Peter Burrs BOOM TOWN is a fictional neighborhood on the blockchain inspired by towns that live and die with the boom and bust cycles of speculation. Like most of Burrs works, BOOM TOWN is a richly crafted narrative world that is deeply evocative while remaining mysterious and restrained. Displaying the artists gift for creating images and environments that hover on the boundary between abstraction and figuration, they invite the viewer to fill in the blanks with their own interpretation, suggesting a story that is barely legible yet unmistakably present. Inspired by the tools and aesthetics of video games, Burrs compositions draw on generative dynamics and the complexity that emerges from simple, rule-based systems. Each of the eight works in BOOM TOWN follows a precise logic for generating the structures architecture, its ground and field, its shadows, planes, and colors. The resulting images are reminiscent of 8-bit video games and early computer graphics, as well as the flat diagrammatic quality of CAD architectural drawings.  Julia Kaganskiy

Feral File  BOOM TOWN

The empty lot is the best piece of real estate in BOOM TOWN a future garden rustling in the vacant breeze.

Every one of the structures in BOOM TOWN represents a unique, living artwork comprised of 1,000 images that will change over time, evolving as a kind of durational stop motion animation over an undetermined period pegged to Ethereums block time that is, the length of time it takes to add another block to the blockchain. Collectors receive the full set of images as part of their acquisition package and can browse or even create prints of the works past or future state, but they cannot make the work advance any faster or slower than block time. 

Burrs process blends traditional animation techniques with the affordances of generative algorithmic systems. Each work originates with intentionally unoptimized algorithms developed by Burrs collaborator, Dave Tandem, and follows a precise composition logic that dictates its form, ground and field, shadows, planes, colors, and weight. The software allows Burr to draw structures on a gravity-influenced canvas and to animate them changing over time. Burr is interested in highlighting the unique fingerprints of various software and in his practice often works across tech pipelines to weave these diverse fingerprints into a unique aesthetic, reveling in the compression and dithering that occurs through this approach. The final images are outputted into a custom framework built by Tandem that uses block time to advance their evolution.

EMPTY LOT #29

As the first survey organized by an American museum of the leading artists engaged with blockchains, Peer to Peer is an online exhibition and fundraiser that stages an exchange between 13 artists and their historical peers in the Buffalo AKGs collection of modern and contemporary art. It presents works produced with a variety of technologies, from Artificial Intelligence to 3D modeling, and ranging in format from videos and GIFs to PDFs, websites, software applications, and smart contracts. While technologically experimental, the works also speak toand transformthemes explored by artists over the last two centuries. The exhibition therefore celebrates both the continued relevance of the historical peers and the contributions of the new peers to arts expanding network of ideas.  Tina Rivers Ryan 

Feral File  Peer to Peer

Winslow Homers Croquet Challenge is a digital game that can be played by anyone on the internet or by collectors as an application on their computer. Toronto-based artist Mitchell F. Chan not only coded the game art and mechanics, but also wrote the dialogue, recorded the sound effects, and even created the shaders that calculate the lighting levels on each texture in real time. The first in his new series of immersive fictions called Beggars Belief, this game transforms Homers painting <a href="https://buffaloakg.org/artworks/194111-croquet-players" target="_blank" class="link">The Croquet Players, 1865</a>, into a digital physics game (like Angry Birds), in which the player uses their cursor to aim and swing their mallet towards the ball. The characters are modeled after the figures in the painting; the action takes place on a lawn that is bounded by a recreation of the paintings gilded frame; and landscape scenery from Homers other paintings provide the backdrop.

Homer first became famous for his images of the Civil War, which were popularized in the press and helped the Unions cause. Painted shortly after the wars ending, his idyllic rendering of a friendly croquet competition may represent the desire for reconciliation after an intense period of social and political divisionor perhaps a skepticism that such a thing is possible, given the ambiguous relationships between the figures. Chan amplifies the paintings undercurrent of conflict by giving the characters dialogue that emphasizes the historical context of the Civil War, as well as by making Homers genre painting of privileged leisure into an actual game with winners and losers. Given that physics games are descended from ballistics research during World War II (which contributed to the invention of modern computing), the game play particularly highlights the military history haunting this scene.

Beyond contextualizing The Croquet Players as an antebellum painting, Chans game reminds us that artlike games or politics or wartakes place within a defined arena according to a set of rules, and that certain ideas, facts, or people must be included or excluded for this arena to be maintained. Using your cursor to lower the in-game camera reveals a chain gang of formerly enslaved African Americans laboring in the fields beyond the lawn, suggesting the Jim Crow laws then forming on the horizonas if the tenor of Homers painting depends on keeping knowledge of these events outside the frame. The game also touches on the sexual politics of this era, which saw the birth of the womens suffrage movement. Homers painting reflects that croquet was one of the first co-ed sports, which contributed to its surge in popularity in the 1850s. Chans game uses Homers same co-ed figures, but we can only play as the women, even though only the men are allowed to speakand to win.

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Please note that this work contains adult language and content.

Winslow Homers Croquet Challenge #356

Metaverse Landscape 1: Decentraland Parcel -81, -17 #102

Systems Madness by Claudia Hart and Andrew Blanton

"Systems Madness" is a collaborative project by Claudia Hart and Andrew Blanton that explores what happens when reason meets unreason. Inspired by the short story "The Yellow Wallpaper" (1892) by Charlotte Perkins Gilman, the project uses AI tools to transform literary language into a library of visual tropes, a translation of emotional expression into code. Together Hart and Blanton reconstruct the pattern language of romantic era wallpapers using warm, off-primary colors, noises, gradients, blurrings, layerings, and apply different fractal formations, repeated irregularly, pushing beyond the human desire to create order out of chaos. "Systems Madness" is a mesmerizing interactive artwork that extends beyond the wallet into our domestic spaces.

Exhibition Description: Systems Madness from Claudia Hart is a conceptual artwork that extends beyond the screen. Collectors can interact with the work minted on Art Blocks, and they can also access a set of instructions for how to install the artwork as an interactive floor-to-ceiling wallpaper at home or in a public exhibition.

Artist Statement:
"Together we framed a question - what happens when reason meets unreason? The response: the all too human desire to create order out of the chaos of this world; and identically - the truth - that too much order can actually drive you mad!"

More information at https://madness.systems

After the allowlisted fixed price sale ends, there will be an auction starting at 1pm ET with a starting price of 2 ETH, and decreasing over the span of 30 mins to a final resting price of .1 ETH

The artists will donate a percentage of profits from the sale of this collection to the Center for Reproductive Rights.

Systems Madness #17

FIRST is a collection of satirical generative texts. It both ridicules and fondly commemorates many aspects of NFT crypto culture circa September, 2021. 

All primary sales and royalties on secondary sales are donated to GiveDirectly.org charity.

Made by DEAFBEEF www.deafbeef.com.

First

First satirical on-chain generative text NFT about NFT firsts. Don"t sleep on this historic collection.

First NFT #3765

We need a box to store our future because residues of the past dont matter. Looking back is simply not an option.

Every one of the structures in BOOM TOWN represents a unique, living artwork comprised of 1,000 images that will change over time, evolving as a kind of durational stop motion animation over an undetermined period pegged to Ethereums block time that is, the length of time it takes to add another block to the blockchain. Collectors receive the full set of images as part of their acquisition package and can browse or even create prints of the works past or future state, but they cannot make the work advance any faster or slower than block time. 

Burrs process blends traditional animation techniques with the affordances of generative algorithmic systems. Each work originates with intentionally unoptimized algorithms developed by Burrs collaborator, Dave Tandem, and follows a precise composition logic that dictates its form, ground and field, shadows, planes, colors, and weight. The software allows Burr to draw structures on a gravity-influenced canvas and to animate them changing over time. Burr is interested in highlighting the unique fingerprints of various software and in his practice often works across tech pipelines to weave these diverse fingerprints into a unique aesthetic, reveling in the compression and dithering that occurs through this approach. The final images are outputted into a custom framework built by Tandem that uses block time to advance their evolution.

WAREHOUSE #1

Clean stacks of efficiency filled with modern furniture a hundred private seats with no real purpose.

Every one of the structures in BOOM TOWN represents a unique, living artwork comprised of 1,000 images that will change over time, evolving as a kind of durational stop motion animation over an undetermined period pegged to Ethereums block time that is, the length of time it takes to add another block to the blockchain. Collectors receive the full set of images as part of their acquisition package and can browse or even create prints of the works past or future state, but they cannot make the work advance any faster or slower than block time. 

Burrs process blends traditional animation techniques with the affordances of generative algorithmic systems. Each work originates with intentionally unoptimized algorithms developed by Burrs collaborator, Dave Tandem, and follows a precise composition logic that dictates its form, ground and field, shadows, planes, colors, and weight. The software allows Burr to draw structures on a gravity-influenced canvas and to animate them changing over time. Burr is interested in highlighting the unique fingerprints of various software and in his practice often works across tech pipelines to weave these diverse fingerprints into a unique aesthetic, reveling in the compression and dithering that occurs through this approach. The final images are outputted into a custom framework built by Tandem that uses block time to advance their evolution.

OFFICE PARK #3

Feral File  Material Wonderland

This dynamic image of the Material World Knight was featured on the cover of Frieze magazine, Issue 201, in March 2019.

Material World Knight: Poster #35

FWB Membership NFT

FWB Membership NFT #1675968166737

Plottables Flex

Instructions for Defacement is a generative art project developed for release on plottables.io, in which NFTs of unique pen plotter instructions are created upon mint. Each Instruction, which is represented by an SVG, is designed to be interpreted by modern pen plotting software and drawn on an area equal to 5.8125" x 2.34252". All instructions that cannot be executed by a pen plotter are designed to be performed manually.   Defacing US currency is a federal crime, and may be punishable with up to six months imprisonment in addition to fines. Neither the Artist nor Plottables LLC condone defacing, mutilating, cutting, disfiguring, perforating, or otherwise damaging US currency.  By purchasing an Instruction token the collector implicitly assumes full legal responsibility for the defacement of currency in their possession, and agrees to hold the Artist nor Plottables LLC harmless from all claims, losses, liabilities, public prosecutions, costs, and costs associated with this project.  All Instructions exist simply as and artistic exercise, and collectors are strictly discouraged from executing said Instructions using the following tools: Axidraw pen plotters, fine-point pens (ex. Micron, LePen, Stabilo), felt tip and highlighter pens (ex. Sharpie), scissors, and lighters. The token thumbnail represents a simulation of what this may look like if executed on the pictorial area of the United States one-dollar bill.  As a token of gratitude, each collector is entitled to a $1.00 rebate, issued in the form of a crisp bank note, when a request is made to the Artist in person.  This project was a 48 hour open edition from 11/11/22 - 11/13/22

Instructions for Defacement #526

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 #13

For Your Eyes Only aims to stimulate a conversation with contemporary artists about the future of human visual culture, and to investigate how they are working, in different ways, on the development of a visual language capable to resist machine vision and its implications, and to improve human visual communicationa post-AI, posthuman human vision. The exhibition includes images of diverse nature and origin, submitted as answers to questions of how humans will continue to see and understand images differently than machines do. The images in this exhibition can be used like answers, but they are rather proofs. They have been sent by a human to another human, each of them carrying much more than what I asked for. They are not delivering an answer, they are the answer. Try to read them, and youll soon find out that they have as many readings as readers. Enjoy, theyre for your eyes only. Domenico Quaranta

Feral File  For Your Eyes Only

Anna Carreras generative art often challenges the conventional aesthetics of the medium by generating visual outputs that are both abstract and referential, organic and artificial. Her color palette and aesthetics reveal a closer look at Mediterranean craftsmanship and landscape. Ganxillo is a generative piece inspired by her grandmothers practice of crochet textiles. Like crocheting, coding is a step-by-step handcraft, creating patterns and drawings from small geometrical stitchesa never ending, repetitive process; a mantra that generates beauty. When you observe the resulting patterns, several abstract images may emerge, becoming the starting point for new narratives and memories. Press numbers and keys, or click your mouse, to discover the pieces interactive elements.