### 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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Press `s` to save image.

Good, Computer

The 1980's and 1990's as an iterative dream, computer-aided RAD designs. Essentially, an expanded iterative Memphis/Neo-Memphis style project meant to emulate the free-flowing and fun spirit of the movement in tight compositions that surprise with each combination and position generation.

autoRAD

In the contemporary era, the overwhelming inundation of information and data is a ubiquitous and pervasive reality. This saturation is often accompanied by a sense of disorientation and fragmentation, making it challenging to extract meaningful and valuable insights. As humanity progresses and evolves, this gap between our biological, cognitive, and perceptual capacities and the rapid advancements of our digital world becomes increasingly significant.

Infinity, chaos, complexity, self-reproducibility, coherence, and layering are epithets that apply to this work.

This artwork seeks to capture the complexity and chaos of our digital existence, utilizing various visual techniques to convey its message. Layering and fragmentation visually depict the scattered and fragmented nature of our digital lives, with each layer representing a different unit of information. This fragmentation is further underscored by the grid of "transport" lines that permeate the canvas, symbolizing the interconnected networks and corporations that seek to control and manipulate our attention. Despite the strict rules governing the forms in the artwork, the overall effect is one of chaos and impending tragedy. This tension between order and disorder is a recurring theme, conveying that we are on the brink of losing control and being consumed by information overload. The visual elements of the artwork convey a "technological coldness" and emotionlessness, reflecting the detachment that can result from our immersion in the digital realm. Some of the elements are unfocused, which creates the effect of discomfort and the inability to concentrate and embrace all the available space at once. A kind of frame is the "traces" of data gathering toward the center - in our minds - and intertwining into an endless tangle of something massive and noisy but with no precise shape.

To reinforce the concept, I placed an infinite rotation of all the layers used in the art behind the main canvas. They alternate at great speed, constantly changing their "compression" and background, symbolizing the endless flow of digital information overwhelming our consciousness.

Through its visual elements and composition, the artwork urges us to reflect on our collective responsibility to engage with technology more ethically and thoughtfully. It reminds us that while technology can offer many opportunities and benefits, it also significantly challenges our values and ethics. In this sense, the artwork serves as a reminder of the importance of maintaining a balance between technological progress and human values.

I used many techniques to create this art. Because of the large number of generated elements and big canvas size, it takes quite a long time to make, "overloading" your device and then entirely using its resources, which is also part of the concept.

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This art is static until you touch it. You can use the mouse wheel to examine the details, and you can also drag the surface of the art. Also, this art is created in two parts. Behind it is an infinite rotation of the layers used in it.

Controls: 

Mouse wheel: zoom in/out
Mouse click, hold and move: drag the static part
Mouse double-click: reset (go static)
Press 's' to save the image

WARNING: PHOTOSENSITIVITY/EPILEPSY SEIZURES

Overload

“Paramecircle” explores circle packing inspired by the biology of single-celled organisms. Internal structures interact with each other in differing ways, creating a multitude of different “Paramecircles”. 64 color pallets and a monochrome mode provide that visual contrast while the other internal algorithms determine how objects are packed.

Paramecircle

**VOXΞL** is a real-time, interactive 3D generative art project. Each iteration is a collage of shapes, colors and animations laid out in a voxel grid of various size and complexity. The visuals are rendered on every frame allowing smooth animation and the ability to rotate the camera around the 3D scene by dragging and zooming by scrolling. This creates a more immersive feel, gives the viewer control over the artwork and leverages what makes Artblocks unique by generating all the outputs entirely through code running live in the browser.

In all my work, I seek to blur the lines between the digital and the physical world by making 3D digital sculptures that feel (and look) like they could live in the physical world. That’s why with all my artworks I provide a way to visualize each interaction through Augmented Reality and Virtual Reality interfaces.

In this project I tried to utilize all the technical skills I acquired over the years and used a combination of 3D objects composition, custom grid layout, GLSL shaders, perlin noise and custom post processing all powered by ThreeJS.

The features give a wide variety of outputs and rarity while retaining a common visual language throughout the collection.

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## Controls
Click and drag to rotate the camera around the artwork.
Scroll to zoom the camera in and out.

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## To View in AR
Go to [jeanvascript.com/voxel/xr/](https://www.jeanvascript.com/voxel/xr/) on a WebAR compatible browser like Google Chrome on Android and [XRViewer](https://labs.mozilla.org/projects/webxr-viewer/) on iOS and click the "AR" button.

## To View in VR
Go to [jeanvascript.com/voxel/xr/](https://www.jeanvascript.com/voxel/xr/) on an WebVR compatible browser and device like the Meta Quest browser on Quest 2 and click the "VR" button.

Art Blocks Presents

Good, Computer #64

Dean Blacc

More in Art Blocks Presents

autoRAD

sgt_slaughtermelon & Tartaria Archivist

Overload

Shvembldr

Paramecircle

Alexander Reben (artBoffin)

VOXΞL

JEANVASCRIPT

Art

Company

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