When thinking about community, we could observe the differences and things in common. There is a purpose for us to be together. It influences our behavior, identities, and choices. The diversity of shapes, colors, and combinations in this work is the metaphor for how we are connected and how these connections influence a complex web, which is represented here in this form that resembles a beehive. Bees have an enormous sense of community, a behavior essential for their survival. In this work, a single feature can radically alter the perception of form as a whole. The work contains eight possible shapes: random, stars, hexagons, triangles, arrows, trapezoids, diamonds, and flags. These shapes can be arranged following a random flow, rotating, or pointing to the center. Moreover, they can vary in size, spacing, and color. The color palettes correspond to edition groups. As a generative artwork, beauty arises from a mixture of all diversity. Charity: 25% of initial sales were donated to Lanchonete<>Lanchonete lanchonetelanchonete.com - promoting greater justice and social well-being for children and family members living nearby Providência, first Favela in Brazil.

“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

ÂPEX ~ is a generative landscape art project responding to the conditions of the Anthropocene, where the lines between what is possible and what is only imagined are constantly shifting.  Simplified circles give way to hyperreal spaces. It is unclear if at any point they resemble a landscape that one could actually inhabit.

At what point do abstract shapes start to resemble believable environments? Each viewer may experience this work differently, depending on where they draw the line between realism and abstraction, natural form, reality and fantasy.

While landscape art is traditionally understood to represent natural forms, it has become increasingly difficult to distinguish between the natural and manufactured. When the code runs its course and a static picture emerges, a thin barrier seems to be crossed.

The work tests out the limits between reality and hyperrealism, between abstraction and surrealism, blurring distinctions between them.

Created by Ori Ben Shabat & Ronen Tanchum

APEX

As the sun sets on the 70s, things become bigger, bolder and brasher. 80s Pop enters a new decade of extravagance with cutting-edge vector graphics, stylish modern patterns, cable TV and mainframe access.

A celebration of 1988, a whole year of games, tech and art crammed into one variety pack. The only way we could fit more in would be to put it on laserdisc.

Purchasing is suggested for expert users only and those already familiar with 70s Pop; fortune shines on the brave, and rarity is an illusion.

**Keyboard controls - _not mobile_** 
Space - Start, perhaps.
, . - Left/Right, sometimes.
Q A P L - Up-ish, Down-ish, other times.
s - Save screenshot (slow).
h - Toggle highrez (even slower).  

Interactive elements are for desk/laptop only as they require keyboard input, Chrome recommended for the smoothest experience. Highscores 👀 may be kept in localStorage on your browser.

80s Pop Variety Pack - for experts only 🕹

Initially worn by miners and cowboys, roughly half of the world’s population wears denim on a given day, and the range of styles is–literally–endless. A new pair of jeans might be acid bleached, sandblasted, stonewashed, or tie-dyed; it can have hand-sanded rips and tears, followed by visible mendings, patches, intentional paint stains, and more. In an epic attempt to crack the genetic code of denim, Jenim playfully but carefully observes and translates the warp and weft of denim into generative code, weaving unique iterations of irregular, distorted, or hyper-realistic textile crops.

Ironically, imitating aging, a pair of jeans produced today generates more pollution and labor than most average garments. In response, Jenim’s minted iterations go beyond wearables and into infinity. Each year that passes, the color might fade slightly; the rips might expand. Who knows what these artworks will look like ten or even fifty years from now?

Art Blocks Presents

Jenim #116

Orr Kislev & Alona Rodeh

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