Descendants

Descendants #90

Descendants #89

Descendants #88

Descendants #86

PIONEER GRAILS - YELLOW TREE

I studied architecture in Stuttgart. Max Bense lectured in what was then known as the Studium Generale. I don"t believe something like that exists anymore. People from all kinds of faculties gathered there. It was really exciting. There were no exams like in statics, building law, design, and so on. It was about questions concerning the art form of concrete poetry, which was fashionable at the time, about the types of language that might be used there, and about the more general question of when something is art. When does something stop being art?

Bense"s answer, very briefly: Avoid the term art altogether. The term art is far too loaded, Bense said. Therefore, introduce the term "aesthetic event."

The design of YELLOW TREE comes down to just three decisions: the design of a piece of code that makes use of randomly generated, but somehow predefined, polygonal lines; a color for the object generated; and a color for the background. In my opinion, it is the strictness and simplicity of this setup that are of interest for its qualification as an aesthetic event.

 Hans Dehlinger

YELLOW TREE (2001) by Hans Dehlinger is a print of a coded vector file that was originally written for and executed on a pen plotter. A great number of polygonal lines consisting of straight line segments originate in a very small square area at the bottom of the page, a symbol for the "root area" of the tree.

The blue background color is a reference to a wide blue sky in summer. The yellow reminds us of the time of harvest from the soil of the earth. The first instance of each line is always generated vertically and upwardsthe "stem of the tree". The lines further unfold and spread upward into the entire drawing area and are clipped at its borders.

EXPANDED.ART"S PIONEER GRAILS is a series of 72-HOUR OPEN NFT EDITIONS presenting paradigmatic artworks from key figures in the history of digital art.

Edition 87 / Open Edition

Verisart Certified: https://verisart.com/works/897e89bf-33cc-4342-a8cf-932c79b096d7

YELLOW TREE #87

Lightrays

This series explores the seemingly infinite number of ways that light interacts with translucent materials and is a meditation on how light alters form. Code used to produce the outputs are stored on the Ethereum blockchain. This work is open-source and CC0. Please use these contracts to create your own artworks.

Light Rays #23

Timepiece by WAWAA

Timepiece is an exploration in objective and subjective time. Each Timepiece is a dynamic figure with different graphic and kinetic characteristics that give it a unique personality  from calm and subtle to fast and playful. The piece is a clock that runs in real-time, and the form is generated by the positions of the clock hands, which appear when clicked and reveal the underlying mechanics of the piece. The thumbnail of each piece reflects the time it was minted (in UTC). 

Timepiece #437

Freaks by Bombastic Plastic

#838

#837

#836

Your Story

An on-chain story generated from your address. 

The rightful owner of this NFT owns all copyright that may exist in the work embodied in the NFTs tokenURI, subject to: (1) the rights of owners of other NFTs minted under the same smart contract as if all such NFTs were minted simultaneously; and (2) a nonexclusive, sublicensable, transferable license retained by the creator of the smart contract to reproduce, distribute, prepare derivative works based upon, and display the work embodied in the NFTs tokenURI solely to promote the NFT collection created through the smart contract. Using a private key to sign a transaction that transfers this NFT constitutes a writing signed by the transferor assigning all such copyright to the transferee. Grants or assignments of exclusive rights in such copyright shall be null and void except to the extent such rights are transferred upon transfer of the NFT.

Your Story #32

Your Story #31

Maps for grief by Louis-Andr Labadie

Maps for Grief explores the hyper-connected existence, filled with individuals who share common intents, ideals and feelings, but tend to live their sentiments in isolation. Its compositions oppose areas of fluid movement and immobility, revealing the structure of the piece itself: two interacting force fields that dictate the direction, as well as the strength  or absence  of movement.

On the keyboard: Press A to have the lines gently animate. Use the 1/2/3 keys to inspect the fields that make up each iteration.

Maps for grief #499

Kubikino by Carolina Melis

Kubikino is a project by artist Carolina Melis, with the support of creative coder Enrico Penzo. The work is informed by notions of choreography, modular pattern composition and character design.

Kubikino is an idiosyncratic face, made of a combination of graphical elements and colours generated by code. Using an essential library of geometries - all deriving from the circle - and primary tones, the code randomly creates new faces resembling human physiognomy, animals and traditional masks.

Through the deliberate reference to a face, Kubikino prompts contemplation on the traditional notions of identity, similarity, and persona, as well as the ongoing need to establish one"s own representation within a community - from traditional masks to digital avatars. For centuries, human identity has been a source of cultural fascination, with the word "identity" stemming from the Latin term "identitas," signifying both "sameness" and oneness.

Inspired by Bruno Munari"s "Faces," a collection of abstract portraits created using basic geometric shapes and lines, Kubikino reflects on the simplicity, playfulness, and power of design to communicate across cultures and generations.

Drawing upon the influential dance theories of Rudolf Laban and Merce Cunningham, Kubikino"s device process for the creation of its faces is underpinned by a sophisticated framework of modular pattern composition. The project"s generated output is organised into a grid-based structure, where each section corresponds to a phrase, and the relationship between the various sections collectively generates the final composition. Referencing Labans Movement Analysis, each section is paraphrasing LMA"s four key components: body (loop), shape (direction), dynamic (colour), space (relationship within the space).

Kubikino also adopts the principles of "chance" and "structured improvisation" articulated by avant-garde pioneers John Cage and Merce Cunningham in the 1960s. The Kubikino identity is constructed from a selected array of animated graphics, rules, and paradigms that correspond to motifs, scores, and ensembles found in conventional art forms such as dance, music, and paintings.

Kubikino #94

Between Two Worlds by A.A.Murakami

*Between Two Worlds* is a new generative artwork based on A.A. Murakamis physical Neon Sun artworks and Fog Paintings.

Applying the Yamoto ratio (aka silver ratio) favoured in Japanese aesthetics and Golden ratio from Classical architecture to randomly generate an infinite array of unique glowing plasma lines that hover in colour fields.

In *Between Two Worlds*, A.A. Murakami transcends the boundaries of traditional neon art, embarking on an innovative journey where the luminous essence of light seamlessly transitions from the tangible to the intangible. Through their visionary exploration of digital neon, Murakami weaves a mesmerising tapestry of colour gradients, spanning from the gentle embrace of soft pastels to the vivacious intensity of full-blooded neons.

This generative collection is an homage to their iconic neon creations, echoing the minimalistic allure of geometric compositions intertwined with a vibrant spectrum of hues. In the realm of A.A. Murakami, light becomes the ultimate medium, harmoniously bridging the physical and digital worlds, as they invite audiences to embark on a captivating odyssey of discovery and transformation through *Between Two Worlds*.

Technical credits: in collaboration with David Aerne.

Between Two Worlds #38

Shiseido x ABE

The Fractal Bloom generative collection draws inspiration from sacred geometry, plant growth, and the shimmering brilliance of akoya pearls. Each shape unfurls into logarithmic spirals, mimicking blooming flowers, fractals, and patterns of the universe. Born from an infinite cycle, these colorful petals grow into bejeweled blooms vibrating with ethereal energy. Artwork and concept created by Jen Stark. Coding by Jorge Ledezma.