A long-form generative art collection minted on Verse platform as part of the exhibition "Reconciliation with the Living", 2022

In spite of the terrible challenges that we are bound to endure, we want to embrace our creative energy and the joy to share it.

"Landscape with Carbon Capture is a critique of my own environmental consciousness as an artist working with technology around natural themes. Although I do not know any solution, although I am helpless just like you, I want to fight with what Ive got. I want to acknowledge the great hypocrisy of our times. Carbon emissions are here to stay; they'll stain my canvas, no matter how green the colours on my palette."

Verse Works

By placing our trust in any of the "future techs" to solve todays environmental problems, we run the risk of postponing the actions that mattered. Carbon capture is one of those technologies weve engaged in to give us an impression of action; perhaps, unconsciously, in order to cover up our anguish, our helplessness or our guilt. 

Yet we need to keep moving forward. Art has this kind of energy, charismatic and unifying. If I believe little in technology to save humanity, I keep hope in humanity, in its conscience, in the universality of its love. If only one power is given to artists, it is that of being able to touch, sometimes, the hearts of men.
 
"Landscape with Carbon Capture" is a critique of my own environmental consciousness as an artist working with technology around natural themes. Although I do not know any solution, although I am helpless just like you, I want to fight with what Ive got. I want to acknowledge the great hypocrisy of our times. Carbon emissions are here to stay, they'll stain my canvas, no matter how green the colours on my palette.



Generative Art

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Landscape with Carbon Capture #10381

Landscape with Carbon Capture #10386

Textile

Enchiridion by Generative Artworks

Enchiridion is inspired by the Enchiridion Physicae Restitutae by Jean D"Espagnet which rejected the idea of the empyrean, claiming that all natural things exist in unity. This is represented through geometric forms which show structure, unity, and causation vs. the amorphous forms of Empyrean.

Enchiridion #213

Tout trac by Florian Zumbrunn

In 2022, as I was experiencing my first year as a father, I was often asking myself what impact I would have on my son, and how much my actions will be part of what will make him him. I started a slow introspection on the subject, and at the end of the year, I released Foundations, a series that focuses on the origins of our identity.

Tout trac is the second act, and its direct continuity. 
In French, it means *All mapped out*, referring to the idea of an all planned future or *a ready made path.*

This series is the counterpoint of this vision. 

Life is full of surprises, good or bad, and each moment will have an impact on us, creating our set of experiences, many of them involuntary and embedded in our existence.
As humans, we are in constant evolution and therefore, on a quest of identity; of who we really are.
We are surrounded by expectations : from society, culture, religion, parents, friends, family A list of rules that need to be followed and lived by; but, at the end of the day, I believe that only our choices matter.

Like Foundations, the composition of Tout trac is grid based: full of boxes expected to be filled.
But this series is about growth, evolution, expression and re-definition. Its about fighting against the structure in place, finding our own voice and re-shaping our reality.
It is finding its uniqueness and identity that will be revealed through the millions of lines drawing each artwork, technically signing the idea of Tout trac, that comes with a double meaning: *All drawn*.


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- **Press S** to export a still image.
- **Press H** to open a new tab of the artwork in HD (A3 format).

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Opening one output in fullscreen or in live view will run an animation revealing the artwork.

Tout trac #246

Art Blocks x Pace

The first component of a multidisciplinary project by A.A. Murakami, Floating World Genesis comprises 250 unique NFTs, each depicting one of three animated scenes chronicling the origins of life on Earth: a single microbial bubble that may split in two; clusters of self-organizing bubbles that represent the growth of multicellular life; and a single bubble situated on the horizon, signifying the formation of the Earths biosphere.

Inspired by the Miller-Urey experiment of 1953, which simulated conditions of the early Earth to explore how life first formed in the primordial oceans through self-organizing bubbles, the Floating World Genesis NFTs possess tranquil, meditative, hypnotic qualities often associated with minimalist painting and the Light and Space movement. Bubbles have been an enduring source of inspiration for A.A. Murakami, whose seminal work New Spring (2017) is an interactive, multi-sensory installation that produces mist-filled blossoms.

The formal dynamism of Floating World Genesis, which explores the kinetic possibilities of semi-abstracted bubbles, belies the projects technical complexity and its wide range of generative effects. Opacities and diffusions of color vary among the NFTs, as do the shapes and positions of the bubbles. Clear bubbles depicted against gradation backgrounds feature refractions of light and color. Some of the NFTs are stereoscopic, allowing viewers to have a three-dimensional experience and immersing them in a world of buoyant, ethereal bubbles.

A.A. Murakami is known for creating immersive, sensorial installations as part of a long-standing exploration of natural phenomena and systems. With these concerns at the center of the duos practice, A.A. Murakami has pioneered the development of ephemeral tech, or technology that is experienced not through standard interfaces like screens, but through ethereal and shifting matter, facilitating fleeting but deeply meaningful in-person experiences. With the multifaceted Floating World Genesis series, the duo aims to further explore this concept through what it has termed the mataverse, a space between the physical and digital worlds. Through future Floating World Genesis projects, A.A. Murakami will investigate the possibilities of art that lives on the blockchain and engages all the viewers senses in immersive and tactile physical environments.

Floating World Genesis #20

Tout trac #236

Patches of code hand stitched together; for loops, rectangles, if statements, and randomness.

Exhibition

The artist describes the work as "patches of code hand stitched together; for loops, rectangles, if statements, and randomness," referencing the recurring theme in Anna Lucia"s work that seeks the tension between computer science concepts and traditionally feminine crafts, such as textile work. It suggests that working with code has a material character for the artist and can be likened to craftsmanship. Using "hand stitched" may imply an element of following intuition in the construction of the work rather than following a systematic structure or technique. These ideas come together upon examination of the variety of outputs where rectangles overlap in a balancing act between following a strict grid and improvisational placement.

Patched Paradise #73

Endless Nameless by Rafal Rozendaal

Endless Nameless is an exploration of composition. We start with a square. The square is divided into sections. The sections are filled with color pairs. Sometimes all colors are used. Sometimes fewer colors are used.

Endless Nameless #680

Tide Predictor by LoVid

LoVids signature video work mixes handmade analog synthesizers with digital tools in immersive Red, Green, and Blue (RGB) compositions that celebrate luminosity, chaos, relationships between craft and engineering, and connections between body and tech.
 
Tide Predictor, LoVids first onchain generative work, builds a bridge from video synthesizer patches to algorithmic code-derived imagery. This collection is formally and technically inspired by hardware-based image generation, and places experimental moving-image, circuit boards, and electrical signal-based video art at the conceptual roots of generative art.

Tide Predictor is a modular video synthesizer patch model, designed to reflect the analog spirit by working with three channels: RGB. Tide Predictor reimagines NTSC-encoded, oscillator driven electrical current based video synthesis while adding digital randomness/unpredictability, and transformations based on code, along with each mints unique content.
 
In the late 19th century, mechanical analog computers used rhythm and repetition to anticipate the rise and fall of water levels. In addition to tides, which are low frequency oscillations of the ocean, higher frequency changes or waves are frequently discussed in reference to both water and electrical signals. By working with looping - and explicitly addressing the period (=1/frequency) for each RGB color - Tide Predictor extends analogies between the flow of water and the flow of electricity.

LoVids Tide Predictor brings these relationships from the blockchain, through your screen, straight to your retina!

Tide Predictor #38

Longing by phenomena

An evolving generative art project, inspired by the longing to connect with nature. It explores the relationship between art, code and nature. - "Becoming the Mountains and Rivers". 
The series explores the mythic idea of a time that came before, when we were one with nature and ourselves. This landscape refuses to hold still. Instead, the viewer is asked to contemplate about being the constant in this ever changing space. They are the only thing that can create a true moment in an otherwise fluid and dynamic world. The piece invites viewers to become fully immersed in the landscape, to contemplate their own inner zen and to feel a sense of calm and peace as they watch the land, water, and sky move and flow. It is an invitation to appreciate the beauty of nature and to reflect on the endless yearning for completeness that we all experience at some point in our lives. Like a postcard that transports us to another time, or a memory that provokes feelings of longing and missing, "Longing" invites us to reconnect with ourselves and to find peace in the ever-flowing river of life in the current moment.

The piece uses generative code to create a space where one can appreciate the beauty of nature while gaining a new perspective on how we perceive art. Instead of presenting viewers with the conventional form of a paintings static view-through-the-window, Longing takes viewers into a living and breathing artwork. Just as nature moves in patterns that we know how to anticipate but cant predict, Longing also moves in ever-evolving patterns that are both comforting and surprising. In this way, Longing challenges the static nature of painting while testing out where digital art can take usis this a form of art that is in sync with nature? Or does it take us further away by inserting additional layers of mediation? Longing does not answer these questions, but it helps us contemplate possible responses, and pushes us to reconsider the nature and purpose of art in the 21st century.

Technical details
Immersive~ The artwork would fit any format ratio and resolution, hit full screen to widen the view and experience the work in landscape formats.

Evolving~ Movement: Time lapse after draw starting at the featured time and transitioning to the local time of the work, when local time is settled the work will display the current time and evolve the sky with it. Accompanied with the slow movement of colors ramps in the landscape, and water rippling.

Output~ 
~Press "s" to save a .PNG file at any stage at current resolution. 
~Press "p" to render and save a high resolution .PNG file for print x3 current resolution.

Created and developed by Ronen Tanchum and Ori Ben Shabat

Longing #228

Colorspace by Tabor Robak


CS/TR-86 Bootstrap Loader. . .

Starting COLORSPACE v1.0
=

1.   View Fullscreen
1.  Click **[X]** w/ mouse to hide UI
1.  CRITICAL ERROR!



   loading...
 - 10%

Colorspace is a tribute to creating on the computer.
An animated painting with programed brushes, erasers, and accents.
Based on the gestures of classic screensavers and operating system UI elements.

 -40%

I was inspired by the file size limits of storing on Ethereum.
Cutting edge technology meets a floppy disc.
It reminded me of my original software tools: 
MacPaint, Kid Pix, HyperCard, on a black and white Mac Classic II.
Colliding with a decked out gaming computer, running an arsenal of software, in millions of colors.

 -60%

I hope Colorspace evokes the fun of learning new software, 
the trance like state of a late night coding session, 
and the anxiety of a HDD failure at a critical deadline.

 -99%


**`C:\> start selfPromotion.exe`**
==
> Hi, my name is Tabor Robak.
> I"ve been making art on the computer my whole life.
> My work is collected by institutions like The MET, MoMA, and the Whitney.
> I"m a Forbes 30 Under 30 honoree.
> I"ve collabed with brands like Balenciaga and Microsoft.
> I"ve taught at NYU and lectured at Yale.
> 
> This is my first NFT project.




Controls
=
1.  **[ESC]** to shutdown*
1.  Click **[X]** w/ mouse to hide UI
1.  **[SHIFT]** to restore UI
1.  **[ or ]** adjust speed
1.  Draw with **[Mouse 1]**

Shutdown only while UI is active.
Keyboard controls will activate
after clicking once within canvas.




SYSTEM FAILURE CRITICAL ERROR

Colorspace #580

Asemica by Emily Edelman - Dima Ofman - Andrew Badr

Abstract typographic elements slide together to create new characters. In some compositions, a single character is featured. In others, characters string together to form words and sentences, which the algorithm shapes into often-familiar layouts.

The type designer Gerard Unger said it is almost impossible to look and read at the same time. Asemica invites you to look without the burden of legibility.

Created by Emily Edelman, Dima Ofman, and Andrew Badr. Command-S to download a vector file. Live token best viewed in Chrome.

Asemica #196

Monument

In*Monument*, Golids signature grammar of cubic shapes, black lines and luminous colour is instantly recognisable. In this series, geometric forms take on a new verticality. Inspired by the aesthetic of Brutalism, shapes ascend like totems of concrete architecture. Flawed, repetitive patterns have always been an interesting aesthetic to me, and where else does one find it more prominently than along the vertical facades of high-rise buildings? asks Golid. The artist is interested in the pattern and structure of these buildings and the way in which these patterns are disrupted by the presence of people. For example, the way in which an open window or a closed curtain interrupts the architectural uniformity of a modernist high-rise building.

Monument #70

Neural Sediments by Eko33

# Neural Sediments

## Before objectivity, there was truth to nature; after the advent of objectivity came trained judgment

Lorraine Daston, Peter Galison

Improving my decision-making process is how I would sum up my lifelong quest. Understanding yourself and the unlimited variables and actors surrounding us daily requires a radical yet utopian pursuit of objectivity.

A prerequisite to an objective observation is identifying and eliminating cognitive and observational biases.

My obsession with objectivity started as a sociology student; while studying epistemology of science and pondering the works of Emile Durkheim, Max Weber, and Karl Popper.

This quest never left me and has been a cornerstone of my artistic practice for 25 years.

The map is not the territory is a mainstream expression highlighting a potentially oversimplified version of reality. In this series called Neural Sediments, inspired by the works of Alberto Burri, Frantiek Kupka, and Swiss topography, I highlight the complexity of our brains and some of their biases.

Looking at one Neural Sediment will deliver you a first broad impression; however, looking at it for a longer time will yield a never-ending and much more nuanced and delicate observation. Like Alberto Burris Cracks series, some things not obvious to the eye become real over time. Each Neural Sediment opens itself to the viewer in a unique way. The more you look at it, the more you can decipher it. 

Like Swiss alpine glacier sediments, this material appears only after a certain amount of time and a decent amount of gravity. Burri used a special technique to envision time with cracked canvas; Frantiek Kupka, in his Katedrla painting, opens the fourth dimension by looking at the vertical lines of the glass window.

In the Neural Sediments series, I used both as an inspiration to push the viewers eye to search for more details and a deeper perspective.

Choosing color palettes for a long-form generative art collection is as demanding as solving technical algorithmic challenges. 

The color palettes I create result from a process I"ve built into my practice over time. Each palette comes from my own algorithmic selection trained on classical masterpieces.

After this first selection, each set of colors used in a Neural Sediment is re-arranged to be linked with endangered ecosystems such as dark blue waters, peach salmons, rare botanic species, or volcanos.

Like Josef Albers, who highlighted the instability and deceptiveness of colors, my color sets are here to reinforce the question of objectivity in the art world and life in general.

Looking at its overall structure, each Neural Sediment evokes a brutalist architecture. 

Prioritizing function over form, each Neural Sediment aims to be used as a tool to rediscover oneself, free from the cognitive constraints we put on ourselves and the world around us.

PS: From a technical point of view, Neural Sediments require some heavy calculations, considering the very large number of intersections to compute prior to rendering.

PPS: Pressing the letter i on your keyboard will generate a high resolution export for a large scale and print friendly format.

Neural Sediments #292

Meyohas initially conceived her Speculations series of photographs for Bitchcoin, a cryptocurrency as an artwork that playfully examines how value is created. The coin needed to be backed by a photograph, and the photograph needed to create value visually, deliberately, and perhaps with an illusory expansion of space to reference mining and the idea of gold. The _Speculations_ series is ongoing. After all, these images literally never end, given their perspectival depth.