Parade by Loren Bednar

In this optical parade, motion is created from the harmonious expansion and contraction of colorful bars. Click to pause. *Photosensitive seizure warning: These artworks contain flashing colors and moving patterns. Dutch auction starting at 2 Eth and proceeding through the following tiers every 5 minutes until a resting price of .5 Eth is reached: 2 -> 1.5 -> 1  -> .5

Parade #286

SKEUOMORPHS by itsgalo

```

  ___ _  _____ _   _  ___  __  __  ___  ___ ___ _  _ ___ 
 / __| |/ / __| | | |/ _ \|  \/  |/ _ \| _ \ _ \ || / __|
 \__ \ " <| _|| |_| | (_) | |\/| | (_) |   /  _/ __ \__ \
 |___/_|\_\___|\___/ \___/|_|  |_|\___/|_|_\_| |_||_|___/



```

A skeuomorph is a derivative object that retains ornamental design cues from structures that were necessary in the original. They are used widely in architecture, product design, and perhaps most familiarly in user interfaces. Think: desktop icons like trash cans or notepads. SKEUOMORPHS is a meditation on this digital tradition. 

SKEUOMORPHS picks up where RASTER left off as an another exploration of the materiality of pixels and rasterized imagery. Here the study of pixels narrows in on the shallow depth of on-screen interfaces and the play of low-res figure-ground effects. Moments of skeuomorphism where the 2-dimensional plane of the screen becomes slightly 3-dimensional through beveling or drop-shadows are extracted and used as abstract painterly details. These elements that are typically used to make computation and interfaces more familiar become unfamiliar on the canvas, suggesting the possibility of an aesthetic between abstraction and realism.

SKEUOMORPHS employs recurring themes and techniques from my art practice: limited color palettes, low-res chunky pixels, dithering, and physics simulation. It uses a specific kind of dithering called R-sequence dither developed by Martin Roberts. Like traditional Bayer matrix-based dithering, this technique produces a patterned image akin to retro video games and early computer screens. In this project, the R-dither pattern results in a woven textile-like texture, which recalls the long relationship between computing and weaving. The canvas negotiates two scales simultaneously: that of the dithered pixel (rendered at 1/1024th of the canvas height) and the simulated particle that acts as a brush stroke (rendered at 1/256th of the canvas height). The two resolutions work together to produce a cohesive texture that is neither pretending to be a retrograde screen nor an analog material but something in between. Similar to RASTER, the goal is to investigate new avenues for digital aesthetics that rely on a combination of historical techniques and innovative practices.

Use mouse or touch controls to interact.
Press "s" to grab a still frame.

Collectors will be eligible to receive a signed archival gicle print of their mint.

SKEUOMORPHS #34

Meaningless by Amy Goodchild

Life will be lived all the better if it has no meaning - Albert Camus 

Optimistic nihilism embraces the idea that life"s inherent meaninglessness is, in fact, positive. The conflict between intrinsic meaninglessness and our search for meaning is both absurd and liberating. We are free to create our own meaning yet ultimately, there is none. By acknowledging both the futility and the opportunity, we can find joy.

These images have no specific meaning yet often they seem purposed. Each output evokes an emotional tone, such as calm, erratic, troubled, bold, mysterious or cheerful. We are frequently reminded of something or can identify shapes like birds, houses or spaceships. Our innate tendency to find patterns and meaning is evident.

The algorithm uses geometry and rules but has been given as much freedom as possible to create varied compositions which contain both chaos and order. The compositions are constructed using node layouts, which are connected to form shapes. Connection is a recurrent theme in our pursuit of meaning - manifested in pattern formation, our relationships and the interconnectedness of the universe. The shapes are duplicated and modified through rotation, mirroring, and scaling to build up structure and chaotic form. If an output appears too sparse, an extra stage of manipulation is applied. Keypresses reveal the components, allowing viewers to observe the underlying mathematical structure of the composition. How does this insight influence our perception of meaning?

The meaning communicated by each piece is subjective, shaped by the viewer"s own experiences interacting with the work. The artist aspires to connect with her audience by discovering the meanings they derive from the outputs we have yet to encounter.

Toggle components - 
1 - Nodes
2 - Shapes
3 - Extras
4 - Strokes or Outlines (if present)
5 - Border
r - Return to full piece

s - Save 2000px wide image
p - Save 5000px wide image

Meaningless #69

Meaningless #64

Ceramics by Charlotte Dann

Inside the computer theres a digital hand. The hand selects a metal implement, cuts off a slab of clay, and carves into its surface. It wanders like your hand wanders; it carves imaginary contours, sinuous and exploratory. It doesnt know the end result so it carves lines until it feels content, and then it numbers the piece and stamps its makers mark. It fires the slab in a digital kiln (it calls this minting) and through this act its art is preserved for millennia. The hand runs its fingers over the textured surface, feeling satisfaction at having spontaneously produced a piece of art so beautiful, expressive, and unique.

---

Ceramics is a generative sculpture that mimics the physical expression of carving into clay. Through uncanny naturalistic rendering it challenges our notion of handmade. It asserts that the value of handmade isnt the time it takes to make the work nor the physical materials consumed, but the endless small decisions and serendipitous details that appear along the way, as can be felt in each Ceramics mint.

Despite the handmade nature of Ceramics the outputs cannot be touched. Highly tactile images enchant the viewer to imagine their tangible representations, and leave them to dwell on their perception of materiality  both in the experiential physical world and conceptually-infinite digital space.

Ceramics #69

Fushi No Reality -  by Samsy

Fushi ( Japanese for immortality / eternal life ) is a concentration study to help those who might need help to slow down in their lives, those who get lost in their thoughts, and those who need a focus point to stand up.

No Reality is an invitation to contemplation. 

It acts as a support to our emotional levels and aims to enhance our environment by guiding us into a meditation state. Both contemplation and meditation have proven to have a positive impact on improving mental and physical health. 

Consciousness, Healing arts, and spirituality, Fushi No Reality is a window through surrealities. A procedural immortal healing ritual unlocking our capacity to cure ourselves. 

Each surreality is forged from a real-time organic system running in an infinite and perpetual movement, crafted from chaos and noise-domain explorations. From a computing point of view, there is no distinction between visually random noise and mastered noise. They are both an output of the same algorithm perceived by our brain as a signal. From a soul point of view, the difference is the perception and what we, humans, do qualify as pleasing, perceptible, or intriguing.

Exploration, observation, and modulation are key to this vast pandemonium of chaos. A creative process to re-forge shapes we already observe in our worlds best inspiration: Nature.

This inspiration directed Fushi No reality towards Landscape art/cloth art mixed with vaporware aesthetics, slow movement, and peaceful color palettes. A light beam travels through each surreality to guide a few voyaging spirits across the landscape. Portrait or landscape,  the surrealities are meant to be displayed in both ways, viewers may look at generative cloth swirling and sci-fi planetary landscapes. 

The more adventurous may move their cursor to the top or bottom to live a faster healing experience.

No one can bring you peace but yourself, but this time, lets travel together.



[Fushi no reality / ]



 




[Fushi no reality / ]SF




Fushi No Reality -  #164

Nra by Tengil

**Nra explores the connections that make us human.**

Nra (close or near in Swedish) is a celebration of friendships and relationships throughout our lives. How some of them are small, fleeting and ephemeral while a select few become lifelong bonds. The work examines the intricate graphs that are formed by these connections. Graphs are all around us and have existed for as long as we have been human. From early settlements of hunter-gatherers and nomadic tribes to the internet of today. It"s all graphs.

Nra allows the viewer to explore and experience these graphs as a metaphor for the organic, organised chaos that is life. Shapes connect from one node in a graph to the next, sometimes spilling over, doubling down and creating layers of intricacy. Imperfection is embraced and Nra exposes the chaotic and unpredictable elements of life. 

The artistic vision of Nra is to highlight and expose graphs in a tactile manner that allows the viewer to see the whole graph, but also engage with the details and texture.  In doing this, Nra attempts to bring a novel contribution by pushing the boundaries of graph representation and introducing an emotional dimension to this oftentimes rigid and scientific discipline. By treating graphs as a metaphor for relationships in life, they become an integral part of the concept and an important artistic tool. 

Nra takes inspiration from the De Stijl movement in reducing the world into a deliberate expression in its smallest form and builds upon the use of shapes imbued with meaning in the works of Hilma af Klint. These ideas are expanded on by accepting that what is deliberate must also relinquish some control through the pseudo-randomness of generative art. This invites reflection on the balance of control and chance in our lives. 

_Through Nra, you are invited to reflect on the connections in your own life and on the significance of the relationships that define us as human beings._ 

To interact with the script:
- Press "s" to save.
- Add the following to the URL:
  - pd=x, where x is a number to control the resolution via pixel density (useful for rendering high resolution stills)
  - rs=x, where x is a number to enable and control the rendering buildup animation.

Nra #78

FAB DAO

Embracing pure geometric abstraction, Giving Shape employs tangible formal elements to give shape to intangible concepts. With a double entendre at play, Giving Shape refers to both the generative algorithms construction of striking abstract compositions and giving back through a revenue share to support other artists.

Giving Shape #45

Giving Shape #28

Giving Shape #9

Giving Shape #8

UMK by Fernando Jerez

**:: UMK [Ultra Mechanika]. Beyond technology ::**

Imagine a world where technology not only advances mechanically, but also adapts and changes in response to its environment. 

In this view, machines could evolve into a variety of forms, from biological and organic to architectural and industrial, each with its own unique capabilities and characteristics.

The UMK algorithm could be thought of as a life form that has evolved from a seed. Its DNA defines the way in which it grows and develops.

**:: Motivation ::**

UMK expands my previous explorations of the interaction between humans and technology. 

Previously, In the "Defrag Trilogy" (link in the website), I narrate a tale spanning three chapters, exploring the emotions we encounter as we mature amidst a technologically world. The conclusion: technology emerges victorious every time.

This time, I delve into the idea of a world where human intervention is not necessary, showcasing a hypothetical scenario where machines operate and evolve independently. What would self-evolving technology look like?

**:: Aesthetics ::**

As a devout admirer of Manga and graphic novels, the style of the artwork is centered around creating a hand-drawn, captivating one-page masterpiece. 

With UMK, I embark on a journey of maximalist illustration. A path that pushes the boundaries of my previous creations to achieve  figurative pieces that are both visually stunning and unpredictably intriguing.
 
This maximalist approach is designed to evoke a sense of wonder and exploration. The intricate use of textures and interlocking geometries invites the viewer to dive into the artwork and be entranced by the details and nuances. 

**:: Animation ::**

Animation is crafted to captivate and hold the viewer"s attention. Sit back and savor the mesmerizing construction mechanics and the gentle flow of the subtle elements in the background.

**:: Final words ::**

In UMK there is a touch of the clean and dreamlike drawing of Jean Giraud (Moebius), the intricate technological structures of Katsuhiro Otomo, or the biomechanical orgies of H.R. Giger. These are some examples of artists who have left a lasting impression on me and whose works continue to shape my aesthetic sensibility.

Art lies within the code itself. When we view the outcome on the screen, we are witnessing the crystallization of the algorithm at a specific moment, under certain conditions. The code is immutable and the results are mere coincidence. 

Enjoy UMK.

**:: Interaction ::**

You can restart the animation or save it as a hi resolution PNG image.
Tap the screen or mouse click to show the reset/save buttons.
Also you can use keys: "S" to save , "R" to restart