.: I have a few important updates about my upcoming genart project Monolith and will explain in detail with a thread below later today :: tldr :: the project will be available on #tezos instead and it will be releasing on #fxhash today :.
The way that the outputs of "Blokkendoos" by @piterpasma mirror the underlying code in their polished, complex precision masterfully displays how #GenerativeArt is… well, art!
1: "Blokkendoos #480" (owned by bored_bear)
2: "Blokkendoos #412" (owned by @raptornews)
3: "Blokkendoos #38" (owned by sheltronica)
4: source code of "Blokkendoos"
"Blokkendoos #412", an abstract digital artwork. Complex composition of rectangular and oval shapes of various colours, depths and sizes carved into and protruding from a white, matte surface. The shapes are overlapping and the underlying grid is irregular.
"Blokkendoos #38", an abstract digital artwork. Minimal composition of two elongated shapes, one an oval, one a rectangular, protruding from a silky, black surface, on a layer below it is a nearly circular oval shape carved from the same surface. There are three small circles scattered over the surface. The edges of all shapes are brightly orange. View of the source code of "Blokkendoos" with syntax highlighting. There are no line breaks that would structure the code, resulting in a screen full of expressions, variables and numbers.
I'm not participating in #Genuary2024 but I did publish a #GenerativeArt piece for #fxhash 2.0 in December last year that also uses flocking: "Etched Murmurations".
Passively participating in #Genuary2024 — Day 9 ASCII. In summer 2022 I released ASCII-SCAPE, a textmode remix of my earlier C-SCAPE co-evolving multi-cellular automata simulation piece. Technially, it should been called UTF-SCAPE, but hey (some variations actually are strictly ASCII only).
The piece uses 1200+ handpicked rule combinations (based on custom rules & neighborhood configurations I generated/searched/collected/curated with my own tools over the past 20+ years), 32 character sets, 40 color themes, all creating literally billions of possible combinations... The piece also allows recording & exporting chunks of the simulation as plain text files (just press X to start/end recording)
In your opinion was adding Ξth to #fxhash a good or bad move? Do you think it had a negative or positive effect on the #generativeart market? If you have a different take on it please reply below. ⬎
"Forma y orden" by Juan Rodríguez García takes a refreshing new approach to the exploration of order and chaos that seems to be an ubiquitous theme of #GenerativeArt.
The stylized images resemble a match between Andy Warhol's art and IKEA assembly instructions and make us translate abstract concepts into everyday life. Don't some of the outputs remind you of people waiting in your doctor's office or at the district office?
Forma y Orden #19, an artwork consisting of dissolved grid of stylized, tilted and layered folding chairs, the outlines of human figures sitting on most of them in various orientations.
Forma y Orden #121, an artwork consisting of a grid of 2 x 2 stylized, identical folding chairs, the outlines of human figures sitting on three of them in various orientations.
Forma y Orden #71, an artwork consisting of a dissolving grid of uncountable, stylized, identical folding chairs in various sizes, states of rotation and distortion, the outlines of human figures sitting on about half of them in various orientations.
Collage of 6 digital artworks: "There's No Distance #47" by Casey Reas "cambi #44" by Geoffrey Crayon “Mom look, it's glowing! #11” by agrshch "Strange Terrain #3" by Nate Nolting "Ratio #14" by Night Sea "Float Abyss #6" by CHOUCHIAWEI
"formless-z" by Costa Chung (OneRocket) feel both familiar and strange in the images' discomfortingly imperfect resemblance of humanoid figures.
The random shapes that the algorithm generates look like distorted, hunched over bodies of alien astronauts, and more often than not, the number of limbs exceeds what we'd expect to see in humanoid creatures.
I love how "Orbitals" by Mallory combines bold colours and big shapes with retro riso print vibes.
The images consist entirely of circles of different sizes, and despite their minimal basic structure, the outputs feel varied from each other and complex on their own. The duotone palettes make them feel at the same time colourful and restrained, and the worn textures are the cherry on the cake.
A #DigitalArt pairing that I recently added to my collection:
"Highway, Beach" by Dennis Chilas (DDDC) from his new #AIArt collection "Tales From Above" and "Nausicaa #28" by @qotonana, recently released on #fxhash.
I like how the colours and shapes work together. The rusty orange that increases the impact of both images isn't a tone you come across frequently, and it makes both works special.
My fellow Atelier writer @deuspoeticus took a deep dive and wrote an article about it that I recommend you to read. Here, I want to show my favourite outputs from a project that I feel didn't get the attention it deserves.
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I could just quickly throw something together for the upcoming #fxhash 2.0 launch, but I really don't want to insult your intelligence, the time will come and so will a new #generative work.
A beautiful pairing of two special pieces of #AbstractArt that I found today:
Die Maschine: Schnittdarstellung #5 by Geoffrey Crayon and A @wblut postcard - 231125 by @wblut
Both impressed me with a high level of detail and the amazing technical aesthetics; they now are part of my current semi–chronological gallery of recently collected artworks.
"Fx(hash) Generative Birthday Candle #175" by @pifragile and "Victorious shade" by Juan Zapata are both images of celebration.
Although the soft gradients of the former appear as the opposite of the later's blocky, pixelated composition, the images are visually connected by their use of colours.
:: releasing the reserved iterations for The Machine on #fxhash to the general public in ~16 hours :: please use your half minting price reserve until then if you'd really like to get an edition ::