27-Bit Digital by kai

The essence of all things digital is the bit. One or Zero. On or Off. Where digital becomes analog. This piece pays tribute to our digital legacy of 8-bit color and 7-segment LED displays technological limitations which are mirrored in the constraints of putting art on the blockchain. Although the image represents the art, the art of the token itself is the code which renders everything bitwise, pixel by pixel, all contained within 27-bits of information.

27-Bit Digital #3

#RrGgBb

#RrGgBb #71

#RrGgBb #70

Take the futurism of mid-1990s graphic design, merged with the fake-nostalgia vaporwave of a reimagining of Win95, channeled through the lens of modern generative art and you get FALLiNGWATER. Swapping Jolt Cola for Green Tea, Coral Draw and Photoshop 2.5 for code and a single poster design for an infinite number of variations, Daniel digs back into what made him love graphic design in the first place for his entry to the Flatlands group show.

FALLiNGWATER by Daniel Catt

FALLiNGWATER #149

FALLiNGWATER #179

FALLiNGWATER #159

Octo Garden by Rich Lord

OCTO GARDEN produces tightly wrapped spiral forms resembling moss or lichen. Occasionally, those structures will unfurl, revealing a beautiful Octopus. Some appear highly ordered. But others are more unruly.

Octo Garden #93

gm. studio presents 'Plasticity' by p4stoboy, a generative series of self-assembling fever dream infrastructure.

This collection is the second to be featured on the generative art platform gm. studio

It consists of 555 pieces & launched on March 26th 2022.



Plasticity by p4stoboy

Self-assembling fever dream infrastructure

Plasticity #214

Primitives by Aranda\Lasch

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 Drer (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 pieces masterful delineation, its allegory resonates with us as well. In Drers 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 Drer, 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 1s and 0s. 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 #323

SHAPES

Shapes #83

Democracity by Generative Artworks

Democracity is inspired by the diorama of the same name at the 1939 New York World"s Fair which depicted a utopian city of the future. This piece satirizes the concept showing that the optimism of the 1930"s did not account for the problems of the future brought about by climate change such as flooding. This piece is fully interactive with the best way to experience it being to explore and try to understand the stories that the different city layouts are trying to tell you. Note the cities are tileable meaning you can easily edit them together visually (Example: bit.ly/3yWCHvn). Controls: Click & drag to pan, Scroll wheel to zoom in and out, "c" - Change camera mode, "r" - Reset camera positioning, "p" - Toggle auto-pan, "z" - Zoomed out view, "t" - Toggle background transparency, 1-4 - Change detail level.

Democracity #123

Bright by Heeey

By what means can color be unraveled through light? How can the connection and interaction between hues be experimented with? And, how does saturation, size, distance and perspective affect our perception of tone and brightness?

**Bright** is an elementary attempt at exploring these queries by creating a grid display of neon lights that converge towards a single vertex. Eye-blinding brightness and high but variable saturation that show light bulbs of variable wear and tear, together with a changing grid size and variable girth and length of the lights become the basis of the algorithm.

Bright #33

Bright #268

Bright #279

Bright #297

Collapsed Sequence by toiminto

Abstract impressions of alien landscapes, aerial photographs and geometric structures sequence into being, collapsing onto itself.

Press "h" to  enable full internal resolution (intense)
Press space bar to relaunch animation
Press "e" to enable endless displacement mode

Best viewed with Chrome and a modern desktop. Reduced animation on Firefox.

10% of the primary sale net proceeds will be split with a charity focusing on environment and a local art nonprofit

Collapsed Sequence #307

Seasky by Ralgo

Life is an unpredictable journey, full of chaos that we can"t always control. Whether it"s on a personal level, with constantly evolving relationships, or on a larger scale, with natural disasters, pandemics, and wars that disrupt our lives, chaos is a constant companion. But chaos doesn"t always have to be negative; it can also bring unexpected beauty and moments of clarity if we"re willing to take a closer look.


For artists, chaos can be a powerful tool in creative expression. Long-form generative art is a unique way to incorporate randomness into artwork, allowing for the creation of a series of distinct pieces based on the same code. Seasky is an example of this, with its prominent display of the construction process, showcasing the creation of clouds that seek to dominate the scene. The interplay between light, clouds and sea adds depth and intrigue to the piece. As the scene evolves, the inclusion of noise on the horizon and soaring birds creates an emotive and captivating view.


Seasky was born from my exploration of the realm of chaos. As an artist, I love to experiment with generative art code, and during the creation of this collection, I discovered an unconventional method of creating clouds by layering objects at specific intervals. Pushing the limits of this technique, I found myself drawn to clouds that started to resemble painterly styles by 19th century masters such as JMW Turner and Gustave Courbet. For me, these styles emanated a sense of power and emotion that other constructs using this technique could not match. The introduction of the sea (itself inspired by impressionist techniques), and noise on the horizon, which interacts with the sky, results in a collection that showcases the beauty of chaos.


During my creation of Seasky, I also experimented with color. While I typically rely on generative randomized color rather than predefined palettes, for this collection, I imposed limits on greens and overall saturation levels to create a more natural feel. Despite this, I found that adding some unnatural reds, oranges, and blues contributed to the overall aesthetic, creating a fantastical element that enhances the collection in an unpredictable way.

Seasky #99

Alien DNA by Shvembldr

In the year 3075 of the Second Nuclear Age, a laboratory of an unknown race of aliens was discovered on the planet Vtolmr while drilling a well of molecular oil. Its presumed purpose is to study genetic mutations of races from neighboring planets. During the laboratory investigation, 512 silicon impressions with DNA of different alien species were extracted. Modern methods of quantum analysis do not allow the deciphering of the data obtained. At this point, their value is purely aesthetic. But that may change in time.

Press 1 to 9 - change the pixel density
Press "s" - save the image