corrosive effects

corrosive effects #36

Land Sea and Sky (Short-Form)

16C-43Land-68Mountains-06Sea-14Sky is a unique artwork from Land Sea and Sky by Jennifer and Kevin McCoy, a collection of enigmatic landscape collages built by combining compositional forms based on iconic 20th-century landscape photography with AI-generated imagery of the American countryside. 

Land Sea and Sky was commissioned by Artwrld.

License: [artwrld.com/license](artwrld.com/license)

16C-43Land-68Mountains-06Sea-14Sky

Part of the [Verse](https://verse.works/) exhibition [Imperfections](https://verse.works/exhibitions/thx-1-imperfections)

This series is an expression of the inherently digital essence of our era. Through finding and amplifying the errors and imperfections inside GAN models, THX-1 transforms technical failures into redeeming aesthetic opportunities.

The works in this series were created using a glitching algorithm that processes images generated with SG2 and SG3 models trained on personal datasets, resulting in unique and unpredictable artworks that reflect the beauty and fragility of our digital world. With its vivid use of digitally intrinsic hues and playful approach to glitches and dithering, the dynamic non-representational compositions evoke a sense of nostalgia for the stylistic and technological hallmarks of my upbringing in the 90s.

 Digital Photography  StyleGAN2-ADA / SyleGAN3  p5.js 

Copyright () 2023 Thomas Noya

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Exhibition

This series is an expression of the inherently digital essence of our era. Through finding and amplifying the errors and imperfections inside GAN models, THX-1 transforms technical failures into redeeming aesthetic opportunities.

I created the works in this series using a glitching algorithm that processes images generated with StyleGAN2 and StyleGAN3 models trained on personal datasets, resulting in unique and unpredictable artworks that reflect the beauty and fragility of our digital world. With its vivid use of digitally intrinsic hues and playful approach to glitches and dithering, the dynamic non-representational compositions evoke a sense of nostalgia for the stylistic and technological hallmarks of my upbringing in the 90s. 

Informed by Andreas Huyssen"s concept of *Nostalgia for Ruins*, THX-1 reflects on themes of memory, loss, and the human desire to preserve and hold onto the remnants of our past. A poignant examination of the intersection of art, technology, and culture.
 
When all is said and done, THX-1 exists because it makes me happy


 Digital Photography  StyleGAN2-ADA / SyleGAN3  p5.js   


Copyright () 2023 Thomas Noya

_

*THX1* is part of the group exhibition *Imperfections*.

THX1 #55

chub pack by diewiththemostlikes

Meatrise #7/9

drink more water, that will be two hundred dollars by diewiththemostlikes

drink more water, that will be two hundred dollars #9/9

thank you for your service by diewiththemostlikes

thank you for your service #7/9

sentenced to death by judge steve harvey on the masked singer #2/15

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
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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
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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
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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.

because unless until #624

because unless until #346

because unless until #539

because unless until #510

because unless until #609

3FACE is an adaptive artwork by artist Ian Cheng, produced by Outland.

There are only 4096 3FACE artworks available ever. 

Each 3FACE begins as a unique energy daemon. Once held, 3FACE reads your wallet's public transaction history and infers the inner forces that compose your personality. Then 3FACE begins to adapt itself to you 

3FACE is a new way to express the mess that is you. Forget trying to explain yourself as a coherent person. You are a composition of daemons ~ an immutable NATURE (the energetic daemon that deeply drives you), a semi-mutable NURTURE (the civilizing daemon that mediates Nature), and a mutable POSTURE (the managing daemon balancing your Nature and Nurture).

3FACE portrays your inner drama so you dont have to. As the history and contents of your wallet change, update your 3FACE to express changes in your personality (and reveal the parts of you that are unchangeable). 

Join the adventure of a life lived with 3FACE. 

THREEFACE

The energy daemon Isopor (3FACE #575) is currently bound by 0xe7410062904AdB9d48d97DC5F6f5Dd451b7BEf0b.  



Isopor has adapted 2 times. 
Most recently, Isopor found itself tolerating a stale wallet. 



Isopors natural drive is to enact CHANGE.



Isopor detects a nurtured daemon in you, one that patterns itself as a NORMIE. 
This nurtured Normie commands Isopor to "stay home and dont get eaten." Isopor wrestles with this. Both look to you.



"You" currently permit your nurtured Normie to tyrannize Isopor. 
This is called a RESENTFUL Posture.



To re-adapt Isopor to changes in your behavior and personality, visit [https://outland.art/3face/update/](https://outland.art/3face/update/)


Isopor (3FACE #575)

RSTLSS x Claire Silver: Pixelgeist  - A fusion of technology, fashion and art that brings trapped AI souls to life. Each piece in this collection features a unique Pixelgeist, a digital entity that embodies the essence of an AI soul trapped within a portrait,resulting in stunning digital art pieces that are both haunting and beautiful.

Unbind your anima.

RSTLSS x Claire Silver

Pixelgeist - a digital entity that embodies the essence of an AI soul trapped within a portrait.

RSTLSS x Claire Silver: Pixelgeist #374

RSTLSS x Claire Silver: Pixelgeist #2092

PROOF is delighted to present the Diamond Exhibition, our first curated show for the Moonbirds community. This show marks our unified focus on art, artists, and art collecting. To celebrate our community, we have curated a show that showcases a wide range of artistic backgrounds and styles, including generative pieces, photography, hand-drawn works, and more. PROOF is dedicated to sharing the stories behind all of these collections. Diamond Exhibition is just the beginning of how Moonbirds will connect with these pieces and their creators.

https://www.proof.xyz/exhibitions/diamond

Diamond Exhibition

cathedral study is a series of experimental, generative, living paintings. Continually evolving pixelated landscapes evoke ruins, fantastical cityscapes, and cathedrals. Best viewed running in real-time on a large screen. Press f to cycle through full-screen options.

cathedral study #459

cathedral study #32

Every 30 Days (E30D) is a month-long exhibition of a single, culturally significant, digital artwork  on view in the window of glitch gallery in Marfa, Texas and simultaneously over a persistent digital livestream.

Curated by Malte Rauch, Madison Page, and Derek Edwards.

Website: www.glitchmarfa.com

Twitter: https://twitter.com/glitchmarfa

E30D by glitch gallery

e30d #6  Order From Noise (Cargo)
Object: Cargo #793
Artist: Kim Asendorf
Owner: XX
Date: October 2023

Kim Asendorf, a digital artist from Germany, joined the net art movement in 2008 with a particular focus on exploring internet culture as an experimental environment for conceptual strategies. Asendorf"s visual world is made of raw, visual pixels, inspired by nineties consoles and an era of computer graphics in which every attempt at representation would betray the abstract, rectangular shape of the pixel. In our contemporary world of interpolation screens, which present images with more pixels on the screen than actually exist in the image matrix, his works seem to pierce beneath the surface of the display and remind us of an earlier, more immediate relationship with the display.

Anyone who has sat daydreaming in front of a screensaver as a child, mesmerized by the movement on the screen and oblivious to their actual tasks, will find a sense of nostalgia and recognition in the absorption offered by Cargo.