.

Maps of Nothing

The second chapter in the Primitive Trilogy. Out of the primordial soup of PrimiDance some life forms began emerging... Drag with mouse/touch to get better views; 🌪️ p: play/pause orbit 🐌 t: trails on/off 🔄 r: reset view ⏯️ 0: play/pause parts⚡⚡ o: primitive view from the top ⚡⚡

PrimiLife

### Good job, Computer. Do that some more.

To what degree can we teach a computer to make a painting? One that resembles creation from the imperfect hand of a human. Here, the computer attempts to hide itself from the viewer in the details, such as inconsistent borders or uneven layers of paint. Intentional flaws that a human might make unintentionally.
Good, Computer is an exploration of not only how small cumulative inaccuracies create complete images, but also the forms and harmonies that those images evoke.

Consider the following:

***A set of 4 colors is to be considered -- singly as "actors," together as "cast." They are to be presented in 4 different arrangements -- as "performances."***
***Although they remain unchanged in hue and light, in "character", and appear in an unchanging outer frame, the "stage", they are to produce 4 different "scenes" or "plays," each to be so different that one and the same set of colors will be seen as 4 different sets, presented by 4 different casts.***
***And all this can be achieved mainly through changes in quantity which result in shifts of dominance, of recurrence, and consequently of placement.***
***The essential question: which group of colors is ready to lose its identity as a cast?*** 
***-- Josef Albers***

We can answer this question simply by asking ourselves why we're drawn to some arrangements more than others. In doing so, we consider not just tone, but also quantity, intensity and weight in order to form new relationships between the colours. And as such the viewer gives each image their own subjective personality.

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Art Blocks Presents

Good, Computer #52

Dean Blacc

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