Alternate is a collection of abstract real-time animations, that start with simple compositions and color palettes to evolve endlessly and to develop a depth in geometry and color over time. All pixel movements are restricted to their eight surrounding neighbors and occur at the speed of exactly one pixel per frame.

The artworks are written in GLSL (WebGL2) and JavaScript, utilize the P3 color space and respond to any screen size.

The code is fully on-chain to be delivered directly from the Smart Contract without any third party render engine involved. Unlike usual, the work extends into the field of action of the preview image, making it part of the work.

Each NFT includes 4 versions of the artwork, that can be alternated by its owner by calling the modify function of the Smart Contract. The alternation call is protected by a fee and can not be reverted.

Alternate by Kim Asendorf

On-chain real-time animation, variable dimension. Kim Asendorf, 2023.

Alternate 160v2

Heatsink

Heatsink #144

Heatsink #143

Alternate 77v1

HENI is delighted to present The Currency, the first NFT collection by Damien Hirst. Reimagining the way NFTs are used, The Currency is a collection of 10,000 NFTs which correspond to 10,000 unique physical artworks which are stored in a secure vault in the UK. The works are now brought to life through their launch on the blockchain.

Starting with the creation of the physical artworks in 2016, The Currency explores the boundaries of art and currencywhen art changes and becomes a currency, and when currency becomes art. Successful applicants will all initially receive NFTs. Ultimately, you have to decide between the digital NFT or the physical artwork, both of which are artworks in their own right. Whichever you pick, the other gets burned.

The collection is on the Palm blockchain, which is a new token-powered ecosystem for NFTs connected to Ethereum. It is 99% more energy efficient than proof of work systems such as Ethereum or Bitcoin. The Currency NFTs can be moved to Ethereum.

TheCurrency

HENI is delighted to present The Currency, the first NFT collection by Damien Hirst. 

Starting with the creation of the physical artworks in 2016, The Currency explores the boundaries of art and currencywhen art changes and becomes a currency, and when currency becomes art.

Collectors had 1 year to decide between the digital NFT or the physical artwork, both of which are artworks in their own right. Whichever was picked, the other got burned.

After the Exchange deadline, on 27th July 2022, the final NFT Supply is 4,851 NFTs. 5,149 NFTs were burned in exchange for the physical artworks. 

The collection was launched on the Palm blockchain, which is a token-powered ecosystem for NFTs connected to Ethereum. It is 99% more energy efficient than proof of work systems such as Bitcoin. The Currency NFTs can be moved to Ethereum using the Palm NFT Bridge.

The entire collection can be viewed by visiting https://currency.nft.heni.com/

Ill be by you

GrailersDAO is a community of creators, curators, and collectors of some of the most sought-after digital art. Our objective is to support generative artists and the expanding generative art ecosystem including through our periodic curated art releases.

GrailersDAO invites established and emerging generative artists to join the DAO. Artist DAO members get access to a private Discord channel to connect with other artists along with the opportunity to participate and contribute with the broader Grailers community.

Grailers

Atlas is a collection of interactive abstract kinetic paintings illustrating the paradoxical unity of living creatures. Beneath a dynamic but integrated whole, competing cells bubble in disquiet. As perhaps we all do.

Colour is used to represent the cellular dynamics, each piece evolving under its own laws.  Cells are rendered in various palettes and several shapes  from round to square, luminous, and Escher-like. Zooming in you can see the wild nature of individual elements.

Do I contradict myself? Very well then, I contradict myself. I am large; I contain multitudes.

Controls:

mouse wheel / z / x / pinch-drag  zoom
click-drag / a/w/s/d (iframe) / arrow keys (generator)  pan
double-click / spacebar  pause
f - toggle full-screen options

Atlas #301

Atlas #249

Atlas #190

Atlas #177

Atlas #44

Seating Arrangements by Luke Shannon

Woodblock printing uses a single wooden carving (aka the matrix) to produce multiple prints that each have their own subtle variation in texture and registrationin this way, the matrix is the true source of new work.

In Lukes algorithmic process, a single body of code produces many unique matrices which represent related but distinct perspectives on a single idea. A systems based approach to creation leaves space for things to emerge that the artist had not conceived. In its best form, it also enables the creation of artwork with complete unity of concept, system, and manifestation as they become one and the same.

In Seating Arrangements, Shannon highlights both the matrix and its product, the print. The algorithm generates a digital file that serves as the blueprint. These unique instructions are then executed by a CNC machine to carve out the distinct sections of the chair. The carved wooden slab is inked, simulta- neously creating the print and painting the final chair. Finally these pieces are assembled to create a free standing chair entirely from the matrixwithout any hardware. The print becomes a record of an inter- mediate event and the matrix is shared as the final assembled sculptural piece of furniture.

In this series, the generative algorithm does more than ornament the final structure: it is central to the very essence of the chair. The artist defined 220 short, straight segments of wood that can be included or excluded by the algorithm and can intersect with up to 13 other segments. The repeating geometry of the design allows the viewer to see the positive form of the chair in the included segments and the nega- tive form of the chair in the absence of those that are not.

The range of possibilities for this algorithm is 2^220, or 1,684,996,666,696,914,987,166,688,442,938- 726,917,102,321,526,408,785,780,068,975,640,576 unique chairs. The incomprehensible multitude of potential chairs elevates one of Shannons core questions in the work: what is a chair? Many of the potential outcomes are not sittable, but does that exclude it from being a chair if it still registers as one visually?

If you were to overlap all of the chairs, there would be no single element that is shared by all. The viewer is denied an understanding of the platonic form of a chair, as there is no one common feature that can be distilled as the essence of chair within this series.

The removed segments insert a new dimension to the relationship between body, consciousness, and object. So much of what we come into contact with on a daily basis is designed to recede in our minds consider pain free UI/UX or an office chair. We constantly interact with engineered systems that do not assert themselves. Their recession can mean forgetting that they exist at all, and forgetting that they are designed for their own purposes outside of our wants and needs.

The unique generative structures and simple materiality of Seating Arrangements mean these chairs do not disappear, but rather insert themselves into your consciousness. You must think of how to sit down, perhaps where to put your arm. This awareness of your body and your relationship to the piece reminds you that it has its own identity.

Seating Arrangements #174

Seating Arrangements #173

Seating Arrangements #081

(81-82-83-84) by Daniel Catt

This collection is my own take on Flow-Fields, having not used them before but always admired them. I wanted to taken them in the direction of glitch combined with the lines I"m used to using on the pen plotter.

(81-82-83-84) #85

This collection is my own take on Flow-Fields, having not used them before but always admired them. I wanted to taken them in the direction of glitch combined with the lines I'm used to using on the pen plotter.

(81-82-83-84) #182

(81-82-83-84) #167

(81-82-83-84) #166

Art Blocks

*History doesnt repeat itself, but it often rhymes. - Mark Twain*

In our day-to-day lives, its natural for us to fix a conceptual view of the people, places, and things around us in our minds. We might think, that is the tree outside my window. This is my house. Thats my friend. Im me. In fact, this type of abstraction is necessary for us to make any sort of sense of our world. But is the tree outside your window today truly the same tree as it was yesterday? Are you exactly the same person as you were yesterday? Or twenty years ago? In a sense, the abstraction is an illusion. Our physical reality is inseparable from the flow of time; everything is changing, all the time. Sometimes the changes are fast, and sometimes theyre imperceptible  but time never stops. Change never stops.

__*because unless until*__ represents this concept in art, as a generative system of systems where each output changes over time. New days present new views of the algorithm, where a variety of mathematical shapes gradually and endlessly shift, demonstrating a more local and immediate form of change. Even so, each days appearance has enough in common with the one before it to provide the output with a continuous sense of identity. With the arrival of each day, what about the art has changed -- and what remains the same?


Changing Over Time
-

One of my favorite aspects of generative art is the joy of discovery when viewing a new output for the first time. I also enjoy the novelty that comes with watching a chaotic system evolve over time. But, once youve seen a particular output from a long-form generative art collection, youve seen it. My intent, with the time-based mechanics in this algorithm, is to preserve that feeling of discovery so that every viewing and every day brings something new. 

In __*because unless until*__ colors are applied differently depending on the day of the week. The detail level of the animation changes over the course of a month, providing a different visual balance between the shapes, and the textures that fill them. Each month, the animations shapes are altered. The weave of these different cycles mean that each day has its own characteristics. It would take at least seven years to see every available combination.

Some outputs come with Daily Modes tied to a specific day of the week, where colors and textures are altered in a particular way. Each output also comes with a "Fiesta Day" -- one day of the year where it shows a set of new behaviors. One day in December is designated as Glitchmas  a holiday shared across all outputs with another unique behavior. Glitchmas falls on a different day each year.


Animation
-

The algorithm works by layering multiple animations, whose intersections are used to divide the canvas into regions that determine the palettes and rules for a section of the output. The rules are applied to an underlying field of cellular automata, which change state accordingly. At the core of the project is a generic framework that runs arbitrary animations in their own threads. The threading enables performant, fluid motion (I find it sensuous -- I often find myself thinking "I want to run my fingers through it.). Threads run asynchronously, which in combination with the chaotic behavior of cellular automata means that outputs evolve in a unique, non-deterministic way each time. After a few minutes, the canvas is likely to be in a state that will no-one will ever experience again.

The animations in __*because unless until*__ are a return to some of my favorite mathematical techniques from a prolific period (2010-11) when I was first beginning to make art: Mandelbrot and Julia fractals, isolines, polar inversions, spirals, regular and irregular polygons, and  of course  cellular automata. Its been a joy to revisit them, and to combine them with my more recent animated practice. As the animations progress, a variety of emergent features sometimes appear  such as cloudlike trails, regular and irregular structures, and moir.

There are dozens of cellular automaton rules in the algorithm, which can take the states of surrounding cells as input in one of over a hundred ways. Derived from these rules, there are over a thousand possible textures, and billions of ways that a cell might change depending on its rules, state, and surroundings. The states of cells in an area around each cell are used in one of 18 different ways to select from the palettes available in the output  each of which is an interpolated gradient containing hundreds of colors. The large number of possible combinations contribute to a diverse pool of possible appearances.


Help
-

Press **[H]** to open a set of interactive menus providing additional information about the available time-based features and interactive controls. The Today panel provides realtime information about which detail level or special day is currently active.

For collectors wanting a more concrete experience, a Canonical mode is available that makes the animation appear as it did at unix epoch (January 1, 1970), and a Synchronous mode is available that makes animations evolve in a deterministic way (at the cost of performance). These modes are used when generating the thumbnail animations for each output.