alterego: K3P6R7Q2

if everyone is wearing a mask...  
do you still have to play by the rules?

[redacted]

Art Blocks

One day in 1991, I went swimming in a lake. Going out to the deepest point where I could still tippy-toe touch, I felt a large, smooth rock with my feet. I could barely dig it out and bring it to the surface. [That rock](https://express.adobe.com/page/yTCRoiQjChyRe/#rock) is still with me. I once thought I lost it. Six months later, I found it in the trunk of my car. I threw a party to celebrate its return, but it was just us two.

The rocks you see here are not my rock. They are not rocks. They are not even images of rocks. They"re code. But does that matter? If I were to show and ask you "What is this?", you"d probably say "It"s a rock". So then, what is it? The title and imagery borrow from Ren Magritte"s paintings [Treachery of Images](https://en.wikipedia.org/wiki/The_Treachery_of_Images) and [The Castle of the Pyrenees](https://en.wikipedia.org/wiki/The_Castle_of_the_Pyrenees). Like those paintings, *This is Not a Rock* acts as a gateway to introspection and encourages the viewer to question what they are looking at while thinking about the interplay between object, representation, and truth.

*This is Not a Rock* continues my exploration into Quines (software which outputs its own source code). In the scene, a large rock hovers, defying gravity. Behind the rock, a backdrop of computer code; combining the digital and the physical. The code you see is is the actual code used to generate the scene. It is all created inside a single-pass fragment shader with Javascript and GLSL, and rendered using a technique called Raymarching.

Keyboard Commands:
Press [L] to save an image.
Press [Z] to zoom in/out.

This Is Not A Rock #321

Karma

Karma #166/200

FOMO Curated by Plan X

Rociel Art 'The Whore' #18/33

The Doppelgnger contract: an artist-owned contract that broadens the scope of a single ERC-721 token to store an array of images, facilitating a dynamic representation of the NFT via multiple artworks in the single token.

Designed in cooperation with Transient Labs, this Ethereum-based contract allows an NFT to point to one of multiple images in an array. The artist decides what is in the array and can add, but never subtract, fromThe Doppelgnger contract: an artist-owned contract that broadens the scope of a single ERC-721 token to store an array of images, facilitating a dynamic representation of the NFT via multiple artworks in the single token.

One-to-many...

Doppelgnger

4000 x 4000 Pixels // 49 Frames // 29.8 MB

DOPPELGNGER

Were used to following instructions. The pandemic has only increased our need to be told what to do: Everywhere, lines of security tape delimited the spaces we could go, or where we could sit. While we navigate a changing environment, looking for directions and adapting to circumstances, we try to improve, to learn something new, to keep calm, to do more exercise. Meanwhile, the platforms and apps we use apply the algorithms designed by their developers to cater to our needs, customize our experiences, and gently influence our behavior. Instructions follow: As we move into the future, there will continue to be more indications, regulations, and control placed over us. The artworks in this exhibition explore our relationships with digital devices and information systems from the perspectives of both humans and machines, as a way to reflect on how our present time is governed by codes, regulations, and defaults. Pau Waelder

Feral File  Instructions Follow

In &ldquo;Just in case,&rdquo; Thierry Fournier addresses the perception of digital systems as an Other by reversing the relationship between human and machine. Borrowing from the experience of solving captchas, the work sets up a fictional situation where it&rsquo;s considered normal for a machine to detect whether or not someone is human all by itself.

In the piece, the screen shows a message that seems to come from a computer program that wonders if the person who observes it is human (&ldquo;checking you are human&hellip;&rdquo;). It hesitates, calculates, and a wheel turns. Finally, it stops and displays a brief &ldquo;thank you.&rdquo; Then it starts again, ad infinitum. A brief moment of doubt arises while the process runs, which is lifted when the animation starts again&mdash;only to open up more questions.

As an animated GIF, this edition can be easily distributed via social media posts, messages, emails, and any other form of digital communication. In those spaces, it can be experienced outside of an artistic context as a way to hint at humans&rsquo; dystopian relationship with machines, or to question how to define what being human is.

Just in case #71

Simp Sheep

Sadistic Sheep

We Rise Janitors

Oh Boy! What a Sacrifice  #3/5

Filled with bots, black hatters, nofaced nomad, degens. The Closet doesn't care, enjoy the mess.  


The Waiting Room #1/288

Deep raw emotional state of the janitor. Only the second track made which narrates one of crypto and hacking vibes.

Janitor Strings #5/25

alterego: R3X7M9A2

Solo Open Editions

"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"

Inspired by the Percy Bysshe Shelley poem, but transported from the desert to the rainforest.