The Satoshis Cat Pass

Owning an NFT thats utility is a profitable business model that the holders benefit wholly from. The game is cool, try it yourself. [https://www.satoshiscat.fun](https://www.satoshiscat.fun)

Satoshi's Cat

Bright Benzi Bananas Membership Pass Item

#10449

Sweet World Of Waifu Original

[Craft your chracter](https://worldofwaifu.xyz) at https://worldofwaifu.xyz

WorldOfWaifu is a genesis NFT collection based on original cute characters.

If you don't like your character's emotion or pose, you can change ti. Visit site and [do magic!](https://worldofwaifu.xyz)

World Of Waifu #69

NGs by JakNFT x Kotegawa

NG #581

NG #249

NG #168

NG #69

CrypToadz are a collection 6969 small amphibious creatures trying to escape the tyrannical rule of the Evil King Gremplin. Created by Gremplin, with a small bit of help from his friends.

This project is in the public domain. Feel free to use the toadz in any way you want.

Cryptoadz

A small, warty, amphibious creature that resides in the metaverse.

CrypToadz #4808

CrypToadz #2839

Markings*

Chromatic Aberration*

FREE MATT KANE

FREE #154

Pre-Process by Casey REAS

Ways of knowing...
Ways of seeing

I can trace the origin of *Pre-Process* back to a Saturday afternoon in 2003 when I was sketchingfirst on paper, and then with code. I began by drawing circles, then connecting their center points, and then placing the circles in motion as coded animation. At that time, I was focused on *ideas* and not *images*specifically, on dynamic systems and the ways a set of elements relate to each other within an imagined environment. I was working through questions about how to experience these systems and what might be an ideal (or interesting) way to engage with them. 

The ideas and code from this session later became the core of much of my subsequent work: including the foundation for the *Process* series of software, prints, and installations and the more recent *Process Compendium* works. *Pre-Process* pulls these origin points back into focus, develops them with what Ive learned in the intervening years, and puts them on the blockchain to be archived. I consider the project a Rosetta Stone for my practice. It asks fundamental questions about the relationships between process and end result, including: Where is the aesthetic focus of a generative system? Is it deep within the code or within the picture the system creates?

Ultimately, *Pre-Process* emphasizes experiencing the origin of the system and then transitioning with it as it seeks, but never finds, equilibrium. The system is built around Element 1, the first that I created for the *Process* series:

*Element 1: Form 1 + Behavior 1 + Behavior 2 + Behavior 3 + Behavior 4
Form 1: Circle
Behavior 1: Move in a straight line
Behavior 2: Constrain to surface
Behavior 3: Change direction while touching another Element
Behavior 4: Move away from an overlapping Element*

*Pre-Process* is the origin of a long journey that Im still on. It continues to ask essential questions and to encourage me to explore possibilities. Through it, I came to realize that I was ultimately more a picture-maker than a conceptual artist, or, the way I like to think about it,  Im a conceptual artist with a small c. I want the energy to be with the system (the ideas) *and* the surface (the picture) in equal measure. More directly, the work exists *between* the instructions, the performance and interpretation of the instructions, and the resulting images.

Pre-Process #77

Multitudes by Matt Kane

  
  Stated the lore of Plato, and Socrates greater than Plato,  
  And greater than Socrates sought and stated, Christ divine having  
      studied long,  
  I see reminiscent to-day those Greek and Germanic systems,  
  See the philosophies all, Christian churches and tenets see,  
  Yet underneath Socrates clearly see, and underneath Christ the divine I see,  
  The dear love of man for his comrade, the attraction of friend to friend,  
  Of the well-married husband and wife, of children and parents,  
  Of city for city and land for land.  
Recorders Ages Hence  
  Recorders ages hence,  
  Come, I will take you down underneath this impassive exterior, I  
      will tell you what to say of me,  
  Publish my name and hang up my picture as that of the tenderest lover,  
  The friend the lovers portrait, of whom his friend his lover was fondest,  
  Who was not proud of his songs, but of the measureless ocean of love  
      within him, and freely pourd it forth,  
  Who often walkd lonesome walks thinking of his dear friends, his lovers,  
  Who pensive away from one he lovd often lay sleepless and  
      dissatisfied at night,  
  Who knew too well the sick, sick dread lest the one he lovd might  
      secretly be indifferent to him,  
  Whose happiest days were far away through fields, in woods, on hills,  
      he and another wandering hand in hand, they twain apart from other men,  
  Who oft as he saunterd the streets curvd with his arm the shoulder  
      of his friend, while the arm of his friend rested upon him also.  
When I Heard at the Close of the Day  
  When I heard at the close of the day how my name had been receivd  
      with plaudits in the capitol, still it was not a happy night for  
      me that followd,  
  And else when I carousd, or when my plans were accomplishd, still  
      I was not happy,  
  But the day when I rose at dawn from the bed of perfect health,  
      refreshd, singing, inhaling the ripe breath of autumn,  
  When I saw the full moon in the west grow pale and disappear in the  
      morning light,  
  When I wanderd alone over the beach, and undressing bathed,  
      laughing with the cool waters, and saw the sun rise,  
  And when I thought how my dear friend my lover was on his way  
      coming, O then I was happy,  


Of city for city and land for land

[ Kyoto's Eternal Winter |  ]

The wind howls loud, the snow falls deep,  
As Kyoto shivers in its wintry sleep,  
A blizzard rages through the night,  
Painting the city in a sea of white.

The streets are silent, the lights are dim,  
As snowflakes dance in an icy hymn,  
The world outside is a winter wonder,  
But inside, hearts beat with a gentle thunder.

Through the blizzard"s cold and biting sting,  
Kyoto"s beauty remains an eternal thing,  
For even in the darkest winter night,  
Her spirit shines with a warm and brilliant light.

-

By: Ilan Derech  
Collaboration Drop: PROOF Collective  
Location: Kyoto, Japan  
Shot on: Leica Q2  
Year: 2023

[ KYOTO"S ETERNAL WINTER |  ] #54/69

A platform for AI-generated art. 

https://braindrops.cloud/

BrainDrops

Mappings arose organically through an exploration of generative space and form. Map structures began emerging and with them suggestions of underlying motifs. In this way, the generative AI process exists orthogonally to a traditional observational approach, where an artist begins with a motif. Mappings integrates experience from my personal history including landscape painting, map illustration, data visualization and generative coding, though there was no intention do so when I began the exploration. Mappings includes 8 motifs: Farmland, Aerial, Glacier, Nautical, Night, Parking Lot, Roadways, Suburbia and 19 custom, randomly assigned palettes.

Mappings 492

A circle of protagonists and bad actors defy the motel perimeter to venture into the land beyond; one where strange clouds and chemical-beaten signs appear on the horizon line. As night falls, the morphing process begins as the SIGHTSEERS start to glitch, faces become increasingly morphic as the wild winds blow and the radio interference increases. The SIGHTSEERS cant resist the ultimate photo opportunity...


SIGHTSEERS BY NORMAN HARMAN

A circle of protagonists and bad actors defy the motel perimeter to venture into the land beyond; one where strange clouds and chemical-beaten signs appear on the horizon line. As night falls, the morphing process begins as the SIGHTSEERS start to glitch, faces become increasingly morphic as the wild winds blow and the radio interference increases. The SIGHTSEERS cant resist the ultimate photo opportunity...

SIGHTSEERS 101

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