1024 pieces of art tributes to Dmitri and 6529, for their vision and kindness. Love live NFT art

RingersTribute

1024 pieces of art tributes to Dmitri, for his vision and kindness. Love live NFT art

Ringers Tribute #11

Helmet City Transit Card

This card expires 01.25.23, welcome to the city.

Helmet City Transit Card 119

The Bardo: Unpacking the Real is an exhibition that quantifies the ephemeral as it relates to the liminal landscape of sculptural art in the digital age. The exhibition examines the real and (un)real in digital sculpture; questions what it means to view and collect digital sculptures; and investigates the role of NFTs in the creation of the featured artists' work. Named after an afterlife concept in the The Tibetan Book of the Dead, The Bardo explores the possibilities of what sculpture can be, and how it can be viewed. The exhibition takes the idea of a sculpture to the next level by reinventing how sculpture can be seen and collected, and featuring different innovations around the notion of ownership. The Bardo: Unpacking the Real exemplifies the creativity, enthusiasm, and energy (both human and electromagnetic) that reflects this historic time in art history. Julie Walsh

Feral File  The Bardo: Unpacking the Real

Part virtual music box and part sonic sculpture, Matthew D. Gantt's &ldquo;Earmark&rdquo; is an immersive audio composition situated among an assemblage that foregrounds the materiality of its own production. At the work's center rests a digitized Neumann binaural head, which is a canonical recording tool for three-dimensional audio that leverages the shape of the physical ear to mark presence in (dis)embodied space. As sonic objects drift across the digital expanse, plastic sounds bend and twist in sculptural gesture, scatter in pointillist bursts, and gather in swirling masses of sound. Animated by procedural MIDI systems, sampled instrument libraries contort against their idiomatic limitations in a recursive dance of virtual-in-real-in-virtual. The work exists in permutations both as a browser-based experience and as binaural and ambisonic sound mixes in the collector's downloadable files.

Earmark #17

Carla Gannis&rsquo;s &ldquo;peep-o-rama&rdquo; playfully examines what it has meant to gaze at a sculpture throughout the canon of art history. Inspired by one of Gannis&rsquo; vivid dreams, the piece was further informed by the Samuel van Hoogstraten (1627-1678) peep box show at the National Gallery in London. To create the colors and forms in the peep box backgrounds, she trained an AI using images from Times Square pornographic peepshows (for the colors) and images from Dutch painting (for the forms). Once a collector purchases Gannis&rsquo; work, the mystery of the peep box&rsquo;s contents is revealed through a variety of unique experiences, including a view modeled after one of Hoogstraten&rsquo;s works, a single-person VR view (which allows you to visit the inside the peep box itself), and a social VR version where you can hang out with your friends in a space-age bachelorette pad. The peep box sculpture addresses such serious topics as gender and body politics in art history, the idea of public and private ownership of data, and how technology challenges the very notion of seeing.

peep-o-rama #17

What happens to the human body when it is digitized and transmitted into other spaces? That is the question Sophie Kahn has been asking for years, as she's experimented with scanning bodies in order to create 3D printed sculpture. In particular, Kahn has been fascinated by what the 3D scanner leaves out in the process of recording a model's body. Kahn intentionally misuses a 3D laser scanner to generate fragmented forms. &ldquo;Spectrality (from The Divers, IX)&rdquo; grapples with the concept of virtual sculpture, and takes inspiration from Victorian spirit photography. With its mixture of eeriness and obvious simulation, the piece takes the form of a digital ghost. In a browser, the artwork can be viewed in 360 degrees; it can also be viewed in augmented reality within the viewer's own space. Either way, it is best seen in a dark room, at night, when it glows softly. Her figures are suspended in a sort of digital purgatory, caught between life (the physical world) and death (the internet).

Spectrality (from The Divers, IX) #17

Feral File  On Screen Presence

Performance and Auction: June 3rd, 2022 17:00 UTC+0 

The live performance is open to the public. Collecting this Access Pass grants access to an editioned recorded video of the live streamed performance.

Access Passes purchased before 17:00 UTC+0 on June 2nd, 2022 include access to editing Molly Sodas video during live streamed performance and a recorded video of live streamed performance. Access Passes purchased after June 2nd do not include interaction.

The auction for the artwork created during the performance begins June 3rd, 2022 17:00 UTC+0. The auction winner will collect a unique video created by participants and recorded live streamed performance, sent within seven business days of live performance.

Since 2010, Molly Soda has captured audiences by frequently taking videos on the MacOS application Photo Booth with her computers webcam, documenting the mundanity of herself eating, dancing, singing, crying, or talking on the phone. Although many of these moments have been uploaded by the artist to YouTube, for every moment uploaded, there are countless recordings that exist unseen in her archive. Soda recognizes that digital media lends itself to the process of remixing  once uploaded to the internet, a video can be saved, re-ordered, stitched, paused, rewound, skipped, and chopped. This realization has led to a longstanding interest from the artist in publicly realizing and facilitating these processes. For Movie on 06-03-22 at 1.00 PM, instead of simply reworking and remixing her own archive for public view, Soda will hand-off hundreds of clips from the last decade over to participants. From the given audiovisual material, 100 viewers will have the ability to collectively create a new Molly Soda video, revealed at the culmination of the live stream. 

Movie on 06-03-22 at 1.00 PM #67

Nancy Baker Cahill's mutant artwork &ldquo;Stipstream 001&rdquo; takes inspiration from the literary genre known as slipstream fiction, which deals with &ldquo;the familiar strange or the strange familiar.&rdquo; The digital sculpture is based on an IRL sculpture made of torn graphite drawings that were recombined and translated into a 3D object that resembles a simulated botanical form. This process of making and destroying-or of altering the translation of the representational state of the artwork-is a multi-layered, ongoing part of Baker Cahill's artistic practice. The work contains additional layers of reality that are only revealed once the work is collected.

Slipstream 001 #17

Performance and Auction: June 2nd, 2022 17:00 UTC+0 

The live performance is open to the public. Collecting this Access Pass grants access to an editioned recorded video of the live streamed performance.

The auction for the artwork created during the performance begins June 2nd, 2022 17:00 UTC+0. The auction winner will collect a unique work on paper, exhibition copy of recorded video of live streamed performance, and archival file of live streamed performance, sent within seven days after live performance.

Golan Levins The Interfered Microscopy Plot reimagines everyday objects as pareidolic landscapes, producing pen-and-ink drawings in a cybernetic process that melds micro vision, computer vision, and human interference. In Levins performance, the live feed of a digital microscope spurs the machine hallucinations of a semiautonomous drawing algorithm, whose interpretations are both coaxed and culled by the artist. Amid Levins interventions, the systems digital forms are returned to the macroscopic physical world through the raucous twittering of a relic plotting machine. Extending from his audiovisual performance Scribble (2000), The Interfered Microscopy Plot continues a thread of Levins software arts research that complicates gestural drawing through abstraction, computation, and real-time interaction.

The Interfered Microscopy Plot #76

Created as a talisman to help us refocus on what matters most in our lives, Auriea Harvey&rsquo;s &ldquo;The Mystery [v5-dv1]&rdquo; is a digital sculpture that also serves as a memento mori-a type of still-life from Western art history that is a reminder of both beauty and death. The discrete images that make up &ldquo;The Mystery [v5-dv1]&rdquo; can be seen as symbolic; for example a skull (bone), a face (nature), a rose (beauty), and a braid (death). The composite image of the sculpture rotates in a timeless way, as if it is waiting for the viewer to &ldquo;use&rdquo; the object (which may be digitally printed by the collector) to give it a new life. Multiple file formats also allow the collector to make use of the sculpture in the ways that feel most meaningful to them. Harvey&rsquo;s work is a self-portrait; she has used her own face as a basis for the sculpture, thereby inserting the face of an African-American woman into the art historical narrative and creating new allegories with this refiguration, thus updating sculpture both digitally and socially.

The Mystery [v5-dv1]  #17

Martina Menegon's &ldquo;it's a matter of perspective&rdquo; was inspired by simulation theory-the idea that we are living in a computer simulation-and Zhuang Zhi&rsquo;s concept of transformation in &ldquo;Butterfly Dream.&rdquo; In this story, Zhuang Zhi wakes up and recalls he had a dream of a butterfly. He then wonders whether he is a human dreaming of a butterfly, or perhaps a butterfly, dreaming he was human. Combining these ideas led Menegon to create an artwork that reflects the fluidity of self by presenting a continuously moving 3D scan of her body. On the screen, dozens of bodies flow in a dynamic state of motion, with a new one generated each second as an old one is deleted. In this way, the avatar&rsquo;s sculptural form and movement are predetermined by a set of codes and constraints written into the program. The 3D clones exist in a liminal state, at once mysteriously attached and repelled by each other as they search for meaning. As Menegon says, &ldquo;I'm in the perspective of me, but there are multiple me's.&rdquo;

it's a matter of perspective #17

Artists have been working with code since the 1960s, and within that time frame, code has evolved from languages written by engineers to run on room-sized computers to artist-created coding languages running inside a web browser. In 2021, artists are writing code in many languages and environments; each programming language is like a different material to work with. Social Codes is an exhibition of software art, also called generative art. The work comprises code written by artists to create visual experiences. Some works in the exhibition relate to the visual histories of drawing, painting, animation, and video, but all of it is native digital art, in that each artwork is a performance of code choreographed by the artist. Casey Reas

Feral File  Social Codes

Saskia Freeke has created new coded visuals every day since January 2015, posting these &ldquo;dailies&rdquo; online as a kind of public sketchbook. Her &ldquo;enchanting luxuriance&rdquo; software brings some of the ideas explored through this daily practice together into a refined world of abstracted interfaces. As the viewer watches, containers of geometric grids float slowly upward, each one obstructing others from view. As the individual elements vie for our attention, each grid conforms to its container while pulsing with vibrant color gradations.

enchanting luxuriance #4

Dave Whyte is in a category by himself in creating code&#45;generated looping animations. Through early machines like the praxinoscope and zoetrope, animation in this style has been created and enjoyed for nearly 200 years&mdash;but with his attention to the subtleties of motion and perception, Dave has pushed the medium further than anyone else. His online Bees &amp; Bombs media accounts are deep collections of striking motion studies, and his &ldquo;Shimmer&rdquo; software in Social Codes is an evolution of his work that moves it toward direct presentation of the software, rather than as a fixed, looping animation created from code.

Shimmer #5

Maya Man&rsquo;s unique contribution to Social Codes offers a new way to think about software and performance. Her deep explorations in art, dance, and code come together in &ldquo;can I go where you go?&rdquo; As a video clip of Maya dancing plays, her code analyzes the video frames one by one to generate a silhouette. This contour becomes an ever&#45;changing shape the viewer can take charge of by drawing with it, or they can simply watch as the software performs itself.

can I go where you go? #5

Anna Carreras&rsquo; work has a strong relationship to the Spanish landscape where she spends her time, and her piece in Social Codes, &ldquo;Arrels,&rdquo; connects drawing, code, and the environment through a cycle of growth and decay. While Anna looks to nature for the source of her work, she interprets and transforms her experience into carefully choreographed generative animation. In &ldquo;Arrels,&rdquo; growing tendrils the color of earth and sky collide in a vibrant dance. New growth in the arid soil overtakes the old, and the cycle continues

Arrels #5

Raven Kwok&rsquo;s work is always inventive and meticulous, and &ldquo;IDE94,&rdquo; his piece in Social Codes, is no different. &ldquo;IDE94&rdquo; is a generative visual artwork based on a two&#45;dimensional tree map structure. Its random yet organic visual texture and motion pattern are created by controlling nodes on every recursion level of the tree structure, and by assigning a position for each node, Kwok dynamically changes the density and pattern of the consecutive line segments within the finite space. &ldquo;IDE94&rdquo; is a semi&#45;automatic artwork; it constantly changes its own geometry, but at any moment the viewer can pull and stretch it apart, only to watch it return to its starting point, step by step.

1DE94 #5

LIA was a pioneer in creating internet art in the 1990s, and since then, she has continued to experiment and explore into the present. Her latest work, &ldquo;dada data,&rdquo; is aligned with her early works in its focus on minimal, generative animation. With a red dot as a focal point, a network of lines undulate and coil left and right in a way that nods to Marcel Duchamp&rsquo;s hypnotic &ldquo;Rotoreliefs.&rdquo; Although the linear forms that comprise &ldquo;dada data&quot; are minimal, the motion is complex and entirely engrossing.

dada data #4

Performance and Auction: June 1st, 2022 17:00 UTC+0 

The live performance is open to the public. Collecting this Access Pass grants access to an editioned recorded video of the live streamed performance.

Access Passes purchased before 17:00 UTC+0 May 31st include entry into a lottery to be chosen as one of 6 participants during the live streamed performance and recorded video of live streamed performance. Access Passes purchased after May 31st do not include interaction.

The auction for the artwork created during the performance begins June 1st, 2022 17:00 UTC+0. The auction winner will collect a unique video of Lins performance and recorded video of live streamed performance, sent within seven days after live performance.

Rewilded Topography #1 is a tabletop sculpture designed as a dynamic, organic urban landscape. The artist created it in response to an increase in artworks inspired by simulated characteristics or near replicas of nature portrayed on a digital screen. 

A type of Stockholm Syndrome has emerged in the form of a greater comfort with confinement. With increasing interest in digital portals leading to the supposed metaverse, there is a growing disregard for the natural universe taking hold, contributing to the acceleration of human demise. Proxies for nature may distract from the urgency around the human species impending extinction. Yet anecdotal and neurobiological findings have made it clear to Lin that identifying oneself with and immersion within the natural world is essential to survival.

During the livestream, chosen participants will be invited to enter a date which in turn provokes a set of predetermined actions performed in the landscape, leading into a final performance by the artist.

Rewilded Topography #1  #79

Some people find meaning in their life through collecting things. Some people find meaning in their lives through Jesus. From 2016 onwards, I found meaning in life by collecting Jesus pamphlets.
Many of these were added to my collection as I changed trains under Barclays Center. Among the chaos of commuters, a preacher wearing a suit and screaming about The Lord would sometimes be there waiting for me with a smile and a pamphlet. The anticipation would quickly build from the second we locked eyes, and as I cut through the traffic to meet him I was either rewarded with a rush of dopamine from having received a new pamphlet, or my anticipation fizzled out into disappointment as I realized I had this one already.
But pamphlets sometimes come from other places: A thoughtful friend, an elderly Caribbean woman screaming gibberish on a subway car, or rummaging through boxes in the basement containing things past-me found amusing. Jesus pamphlets often come into your life in unexpected ways.

Subway Jesus Pamphlets

Photograph by Steve Pikelny (2023) | Published by Abbey Press | Content: Self-Help | Condition: Very Good | Type: Booklet