daily.xyz

[Infinite Images ∞](https://daily.xyz/exhibition/10062) The only artworks created with DALLE-1 by OpenAI.

“In 2021 we were invited by OpenAI to work with the DALL-E 1 research model as part of a commission. “Infinite Images” are the product of these experiments, large images meticulously constructed piece by piece to explore the models capacity for coherence.

This context hints at why themes of reflection in water and glass, horizon lines and mountain ranges appear so frequently, as the works were constructed by playing an exquisite corpse game with the model. A single initial generation could now be infinitely expanded upon in any direction. To our knowledge these are the only artworks produced with the original DALL-E model. They represent a transitional phase from the more abstract generations of the models that preceded it, and the high fidelity models we are used to today.”
Holly Herndon and Mat Dryhurst

The total collection size is 682 artworks, broken down into the following categories:

*Genesis Sets* These were the initial 'genesis' artworks created by Holly and Mat when they first accessed the model in 2021. The outputs were small, 256-pixel squares, presented in a grid format. Genesis sets are sold in groups of 9 individually minted artworks, each carefully curated by Alejandro Cartagena in collaboration with the artists. There are a total of 15 genesis sets, comprising 135 artworks. Prints, 20 x 20cm (*9), are also available to the NFT holder at cost.

*Medium Artworks* These artworks were created a few weeks after the Genesis Sets, following OpenAI's development of a prompting interface that produced larger samples, each 1024 pixels per square. In total, there are 500 medium-sized artworks. Prints, 50 x 50cm, are also available to the NFT holder at cost. 

*Special Formats*
These are higher-resolution artworks created once OpenAI developed a painting tool that allowed compositions to be ‘stamped' and 'stitched' together. In total, there are 47 Special Format artworks: 
- 5 panel murals (6 artworks, prints approx. 180 x 500cm) 
- 4 panel murals (8 artworks, prints approx. 180 x 400cm) 
- 3 panel murals (10 artworks, prints approx. 180 x 300cm) 
- XL collages (10 artworks, prints 200cm on longest side)
- L collages (13 artworks, prints 125cm on longest side)

Infinite Images ∞ 634, 2021-2022

"I feel as deep a connection to language as I do to images, though they’ve always lived in separate compartments of my brain. Writing sentences that convert to pictures feels oddly like a dream come true. I have no recollection of having had that dream but the process feels like it was born from an unconscious  wish. It interests me that some people are frightened by AI picture making technologies and think it will be the end of art and create a generation of lazy artists. New technologies frighten people. We know that Plato reported Socrates' condemnation of the rise of writing. In this narrative Socrates insists that writing 'will introduce forgetfulness into the soul of those who learn it'.  For me the fear and resistance to AI image generators makes the text to image process more appealing." -  Laurie Simmons

Edition: 1 of 1

In and Around The House II #16

Speculative fashion, revisionist history, and a blending of old and new are a few key starting points to begin considering the work of Str4ngeThing. The anonymous artist with backgrounds in photography and fashion has adopted AI as his tool of choice to conjure new visions for contemporary culture. 

RO4DM3N & H0RS3S is the latest in the artist’s two years of AI production, and adeptly merges influences of Renaissance art and current day streetwear trends. The series uniquely imagines a world in which roadmen, iconoclasts of contemporary street fashion, flex with horses while cars don’t exist.  The resulting works nod to ideas of a Black cultural Renaissance that meshes climate-forward ideals with a fusion of high fashion and streetwear. 

Edition: 1 of 1

RO4DM3N & H0RS3S #24

The Fellowship Patron Pass is an annual membership for photography lovers [valid April 1 2023 - March 31 2024]

Fellowship Patron Pass #67

The REWORLD series by Roope Rainisto offers a contemplation of the intricacies of society through the interplay of bodies, identities, groups, events, and designed spaces. Rainisto's use of machine learning systems to generate images marks a turning point in our understanding of visual communication, providing a concentrated essence of visual thinking that reflects our technology-driven era. The world Rainisto creates is both familiar and unsettling, with fine yet flawed details that highlight how our perceptions are molded by visual representations. Through a unique perspective, Rainisto's images present figures and locales that challenge our imagination and venture into an elevated reality.



 Year: 2023

Edition: NFT 1 of 1

Copyright: © 2023 Roope Rainisto. All Rights Reserved.

License: CC BY-NC-ND 4.0

Building Evolution

"Simon Raion's photographs seduce the viewers' gaze while, at the same time, distancing us (even as the figures in the frame fluctuate between succumbing to and fighting against the frame). Raion offers us oddly stagnant scenes that appear to be overcrowded sweatshops, or isolation wards, or shantytowns, or cluttered dorm rooms, or questionable massage parlors, or industrial wastes. But we have the uncomfortable sensation that we are being confronted by the ubiquitous but unseen Other in a Sartrean universe which is our own. An Other who refuses to be color-coded into gender-specific hues or interactions. How many pink-garbed people can pile into a pink car going nowhere, in images that partake equally of Edward Hopper, Hieronymus Bosch and Marx (Brothers)." Dr. Linda C. Ehrlich






 Year: 2023

Edition: NFT 1 of 1

Copyright: © 2023 Simon Raion. All Rights Reserved.

License: CC BY-NC-ND 4.0

Pink. Unidentified. Such a Useless Color! #041

Through the altering of the genetic makeup of imagery, a series of fleeting and distorted images that challenge our perception of the familiar emerge. This deconstruction and reassembling of the mundane unearths hidden layers, patterns and unexpected beauty, shifting the ordinary to the unexpected. 

Sound design by Katie Morris

Katie Morris - Flux V1

[Video Dailies](https://daily.xyz//exhibition/10011) are a visual timeline charting the evolution of AI art.

Every day, new artwork is minted by curated emerging and experienced voices, capturing a transformative period in art history in real-time. Our vision is to spotlight and celebrate the defining moments in an artist's journey, framed within the wider narrative of an artform's development.

It’s a creative, cultural and technological exploration that, in the age of AI and the blockchain, unfolds not over years or months, but day by day.

This piece is about how, not only does ai have the effect of uncanny valley, but also their is an uncanny valley effect in people's personalities and demeanors, how we act normal but so much goes on and how you never know the depths of what's behind the eyes of a person. How we strive to connect with each other nonetheless to find solace in our inner search to understand ourselves and the quest of ascension through the ultimate understanding we call enlightenment which ends up being a fiction.

Pancakepie360 Day #3 - People are Weird

Some questions that are always at the forefront of my art practice: how do my images relate to the images that precede and surround them; what expectations are we bringing to images, and how are these expectations established and reinforced; what purpose do these expectations serve and how can we interact with these expectations?

AI image generators are a fascinating new tool for exploring these questions because they create images based upon a dataset of hundreds of millions of preexisting imagery but are otherwise unfettered by the preexisting expectations of visual culture. That is, they make new images based on predictions from all the images (and image tags) that precede them. However, they are not otherwise bound by human logic or cultural codes and therefore make images that reflect these codes in surprising and often challenging ways, like a funhouse mirror. There is a beautiful collapse of category distinctions and a dynamic interplay between un-indoctrinated naivety and an appreciation of precedent.

012 LOVE #32

An exhibition that explores the nature of change, inspired by the artist's experiences of relocating and adapting to different cities and cultures. It examines how places influence our identities and how we adjust to new environments, revealing the complex dynamics of change in our lives.

Developed over eight months, the exhibition utilized evolving AI techniques, reflecting in the changing narratives and styles of the artwork. It showcases a blend of abstraction and realism, with abstraction distilling subjects to their core elements to engage viewers with the concepts and emotions of change. Realism, in contrast, captures the tangible aspects of our surroundings. By incorporating this interplay, the exhibition encourages the audience to reflect on the nature of change and its impact on our lives.

In essence, "Changing Places" is a visual and conceptual journey into the transformative power of places and their role in shaping our identities.

025 TOKYO #61

Changing Places by Simon Raion Lavi

STATIC DISPERSALS & RECONSTRUCTED FABLES is a 32-piece series that emerges as an inquiry into the intersections of auditory heritage and visual futurism. This deliberate choice of words, a playful twist on the album titled "Static Disposal" by an obscure mid-70s acid-punk ensemble named Debris, serves as a bridge between the ephemeral and the eternal, a nod to an album that, according to legend, was recorded in one afternoon under the influence of LSD. But the resonance of "Static Dispersals" extends beyond homage, echoing the foundational principles of "Stable Diffusion" in a serendipitous convergence of initials (S.D.), hinting at the chaotic coherence that underpins the artist's work. The engine of LEGIO X's race car, a metaphor for Stable Diffusion, powers the dynamic visual narratives that unfold across the canvas, each frame a testament to the unseen forces that drive creativity.


With "Reconstructed Fables," the artist weaves another layer into their conceptual experiments, cleverly referencing REM's album "Reconstruction of the Fables." This allusion is not casual; it is a deliberate reflection on the band's ability to infuse their work with layers of cryptic meaning, an approach that profoundly resonates with the artist's method. The homage extends to Lucas Samaras's "Reconstructions," a series of abstract quilts from the late 70's; this collision of high art and folk art informs the artist's visual language and connects to an intensely personal narrative. In the words of LEGIO X himself:


"One could yammer on about the collision between high-art and folk-art modes but for me this is a personal matter. Some of my earliest memories are of waking up and pondering the puzzle-patterns of the crazy quilt that kept me warm the night before. Crazy quilts which were handmade by my grandmother who was half-Cherokee and raised with no formal education. She was never able to read or write but every year her quilts won awards at the local County Fair - and even after her eyesight failed her she would have the cut fabric pieces described to her by color and pattern which she would then carefully arrange into stacks to sew her latest quilt with. I kept several of her quilts in my sleeping rotation until a few years ago when the last one finally aged into tatters. But my love for abstract patterns and color-clash geometrics will never fade away, and these pieces are a testament to that, think of them as crazy quilt motion pictures."
The artist's childhood memories, cradled in the warmth of their grandmother's crazy quilts, serve as a poignant backdrop to their creative journey. These quilts, a patchwork of colors and patterns handcrafted by a woman whose life was a tapestry of resilience and creativity, become a metaphor for the artist's work. The quilts' abstract beauty and the story of their creation inspire the artist's exploration of color, pattern, and movement, transforming each piece into a dynamic narrative, a visual symphony that invites viewers into a game of hide and seek with the ephemeral and the concrete.


Each work is an invitation to a dialogue, a challenge to perceive beyond the surface, to engage with the layers of meaning and emotion that pulse beneath. This is not art that seeks to provide answers but rather to provoke questions, to stir the soul, and engage the mind in a perpetual dance of discovery and interpretation. Through "Static Dispersals" and "Reconstructed Fables," the artist beckons us to explore the liminal spaces between past and present, between the tactile memories of heritage and the boundless possibilities of the digital age. In this journey, we are not mere observers but active participants, invited to find our reflections within the intricate weave of visual and conceptual narratives that the artist lays before us.


All visuals are created using AI tools. Songs created by human friends. Sound design by LEGIO X.


Music by wosX
Created February 2024 using Neural Frames



REKON DIPTYX 03

[Daily.xyz](https://daily.xyz/exhibition/10019) - STATIC DISPERSALS & RECONSTRUCTED FABLES is a 32-piece series that emerges as an inquiry into the intersections of auditory heritage and visual futurism. This deliberate choice of words, a playful twist on the album titled "Static Disposal" by an obscure mid-70s acid-punk ensemble named Debris, serves as a bridge between the ephemeral and the eternal, a nod to an album that, according to legend, was recorded in one afternoon under the influence of LSD. 

But the resonance of "Static Dispersals" extends beyond homage, echoing the foundational principles of "Stable Diffusion" in a serendipitous convergence of initials (S.D.), hinting at the chaotic coherence that underpins the artist's work. The engine of LEGIO X's race car, a metaphor for Stable Diffusion, powers the dynamic visual narratives that unfold across the canvas, each frame a testament to the unseen forces that drive creativity.

STATIC DISPERSALS & RECONSTRUCTED FABLES is a 32-piece series that emerges as an inquiry into the intersections of auditory heritage and visual futurism. This deliberate choice of words, a playful twist on the album titled "Static Disposal" by an obscure mid-70s acid-punk ensemble named Debris, serves as a bridge between the ephemeral and the eternal, a nod to an album that, according to legend, was recorded in one afternoon under the influence of LSD. But the resonance of "Static Dispersals" extends beyond homage, echoing the foundational principles of "Stable Diffusion" in a serendipitous convergence of initials (S.D.), hinting at the chaotic coherence that underpins the artist's work. The engine of LEGIO X's race car, a metaphor for Stable Diffusion, powers the dynamic visual narratives that unfold across the canvas, each frame a testament to the unseen forces that drive creativity.


With "Reconstructed Fables," the artist weaves another layer into their conceptual experiments, cleverly referencing REM's album "Reconstruction of the Fables." This allusion is not casual; it is a deliberate reflection on the band's ability to infuse their work with layers of cryptic meaning, an approach that profoundly resonates with the artist's method. The homage extends to Lucas Samaras's "Reconstructions," a series of abstract quilts from the late 70's; this collision of high art and folk art informs the artist's visual language and connects to an intensely personal narrative. In the words of LEGIO X himself:


"One could yammer on about the collision between high-art and folk-art modes but for me this is a personal matter. Some of my earliest memories are of waking up and pondering the puzzle-patterns of the crazy quilt that kept me warm the night before. Crazy quilts which were handmade by my grandmother who was half-Cherokee and raised with no formal education. She was never able to read or write but every year her quilts won awards at the local County Fair - and even after her eyesight failed her she would have the cut fabric pieces described to her by color and pattern which she would then carefully arrange into stacks to sew her latest quilt with. I kept several of her quilts in my sleeping rotation until a few years ago when the last one finally aged into tatters. But my love for abstract patterns and color-clash geometrics will never fade away, and these pieces are a testament to that, think of them as crazy quilt motion pictures."
The artist's childhood memories, cradled in the warmth of their grandmother's crazy quilts, serve as a poignant backdrop to their creative journey. These quilts, a patchwork of colors and patterns handcrafted by a woman whose life was a tapestry of resilience and creativity, become a metaphor for the artist's work. The quilts' abstract beauty and the story of their creation inspire the artist's exploration of color, pattern, and movement, transforming each piece into a dynamic narrative, a visual symphony that invites viewers into a game of hide and seek with the ephemeral and the concrete.


Each work is an invitation to a dialogue, a challenge to perceive beyond the surface, to engage with the layers of meaning and emotion that pulse beneath. This is not art that seeks to provide answers but rather to provoke questions, to stir the soul, and engage the mind in a perpetual dance of discovery and interpretation. Through "Static Dispersals" and "Reconstructed Fables," the artist beckons us to explore the liminal spaces between past and present, between the tactile memories of heritage and the boundless possibilities of the digital age. In this journey, we are not mere observers but active participants, invited to find our reflections within the intricate weave of visual and conceptual narratives that the artist lays before us.


All visuals are created using AI tools. Songs created by human friends. Sound design by LEGIO X.


Music by d'Eon
Started October 2023, completed February 2024
Created using Neural Frames & Craiyon



OKTOBER CIRKLES 01

STATIC DISPERSALS & RECONSTRUCTED FABLES BY LEGIO X

In "On These Streets," Andrea Ciulu embarks on a nuanced exploration of memory, particularly focusing on the intriguing concept of artificial memories—those vivid, imagined experiences that, despite never having been lived, resonate deeply as if they were one's own. Growing up in Italy during the 1990s, Ciulu was captivated by the allure of hip-hop and urban culture, primarily emanating from the United States. This fascination was not merely passive; it was an immersive experience facilitated by music videos, songs, and lyrics that painted vivid narratives of life in distant American cities. These artificial memories, interwoven with Ciulu's real experiences, form the cornerstone of this series.


The phenomenon that Ciulu taps into with "on these streets" is reflective of a broader Information Age experience where the boundaries between real and artificial memories blur. This is encapsulated in the widespread "I grew up on these streets" meme, highlighting a collective nostalgia for places and experiences that are, in essence, fictional yet hold a profound emotional truth.




Ciulu's investigation into memory does not stop at its construction but delves into its deceptive nature. The artwork in this series is characterised by a dream-like, almost vertiginous quality, with Escher-like geometries starkly presented in black and white. This stylistic choice underscores the artist's perspective on memory as an inherently edited and distorted version of reality—a construct that is both utterly convincing and fundamentally impossible.




The curatorial framework around "on these streets" is enriched by broader reflections on the role of memory in human experience. Memory is not merely a mechanism for recalling past events; it is the very fabric that connects individuals to each other and to their collective pasts. Through memory, we navigate the complexities of love, trust, and empathy. The decline of memory, as seen in conditions like Alzheimer's, not only affects personal identity but also impacts how individuals relate to the world around them. This raises poignant questions about the future of memory in the face of global traumas and the potential for art to serve as a vessel for preserving and interpreting our collective pasts.




Artists, in their role as the scribes of humanity, use their mediums to capture and communicate the essence of their experiences and observations. In doing so, they engage in an act of memory preservation, striving to maintain a connection to both personal and shared histories. "On These Streets" is a testament to this endeavour, inviting viewers to reflect on the malleability of memory and how art can bridge the gap between the imagined and the real, the past and the present.




This series prompts a reevaluation of how art can influence our collective memory and shape our understanding of historical events. By presenting a multiplicity of perspectives, Ciulu's work encourages viewers to consider the complexities of memory, not as a static record of the past but as a dynamic narrative that is continually being rewritten. In this light, "On These Streets" is not just an exploration of artificial memories but a profound inquiry into the nature of memory itself and its indelible impact on our perception of reality.




On These Streets #77

[Daily.xyz](https://daily.xyz/exhibition/10022) - On These Streets is a nuanced exploration of memory, particularly focusing on the intriguing concept of artificial memories—those vivid, imagined experiences that, despite never having been lived, resonate deeply as if they were one's own. Growing up in Italy during the 1990s, Ciulu was captivated by the allure of hip-hop and urban culture, primarily emanating from the United States. This fascination was not merely passive; it was an immersive experience facilitated by music videos, songs, and lyrics that painted vivid narratives of life in distant American cities. 

On These Streets is reflective of a broader Information Age experience where the boundaries between real and artificial memories blur. This is encapsulated in the widespread "I grew up on these streets" meme, highlighting a collective nostalgia for places and experiences that are, in essence, fictional yet hold a profound emotional truth.

On These Streets #28

On These Streets by Andrea Ciulu

(loop (format t "~%")) ;Oss6

[Daily.xyz](https://daily.xyz/exhibition/10020) - Japanese artist Nouseskou is the first artist we are presenting in the Daily Program that expands our curatorial explorations. In his work, he crafts unique visual intersections where technology and human expression converge. We find his work, deeply embedded in the explorations of dance, the body as art, nature, and technology. His visual experiments share an underlying kinship with contemporary AI video art through the lens of innovation, memory, and the transformation of the familiar into the abstract.

(loop (format t "~%")) ;Osf2

(loop (format t "~%")) by nouseskou

*Post Photographic Perspectives III: Taming The Machine*

The initial Fellowship program was all about photography. We worked with artists like Gregory Crewdson, Guy Bourdin, Cristina de Middel, Laurie Simmons, August Sander, and many more. We see photography as one of the mediums that created one of the most important cultural shifts of the last 200 years. Photography is everywhere, and its effects can be felt in all aspects of life and art. So when AI images started to speak a sort of ""photographic"" language, we believed it was imperative to address the connection between these mediums. At their core, both mediums describe the world we live in. One directly captures it, the other one is an imagined picture of the world. For our last installment of the Post Photographic Perspectives group exhibitions, we wanted to offer a clear view of how AI tools and artistic explorations we saw artists using in PPP I have changed and evolved into different visual manifestations in a period of one year.

This curatorial project looks to present a group of artists who, via their individual techniques and themes, are fighting the machine hallucinations created via AI tools to create a unique voice within the myriad of AI images being produced today. In this push and pull, new propositions of form are being developed that emanate an apparent tension between the generic production of images these algorithmic tools are intended to create and the creators' desires to impose their artistic visions.

As artists venture into this new frontier, they confront a delicate balance: how much of their creative process should be entrusted to the machine, and at what point does this partnership become a relinquishment of control? Each piece in the exhibition serves as a marker in this ongoing negotiation, a reflection of the artist's struggle to maintain authority over a tool that possesses the capacity to both amplify and overshadow.

The very act of integrating AI into the artistic process raises questions about authorship and authenticity. As the machine learns and adapts, generating outputs that can surprise and even transcend initial expectations, artists must decide where to draw the line. The fear of becoming mere operators, guiding a process rather than birthing a vision, looms large. It prompts a reevaluation of what it means to create, pushing artists to establish boundaries that ensure their hand remains firmly at the helm, guiding the AI without being subsumed by its capabilities.

Yet, ""Taming the Machine"" is not just a showcase of these struggles; it is also a testament to the human spirit in the face of technological upheaval. It celebrates the artists who navigate this complex terrain and those who learn to speak the language of algorithms without losing their own. These creators do not shy away from the machine's potential but engage with it critically, setting limits where necessary to safeguard the personal touch that defines their work.

In this context, the machine is neither adversary nor sovereign but a catalyst that, when carefully managed, can expand the horizons of what is possible in art. The exhibition underscores the importance of intentionality in using AI tools, advocating for a partnership where the artist's vision remains paramount, and the technology serves to realize that vision in previously unimaginable ways.

""Taming the Machine” emerges as a narrative of adaptation, highlighting the ongoing dialogue between human creativity and digital innovation; a current journey marked by moments of tension and harmony.

The artists included are:
- Diego Trujillo
- Hrant Khachatryan
- Iñigo Bilbao
- Ivonna Tau
- Jess Mac
- Lily Illo
- Olga Fedorova
- Ossagrosse
- Pete Burkeet
- Sheldrick

Ivona Tau - PIXLTD IDEALS

[Daily.xyz](hhttps://daily.xyz/ppp) - Post Photographic Perspectives III: Taming the Machine is DAILY's third group show and presents artists who are fighting machine hallucinations to create a distinctive voice within the myriad of synthetic images being produced today. 

In this push and pull, new propositions of forms and narratives are being developed that emanate a tension between the generic production of images these algorithmic tools are intended to create and the creators' desires to impose their artistic visions.

The very act of integrating AI into the artistic process raises questions about authorship and authenticity. As the machine learns and adapts, generating outputs that can surprise and even transcend initial expectations, artists must decide where to draw the line. The fear of becoming mere operators, guiding a process rather than birthing a vision, looms large.

Lilyillo - Plans For Future Forms #008

Post Photographic Perspectives III: Taming The Machine

*Relax… none of this is real.*
RACHEL MACLEAN is an acclaimed visual artist and avant-garde filmmaker. DUCK is her first exploration into deepfake. Starring Marilyn Monroe and Sean Connery, DUCK exists in a world of artifice, subterfuge and intrigue, referencing classic Hollywood, video games, film noir, and sci-fi to raise compelling questions about truth and power. This collection presents 20 short segments, each a reinterpretation of content from DUCK. 
The thematic thread that runs through DUCK is one of socio-political conspiracy, namely, that surrounding JFK, Marilyn Monroe and UFOs. The fragmentation of the narrative into 20 distinct segments mirrors the conceptual idea inherent in conspiracy theories and conspiratorial theorising more generally - that of taking distinct pieces of information (some factual, some not so much) and synthesising them into a new ‘reality’ or myth. With DUCK Maclean pushes the tenets of postmodernism to an absurd conclusion, realities within realities with seemingly no epistemological foundation, indeed, as Sean Connery says in one scene “none of this makes sense”.
DUCK as presented here is a new expression of the film, fragments of the whole picture, that can be recombined and re-configured to create a new ‘reality’. Maclean’s films and artwork frequently take recognisable tropes from popular culture and the media as material to invert and subvert, challenging the ‘truth’ we are presented with through a patriarchal, heteronormative, capitalist-driven lens. DUCK is no exception, by resurrecting Marilyn Monroe as an indestructible self-aware AI, Maclean flips the script on the cult of masculinity, female sexuality cliches and gender power dynamics.

Relax, it’s not real

**Relax… none of this is real.**

RACHEL MACLEAN is an acclaimed visual artist and avant-garde filmmaker. DUCK is her first exploration into deepfake. Starring Marilyn Monroe and Sean Connery, DUCK exists in a world of artifice, subterfuge and intrigue, referencing classic Hollywood, video games, film noir, and sci-fi to raise compelling questions about truth and power. This collection presents 20 short segments, each a reinterpretation of content from DUCK. 

The thematic thread that runs through DUCK is one of socio-political conspiracy, namely, that surrounding JFK, Marilyn Monroe and UFOs. The fragmentation of the narrative into 20 distinct segments mirrors the conceptual idea inherent in conspiracy theories and conspiratorial theorising more generally - that of taking distinct pieces of information (some factual, some not so much) and synthesising them into a new ‘reality’ or myth. 

You fooled me

DUCK by Rachel Maclean

*"The Vault of Wonders: Chapter 1 - The Abyssal Unseen"*
*This collection by artistic duo Xavier and Daniel, the Boldtron twins, showcases a groundbreaking advancement in AI video technology that marries the historical curiosity of Renaissance cabinets with the enigmatic depths of the abyssal ocean. The work features creatures once only imaginable, now realized through sophisticated AI tools, embodying a symbiosis of natural traits and digital craftsmanship that challenges the boundaries between the organic and the fabricated.*
Historically, the Renaissance cabinets of curiosities collected wonders that blurred the lines between natural history and imaginative interpretation, much like "The Abyssal Unseen" blurs the lines between biological reality and digital fabrication. These cabinets often featured exotic specimens that tantalized both the intellect and the imagination, serving as precursors to modern museums by engaging the viewer in a dialogue about the diversity of the natural world and the oddities it contains. In parallel, this collection invites viewers to reflect on the authenticity and ontology of beings born from digital code, urging a reconsideration of what constitutes 'life' in the digital age.
The use of looping in the twins' videos draws a direct line to the early mechanics of animated art, where repetition served not just as a technical necessity but as a method to enchant and engage. The loop in digital media, historically rooted in the ceaseless repetition of stroboscopic motion and zoetrope animations, here transcends its origins to breathe life-like rhythm into pixelated creations. This looping, mirroring the endless cycles found in nature—from the regeneration of deep-sea biota to the rhythmic pulsations of abyssal creatures—embeds each digital organism within the broader narrative of perpetual life cycles.
The abyssal theme of the collection resonates with the scarcely explored and poorly understood regions of the deep ocean, where organisms thrive in conditions that defy human survivability. The biological adaptations of these creatures—developed in response to extreme pressure, darkness, and scarcity—find a digital echo in the creations of the Boldtron twins, whose work illuminates the adaptability and creativity necessary to explore and depict uncharted territories, whether they lie at the bottom of the ocean or within lines of code.
Furthermore, the detailed character design reflects the painstakingly precise methodologies of both ancient scientific illustration and modern digital animation. Just as naturalists of the past rendered detailed drawings to capture the complexity of unknown species, the Boldtron twins employ advanced digital tools to sculpt intricate details that invite close scrutiny, echoing the meticulous art of historical explorers and artists who documented the mysterious and the unseen.
In conclusion, "The Vault of Wonders: Chapter 1 - The Abyssal Unseen" is not merely a collection of digital art; it is an intellectual exploration that connects the rich history of scientific and artistic curiosity with contemporary digital creativity. It challenges visitors to ponder the evolving relationship between nature and technology, encouraging a deeper appreciation of how digital environments can not only mimic but also extend the natural world in forms that challenge our perceptions and expand our understanding of life itself.
As you traverse this digital cabinet of curiosities, consider each piece not only as a visual spectacle but as a node in the vast network of cultural and scientific exploration that has sought to understand and depict the realms beyond the immediate reach of human senses.

Videos by BOLDTRON
Music and Sound Design by MYGAL 
MYGAL is a distinguished Spanish DJ and producer. He has made a significant impact on the international music scene, showcasing his talent with performances for renowned fashion brands such as Jacquemus at the prestigious Boiler Room. His notable collaborations extend to sharing the stage with globally acclaimed artists, including the likes of Dua Lipa.

Rana Lucens

[Daily.xyz](https://daily.xyz/solo/boldtron) - This collection by artistic duo Xavier and Daniel, the Boldtron twins, showcases a groundbreaking advancement in AI video technology that marries the historical curiosity of Renaissance cabinets with the enigmatic depths of the abyssal ocean. 

The work features creatures once only imaginable, now realized through sophisticated AI tools, embodying a symbiosis of natural traits and digital craftsmanship that challenges the boundaries between the organic and the fabricated.

Historically, the Renaissance cabinets of curiosities collected wonders that blurred the lines between natural history and imaginative interpretation, much like "The Abyssal Unseen" blurs the lines between biological reality and digital fabrication. his collection invites viewers to reflect on the authenticity and ontology of beings born from digital code, urging a reconsideration of what constitutes 'life' in the digital age.

Gelatinosa sphaera

The Vault of Wonders: Chapter 1 - The Abyssal Unseen by Boldtron

“In 2017, without realizing its significance then, I started training neural networks from scratch  solely on my own artwork - the thing that would come to define my artistic approach. A handful of popular image synthesis models available at that time didn’t work well with small  datasets so I started experimenting with obscure model architectures which resulted in a few  interesting series like this one where I trained the network on my travel photography - coining  the word Latentscape. The problem was that the generated images were tiny. Not giving up I  coded a computational pipeline of chained models, gradually upscaling the images - calling  this a “poor woman super-resolution”. 
Coincidentally Jason Bailey wrote an article in 2018 “Helena Sarin: Why Bigger Isn’t Always  Better With GANs And AI Art" where one can find more details on my artistic philosophy and  techniques working with small datasets using your own small compute.” 

Artwork spotlight by Luba Elliott:
Helena Sarin’s work has always stood out amongst artists working with generative adversarial networks (GANs) in the late 2010s because of her focus on craft. Meticulously stitching together diverse mediums and GAN algorithms, Sarin’s work espouses a unique aesthetic, treating AI artwork-making as a craft-based process that highlights the artist’s mark rather than hiding it. This places her closer to the lineage of printmakers and German Expressionists such as Erich Heckel and Conrad Felixmüller, whose gestural marks define not only the form of the subjects, but also the mood of the piece with their immediate intensity.
However, the tools used by Sarin are digital. With a background in software engineering and a parallel creative practice in the applied arts, Sarin’s art was predominantly analog until she came across GANs, an image generation technology that consists of two neural networks, a generator that produces images in the style of a particular dataset and a discriminator, which determines whether the generated images are real or fake. The interplay between these two systems typically results in high-quality images and offers increased dialogue between artist and machine, with the need to constantly tweak the weights, parameters and saving intervals of the model in order to achieve the desired results. The unpredictability of these systems and the rapid pace of their development in a race to beat state of the art consistently offered new models to experiment with, each with its own affordances, especially when applied to small datasets. In an era where bigger is better, Sarin made a name for herself by honing the craft of training smaller, less-computationally intensive models on her own datasets in order to exercise a greater creative control over the aesthetic of the output.
For Latentscapes, Sarin’s dataset of choice is a collection of her travel photography across the US - seascapes and mountains from the East Coast to the South West. This was then used as training data for SNGAN-with-projection, an obscure GAN model capable of training and generating multiple classes of images. The resulting selection became Latentscapes, a term coined by the artist as a portmanteau of ‘latent space’ and landscape. Latent space is a mathematical representation of compressed data, in which similar data points are grouped together. Sarin becomes a traveller across this new terrain, her programming skills replacing the camera as she captures specific samples that catch her eye in-between categories. These snapshots document the latentscape as a machine environment not bound by explicit rules of object representation and arrangement. Veering towards abstraction, these images separate water, mountains, clouds and trees through textured brushstrokes and marks of varying levels of detail and direction, creating energetic scenes that are both reminiscent of natural landscapes and their artistic representation through oil painting, with visible application of palette knife on wet paint and giant brushstrokes. Yet at the same time these snapshots communicate an alien perspective, where the sky is both above and below the approaching wave of the forest, such unexpected compositions reminding us that we are travelling within a machine’s understanding of the environment.


Latentscapes #5, 2018

[Latentscapes ](https://daily.xyz/artist/helena-sarin) Sarin’s dataset of choice is a collection of her travel photography across the US - seascapes and mountains from the East Coast to the South West. In 2017 this was then used as training data for SNGAN-with-projection, an obscure GAN model capable of training and generating multiple classes of images. The resulting selection became Latentscapes, a term coined by the artist as a portmanteau of ‘latent space’ and landscape. 

Latent space is a mathematical representation of compressed data, in which similar data points are grouped together. Sarin becomes a traveller across this new terrain, her programming skills replacing the camera as she captures specific samples that catch her eye in-between categories. These snapshots document the latentscape as a machine environment not bound by explicit rules of object representation and arrangement.

Latentscapes #10, 2018

Latentscapes by Helena Sarin

This nearly hour-long video installation unveils an evolving landscape as viewed from a train window, entirely produced by a Generative Adversarial Network (GAN). The piece is characterized by its lack of post-processing or manual editing, with the visuals representing the live output from the algorithm’s continuous learning process. Every 20 seconds, the system updates to enhance the realism and detail of the imagery.
The artwork is powered by a GAN, which includes two neural networks: the generator and the discriminator, trained simultaneously. The generator begins by creating images from a random noise distribution, while the discriminator evaluates these images against a dataset of train window videos. The objective is for the generator to produce images so lifelike that the discriminator cannot tell them apart from actual videos. Throughout the duration of the video, the GAN refines its output by learning to predict and generate successive frames from its preceding outputs. 
Henry has employed this technology to replicate the fleeting and sometimes blurred views typical of train travel. Starting with rudimentary and less detailed visuals, the artwork gradually presents more refined and complex images as the GAN learns from its initial outputs. This progression not only demonstrates the GAN’s capability to detect and replicate complex patterns autonomously but also reflects the transient essence of rail travel. The evolving imagery captures scene dynamics such as the faster movement of the foreground compared to the background, emphasizing the machine's independent learning achievements. 
Accompanying the visual experience is a custom score curated by music supervisor Legio X with the composition by Carter Mullin, enhancing the immersive experience of the installation.

A machine learns a landscape AP #2/2 

[A machine learns a landscape](https://daily.xyz/artist/damien-henry) In 2017, Damien Henry created a nearly hour-long video installation unveiling an evolving landscape as viewed from a train window, entirely produced by a Generative Adversarial Network (GAN). The piece is characterized by its lack of post-processing or manual editing, with the visuals representing the live output from the algorithm’s continuous learning process. Every 20 seconds, the system updates to enhance the realism and detail of the imagery.

The artwork is powered by a GAN, which includes two neural networks: the generator and the discriminator, trained simultaneously. The generator begins by creating images from a random noise distribution, while the discriminator evaluates these images against a dataset of train window videos. The objective is for the generator to produce images so lifelike that the discriminator cannot tell them apart from actual videos.

This artwork is an edition of 5 + 2 Artist Proofs.

A machine learns a landscape #3/5

A machine learns a landscape by Damien Henry

Interpolations through character sets that share a common radical (the root component in Chinese characters), showing shared structural features.

Radical 9

This 2015 work is the result of an early experiment in generative AI, where a neural network was trained to understand and recreate the essence of handwritten Chinese characters. Drawing on a database of nearly a million handwritten characters, the model learns to distill their patterns, forms, and textures, ultimately producing entirely new characters that never existed in the original dataset.

The title is a reference to the 1988 book by Xu Bing, who created thousands of fictitious glyphs in the style of ancient Chinese prints from the Song and Ming dynasties. In a similar way, this AI-driven exploration blurs the line between authentic tradition and imaginative creation, inviting us to reflect on the boundaries of written language.

Exploring the Latent Space of Chinese Handwriting. These images were created by a deep convolutional generative adversarial network (DCGAN) trained on a database of handwritten Chinese characters, made with code by Alec Radford based on the paper by Radford, Luke Metz, and Soumith Chintala in November 2015.
The title is a reference to the 1988 book by Xu Bing, who composed thousands of fictitious glyphs in the style of traditional Mandarin prints of the Song and Ming dynasties.
A DCGAN is a type of convolutional neural network which is capable of learning an abstract representation of a collection of images. It achieves this via competition between a "generator" which fabricates fake images and a "discriminator" which tries to discern if the generator's images are authentic (more details). After training, the generator can be used to convincingly generate samples reminiscent of the originals.

Single Character Loops #44

A Book from the Sky by Gene Kogan

“Looking at the Clouds” is a series of artworks created by Alexander Mordvintsev in July 2015, soon after the publication of the DeepDream algorithm. DeepDream explored the uncharted territory of machine perception. Inception network that was trained only to recognize images (with some bias towards dog breeds), surprisingly possessed latent generative capabilities when executed in a specific manner. In a way, this foreshadowed the "prompting" phenomenon that has since captivated the world, where the vast potential of models trained on massive datasets can be unlocked by querying them in the right way.
The original DeepDream basically asks the network: “whatever you see there, show us more of it”. Looking at the Clouds is made with a Lucid DeepDream variant, which gave control on the theme of generated patterns, making the artist a co-pilot on a fantastical journey through the imagination of the machine.
The “Inner Worlds” series of artworks created in November 2015 continues exploration of abstractions created by the machine. These images are created by picking a single artificial neuron within the network and asking the system to produce an image that triggers high activation of that neuron. The hypnotic and captivating nature of generated patterns suggests that there might be something in our own brain that gets triggered by these images in a similar fashion.
DeepDream's ability to create images through iterative refinement anticipated the generative boom of denoising diffusion models that swept the AI landscape in the 2020s. This pioneering technique paved the way for the development of increasingly sophisticated AI art models, blurring the lines between human and machine creativity.

Artwork spotlight by Luba Elliott:
Back in 2015, the invention of DeepDream took the world by storm, the puppyslug creatures and psychedelic aesthetics of the technology suggesting quite clearly that we were, in fact, dreaming. Alex Mordvintsev, the lead author of the algorithm, was originally intending to develop a tool for visualizing and understanding the inner workings of convolutional neural networks (CNNs), technologies typically used for image recognition. By reversing the process of image classification, Mordvintsev and his colleagues discovered a way to enhance certain features within an image, leading to the creation of the unique artistic style. This experiment presented the world with a snapshot of the creative potential of a neural network, which quickly captivated the imagination of artists, technologists and the broader public. A new genre of artificial intelligence art based on neural networks was born, which nowadays includes GANs and text-to-image models such as DALL-E.
DeepDream works by recognising certain features in an image – edges, textures, shapes – and then amplifying them. There is a feedback loop created which results in the neural network exaggerating the features it recognises, producing the characteristic hallucinatory effect. Elements such as eyes, animal faces and architectural structures can become prominently featured and distorted in unexpected ways, as the network “dreams” about the patterns it has learned. This attribute of the model is best exemplified in the proliferation of puppyslugs - imaginary creatures that are a cross between a dog and a slug, whose existence is partly due to the biases inherent in the ImageNet dataset used to train the neural network - the 14.2 million image dataset contains an impressive 120 categories of dog breeds.
The works in the show were some of the only images created by Mordvintsev in 2015 as an artist. The now famous aesthetic, laid out front and center before our very eyes, allows us to focus on the patterns and the formal possibilities of the exaggerated features, our brain amplifying the effects of the technology’s imagination with our own as we seek to interpret these unusual shapes and creatures within the scope of human perception and knowledge. In Looking at Clouds, we see the algorithm’s interpretation of white clouds on a blue sky, which in these images becomes filled with webs of intricate patterns and new imaginary creatures that amalgamate dogs, slugs and insects. Meanwhile, Inner Worlds focuses on exploring the abstract patterns and textures created by the neural network when asked to produce an image that triggers a high activation of a particular neuron. The repetitive circular patterns recall the generative art tradition, however the plethora of rainbow colors and softer forms remind us that these patterns are rooted in a neural network’s understanding of a large dataset of millions of images.
Close to 10 years after its invention, DeepDream is still considered as one of the most unique aesthetics in AI art. Beyond bringing in a new generation of artists to work with neural networks, DeepDream has also foreshadowed the 'prompting' way of interacting with neural networks, where the creative possibilities of AI systems trained on large datasets can be explored by communicating with them in the right way - back then it might have been through developing specific models to optimize for a particular task and now it is through language commands. Regardless, we are still in the early stages of unlocking the imagination of the machine and DeepDream serves as a reminder that the field can be revolutionized in an instant.


cloud_bee - “Mind of a Bee”, 2015

[DeepDream ](https://daily.xyz/artist/alexander-mordvintsev) Back in 2015, the invention of DeepDream took the world by storm, the puppyslug creatures and psychedelic aesthetics of the technology suggesting quite clearly that we were, in fact, dreaming. 

Alex Mordvintsev, the lead author of the algorithm, was originally intending to develop a tool for visualizing and understanding the inner workings of convolutional neural networks (CNNs), technologies typically used for image recognition. By reversing the process of image classification, Mordvintsev and his colleagues discovered a way to enhance certain features within an image, leading to the creation of the unique artistic style. 

“Looking at the Clouds” is a series of artworks created by Alexander Mordvintsev in July 2015, soon after the open source publication of the DeepDream algorithm. The “Inner Worlds” series of artworks created in November 2015 continues exploration of abstractions created by the machine.

mixed4d_0104 - "Neuron 104", 2015

DeepDream by Alexander Mordvintsev

"The End of History," inspired by Francis Fukuyama's "The End of History and the Last Man," explores the complexities of our contemporary world through 100 short video pieces, ranging from social and political commentary to abstract fantasy. 
While Fukuyama posits an endpoint to humanity's ideological evolution in liberal democracy and free-market capitalism, this collection challenges that notion, reflecting the belief that we are closer to a physical end of human history— whether it be through war, climate disaster, subjugation, famine, etc. The initial pieces of the collection offer a stark critique of political systems, social injustices, and elite dominance, mirroring the anxieties of our time. As the collection progresses, it shifts towards abstract fantasy, representing a subconscious escape from overwhelming realities. 
This duality encapsulates the tension between the relentless march of socio-political developments and the human desire for escapism. "The End of History" is my way of inviting viewers to confront unsettling truths while acknowledging the necessity of dreams, urging reflection on whether we stand at history's end or on the cusp of a new beginning.

Righteous Sinners 1

Domestic Scene 1

The End of History by Mowgly Lee

Once Upon A Garden is a speculative archive of critically endangered and extinct flora that we have little to no records of, and therefore no way to remember. In this project, the artist Linda Dounia uses Artificial Intelligence as a time machine to go back in time and piece together data we didn’t bother recording using data that we did record. To be able to fill gaps in the world’s collective memory with synthetic memory is a unique opportunity that AI offers today. Between 2021 and now, Once Upon A Garden has speculated on what the flora population in West Africa (where Dounia is from and lives) might have looked like decades ago using increasingly faster and more refined models. 
The resulting body of work, while increasingly more photo-realistic as AI became more powerful over the years, cannot be mistaken for reality due to the thin and fragmented data available for training. Global efforts to record disappearing biodiversity have not been consistent across time and geographies. In some places, when interrogating what’s been lost, we have no photographic records and can only rely on herbarium records dating back to colonial expeditions. 
Once Upon A Garden ultimately makes a case for more even efforts in recording biodiversity loss across the globe. It also shows an alternative use of AI that demonstrates how this technology can hold a mirror to what we care to remember and therefore record. Incidentally, this mirror also shows us what gets left behind in the making of an increasingly more influential tool in our lives and societies. 
The Chapters 
There is no longer any doubt about the transformative potential of AI. Yet, its proliferation has also uncovered gaping holes in how and where data about humanity is collected, stored, and preserved. AI is only ever as good as the data it’s trained on. Still, there seems to be a clear unevenness in how much information AI has about non-Western ideas, contexts, people, and environments. This is evident in how common stereotypes and hallucinations are when interrogating generative AI tools today, be it language or image based. 
Each chapter of Once Upon A Garden starts with the same foundational data: records of extinct and critically endangered flora from the Sahel region of West Africa, as classified by the International Union for Conservation of Nature. This means photographic records from the internet (seldom available), photographic records from physical archives (national archives, family photo books, journals, etc.), herbarium records, encyclopaedic records, and academic records. From these records, individual species are identified and tagged with all available information about it (texts and images).
Chapter I, 2021–2022
For the first chapter of Once Upon A Garden, Dounia trained a GAN on real and imagined visual records of extinct and critically endangered flora from the Sahel region of West Africa. The ‘real’ visual records were all the available images gathered in the database for this project. The ‘imagined’ records were synthesised with a diffusion model using text records when ‘real’ images weren’t available. Due to the fragmentary records of biodiversity in West Africa, this GAN thus featured more imagined records than real ones. 
Dounia knew that some distortion and lossiness was to be expected from the GAN’s outputs, considering so much of its data was created by the imagination of another model. She believed though that this lossiness provided an apt metaphor for the ongoing disappearance of the natural world, and how thorough that disappearance was in places where we didn’t care to remember what’s left and what’s been lost.
From this first chapter, individual flower outputs were curated, animated, and composited into a variety of artificial gardens. These gardens were installed at various exhibitions and art fairs around the world, starting as a special project commissioned by ARTX LAGOS in 2022.
Chapter II, 2022
Once Upon A Garden’s second chapter begins with the species that emerged from the GAN, shortly after training was completed. In this chapter, Dounia attempted to further denoise images of the flowers with a text-to-image diffusion. Using the text data gathered at the onset of the project as prompt, she endeavoured to bring more life into the GAN outputs.
The spectral suggestions of flowers from the first chapter turned into more recognizable and familiar objects. Dounia realised then that as AI models inevitably evolved, their ability to remember would only get stronger. It felt important to continue exploring how much more refined the synthetic memories of the flowers could be with each milestone in the evolution of models. 
The flowers from this chapter have never been previously released.
Chapter III, 2022–2023
The third chapter of Once Upon A Garden deepens the narrative of loss and memory, featuring the most detailed synthetic flowers up to this point. In this chapter, Dounia compares different diffusion models using a similar approach to Chapter II, starting with text data from the initial database for the project, and using the GAN to Text-to-Image pipeline outputs as reference images. 
The release of Midjourney v.6 toward the end of 2023 provided the most detailed and faithful outputs to the initial data and was thus used for the release of Flore Perdue commissioned by Bright Moments for its Paris edition. This release also introduced a p5 algorithm that obscured the striking details from the outputs, reminding the audience that no matter how much more detailed and may have seemed, the flowers were still speculative. 
Chapter IV, 2023-2024
Once Upon A Garden plays with entropy. Between the first and the third chapter, it is concerned with decreasing entropy by introducing more data that is digested by more powerful models to arrive at a system where flowers have familiar and distinct embodiments. 
Starting in the fourth chapter though, Dounia starts the process of rewilding this body of work and increasing entropy. First, lossiness is added to flowers from the fourth chapter by adding non-organic materials to their make-up. Second, gardens from the first chapter are re-explored through wilder and more chaotic floral arrangements. 
Through an Image-to-Image pipeline, flowers are corrupted. Then using a p5 collage algorithm, they are randomly picked and placed on a canvas to create gardens. These gardens have only been released as private commissions.
Chapter V, 2024
The final chapter of Once Upon A Garden, titled Synthetic Rot, is the culmination of this body of work spanning four years. It traces generative AI models’ evolution over this period and their ability to help us speculate on and synthesise the past. 
This chapter presents 50 stills and 50 videos of randomly assorted flowers, often with multiple different species sharing the same stem, behaving erratically, making and remaking themselves with only chaos as a compass. Each video is accompanied with the reference still image that was used as a keyframe to create the video. 
Flowers from the previous chapter are made even less organic through an Image-to-Image pipeline. The outputs are then used as keyframes to create animations using Runway’s Gen 3 Alpha. The soundtrack for the videos is created by mixing three types of recorded sounds (nature, machinery, people at work) with desert blues musical tracks made in Suno AI. 
Synthetic Rot is the wildest stage of this body of work, where flowers are composed of mostly inorganic material, exposing the fact that they are primordially data mediated through our screens by code made possible by machinery built with natural resources.

F4-GNS03 Second Generation

[Once Upon A Garden](https://daily.xyz/exhibition/10076) is a speculative archive of critically endangered and extinct flora that we have little to no records of, and therefore no way to remember. In this project, Dounia uses AI as a time machine to go back in time and piece together data we didn’t bother recording using data that we did record. To be able to fill gaps in the world’s collective memory with synthetic memory is a unique opportunity that AI offers today. Between 2021 and now, Once Upon A Garden has speculated on what the flora population in West Africa (where Dounia is from and lives) might have looked like decades ago using increasingly faster and more refined models.
The resulting body of work, while increasingly more photo-realistic as AI became more powerful over the years, cannot be mistaken for reality due to the thin and fragmented data available for training. Global efforts to record disappearing biodiversity have not been consistent across time and geographies. 

F2-GNS01 First Generation

Once Upon A Garden: The Complete Series by Linda Dounia Rebeiz

IKEA, in the Auntieverse, stands for "Interstellar Kawaii Environment for Aunties." It represents a unique furniture showroom planet where only customized interior designs and fittings are available, and modular products are nowhere to be found. IKEA offers a wide range of vibrant colors and unconventional interior spaces. Aunties inhabit and interact with spaces that include creatures, wine, ramps, playrooms, indoor gardens, libraries, wardrobes, and everything else typically found in a furniture and interiors showroom, and more.
This chapter is a playful response to the often beige and neutral color palettes offered by the capitalist world, designed to cater to low-risk, mass-market tastes and sales. IKEA in the Auntieverse is an absurd and whimsical dreamland for aunties who seek fun and self-expression. The spaces are customized with a multitude of colors and intricate details, challenging the idea of practicality but igniting imagination about designing one's unique living spaces. It's a chapter that celebrates self-expression and individuality in interior design.

Auntieverse, Chapter No. 8, Ikea #0706

Born in the 1980s, during the nation-building years of Singapore, the artist behind "Niceaunties" experienced a childhood shaped by the influential women in their family. From infancy to the age of nine, they lived with grandparents, aunties, and uncles while their parents worked. 

"Niceaunties" was conceived as a response to these experiences. Utilizing AI, the artist created a surreal world where every suppressed being could exist freely and without judgment. "Niceaunties" represents the collective subconscious of all 'aunties,' celebrating self-love, risk-taking, fun, and freedom through self-expression. It provides a unique perspective on endearing, absurd, and sometimes negative behaviors. It serves as a commentary on societal norms imposed on women and the efforts women make to conform to these expectations. "Niceaunties" is a gentle yet powerful rebellion against these constraints.

The Tofu Engineered Sushi Luxury Autos, known as TESLA, is a concept in Auntieverse where vehicles are constructed entirely from biodegradable and edible materials. In this chapter, we find images of a manufacturing plant where groups of aunties assemble vehicles using tofu, sushi ingredients, and legs to create modes of transportation. On the highways of Auntieverse, we see a variety of vehicles resembling coaches, construction cranes, tractors, and smaller automobiles, all driven by cheerful aunties and accompanied by whimsical creatures. The chapter also includes scenes of car washes and a scrapyard, providing a comprehensive view of this unique world. It is worth noting that in the Hokkien dialect, the word for "car" sounds similar to "leg," leading to a common pun among Singaporeans who humorously claim to own "cars," signifying their reliance on their own legs for transportation.

Auntieverse, Chapter No. 7, Tesla #0609

Auntieverse by Niceaunties

For only the second time, the Christie's Art+Tech Summit has commissioned an artist to create an exclusive new series of AI artworks for the participants of the event. The first artist granted this opportunity was Robbie Barrat, whose work, now known as the "Lost Robbies," has become iconic in the history of AI art. Curated and produced with the help of Fellowship, for this commission, Niceaunties is proposing a project entitled: "Along the River in Auntieverse." The series reimagines Zhang Zeduan's "Along the River during the Qingming Festival," translating the historical narrative into a contemporary commentary on environmental and societal issues. Utilising AI and Niceaunties’ architectural background, this series of interconnected scenes is unified by the motif of water. The work spans idyllic landscapes to depictions of environmental degradation, reflecting humanity's impact on nature. This modern reinterpretation offers a critical lens on current ecological concerns, contrasting sharply with the original's celebration of urban prosperity and imperial order.
Zhang Zeduan's masterpiece, created during the Northern Song dynasty, is celebrated for its meticulous depiction of daily life and social harmony along the Bian River. However, a closer examination reveals its function as a political tool, subtly reinforcing the stability and prosperity of the ruling regime. The painting's idyllic portrayal of urban life masks the socio-economic disparities and political tensions of the time, presenting an idealised vision meant to legitimise the authority of the elite. In contrast, this reinterpretation allows for a candid exploration of contemporary issues.
"Along the River in Auntieverse" explores the complex relationship between humanity and water, a vital yet increasingly threatened resource. The scenes range from tranquil environments where communities interact harmoniously with nature to stark depictions of pollution and environmental destruction. This transition from harmony to degradation serves as a powerful commentary on the consequences of industrialisation and consumerism. By addressing themes such as eutrophication, oil spills, and plastic pollution, the work confronts the environmental crises of our era.
Additionally, this reinterpretation highlights the often-overlooked contributions of women, drawing from personal experiences and the influential women in the artist's life. The Auntieverse serves as a space where suppressed talents and dreams are realised, celebrating the resilience and resourcefulness of women within a traditionally patriarchal society. This focus on female agency and empowerment offers a fresh perspective on the historical narrative, aligning it with contemporary discourses on gender and social justice.
"Along the River in Auntieverse" not only honours the legacy of Zhang Zeduan's original work but also expands its scope to address the pressing issues of our time. By blending traditional elements with modern concerns, it creates a narrative that bridges the past and present, offering commentary on the intersection of history, culture, and contemporary life.

猫守洪水城 (#27)

[Along the River in Auntieverse ](https://daily.xyz/exhibition/10069) Christie’s Art+Tech Summit commission.

For only the second time, the Christie's Art+Tech Summit has commissioned an artist to create an exclusive new series of AI artworks for the participants of the event. The first artist granted this opportunity was Robbie Barrat, whose work, now known as the "Lost Robbies," has become iconic in the history of AI art. 

Curated and produced with the help of Fellowship, the series reimagines Zhang Zeduan's "Along the River during the Qingming Festival," translating the historical narrative into a contemporary commentary on environmental and societal issues. Utilising AI and Niceaunties’ architectural background, this series of interconnected scenes is unified by the motif of water. The work spans idyllic landscapes to depictions of environmental degradation, reflecting humanity's impact on nature and offering a critical lens on current ecological concerns.

城市尽成塑 (#116)

Along the River In Auntieverse

[alignDRAW](https://aligndraw.fellowship.xyz/) - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

Fellowship is pleased to present a special release of both print editions and **fully on-chain** NFTs of this historical artwork, containing all the original images created in 2015.

*"alignDRAW images can be compared to the first fixed photographs taken by Niepce in 1826-1827."* 
Dr Lev Manovich

*"These images represent the birth of text prompt AI generated imagery."* 
Darius Himes, Christie's

A person skiing on snow clad vast mountain #68

[alignDRAW](https://daily.xyz/exhibition/10002) (2015). The first text-to-image artwork.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

DAILY, in partnership with Fellowship, is pleased to present a special release of **fully on-chain*** NFTs of this historical artwork, containing all the original 32x32 pixel images.

*“These images represent the birth of text prompt AI generated imagery.”* - Darius Himes, Christie’s

*“alignDRAW images can be compared to the first fixed photographs taken by Niépce in 1826-1827.”* - Dr Lev Manovich

*We created an architecture that allowed for the progressive on-chain storage of data and images, through a phased roll-out during periods of lower gas prices. 

UPDATE: as of Mon 20th May 2024 alignDRAW is fully on-chain.

[alignDRAW](https://aligndraw.fellowship.xyz/) - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.


Fellowship is pleased to present a special release of both print editions and **fully on-chain** NFTs of this historical artwork, containing all the original images created in 2015.

*"alignDRAW images can be compared to the first fixed photographs taken by Niepce in 1826-1827."* 
Dr Lev Manovich

*"These images represent the birth of text prompt AI generated imagery."* 
Darius Himes, Christie's

What 2015 provenance is there?

The 'Paper Prompts' can be found in the published academic paper, 'Generating Images from Captions with Attention', submitted in November 2015. You can view the paper here:

[https://arxiv.org/abs/1511.02793](https://arxiv.org/abs/1511.02793)

The lead author of the paper was Elman Mansimov and the co-authors were Emilio Parisotto, Jimmy Lei Ba, Ruslan Salakhutdinov.

The 'Process Prompts' can be found on the University of Toronto website. Using archive.org you can see also see these images displayed in November 2015:

[https://bit.ly/aligndraw-toronto-edu](https://bit.ly/aligndraw-toronto-edu)

A brown horse is grazing in a field #65

alignDRAW

Fellowship Patron Pass #810

[BAD JPEGS](https://daily.xyz/exhibition/10068) This isn’t what art is supposed to look like.

The Fellowship Patron Pass was an annual membership central to our mission to build a program based on research, thoughtful curation, and guidance for artists. After they expired, in June 2024, all Fellowship Patron Passes were replaced with the BAD JPEGS collection as a gift to say thank you to our loyal supporters.

BAD JPEGS are ugly pictures, art in reverse. Art is supposed to be beautiful. It’s supposed to be escapist, a place of refuge or paradise. Such expectations beg the question of how art can ever properly confront the uncomfortable realities of our world.

Sometimes art must stand up and embrace being uncomfortable itself. And when artists become unburdened from requirements of beauty, they become freer to do the necessary dirty work that helps us see particular realities that otherwise would go ignored.

BAD JPEGs

Nikita Diakur's exhibition presents an intriguing selection of works from several of his projects started in 2014, like "Ugly Project" and, most recently, "Studio Footage." Diakur is looking to create artworks that challenge the prevailing norms of polished CGI videos by embracing the aesthetics of the chaotic and the malformed. Diakur's unique approach leverages dynamic computer simulation to create a world that is deliberately rough around the edges, reflecting his intentions to comment on the unpredictability and imperfection inherent in life and digital creation.


The works range from bizarre urban environments to characters that defy conventional design principles, each serving as a testament to Diakur's innovative use of software glitches and errors to craft narratives. This method not only highlights the unpredictable nature of computer simulations but also brings an element of spontaneity and personal touch to the animation, akin to the unpredictable outcomes in real-life filmmaking. This embrace of randomness and the acceptance of the 'ugly' or imperfect offers a critical anthropological observation of the digital age's obsession with perfection and control, urging viewers to find beauty and meaning in the chaos and to reconsider their relationship with digital media.


Diakur's work is a significant contribution to digital art, inviting a reevaluation of our expectations and perceptions of beauty, narrative, and the artist's role in the age of advanced technology. His practice encourages a dialogue on the essence of creativity in digital spaces, pushing the boundaries of traditional animation and challenging viewers to embrace the unexpected.



**Curatorial note*

This exhibition is one of our recent conceptual expansions of the Daily Program outside of AI video and into Contemporary Video Art. In our curatorial approach to contextualizing AI Video, this and other exhibitions help us understand how new AI digital tools are directly linked to previous tools. From embracing randomness to including glitches and unfinished images, these aesthetic motifs precede AI video production. We see the interconnections between the tools as an opportunity to better understand new video creation with synthetic images. We see the future of Contemporary Video Art as one of mixed media, where all tools converge to create more profound gestures that comment on our society and its relationship to technology.




Nikita Diakur - Studio Footage, Walk Cycle

Nikita Diakur's TILT exhibition presents an intriguing selection of works from several of his projects started in 2014, like "Ugly Project" and, most recently, "Studio Footage." Diakur is looking to create artworks that challenge the prevailing norms of polished CGI videos by embracing the aesthetics of the chaotic and the malformed. Diakur's unique approach leverages dynamic computer simulation to create a world that is deliberately rough around the edges, reflecting his intentions to comment on the unpredictability and imperfection inherent in life and digital creation.

Nikita Diakur - Studio Footage, Bicycle


TILT by Nikita Diakur

The word "Overture" carries a rich history in the realms of art and music, typically associated with classical and traditional forms. However, beyond its connotation as the introduction to an opera or play, it possesses an additional meaning—a prelude to something of greater substance.

The era we inhabit serves merely as an overture to what lies ahead. Presently, we witness the nascent stages of AI gradually unfolding and aiding humanity, whether in mundane daily tasks or in unraveling the planet's most intricate mysteries and challenges. We have merely glimpsed a small fragment of the imminent Future, which forms the core message of "Overture" itself.

“Overture” is produced through a complex process that utilizes four distinct AI tools, and stems from training AI on our own vast 15-year archive of cinematic photography to become an entirely new artistic creation utilizing neural networks. This amalgamation remains a natural extension of Synchrodogs' oeuvre, rather than a fusion of disparate and incongruous styles.

Overture #97

[Daily.xyz](https://daily.xyz/exhibition/3021) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

The word "Overture" carries a rich history in the realms of art and music, typically associated with classical and traditional forms. However, beyond its connotation as the introduction to an opera or play, it possesses an additional meaning—a prelude to something of greater substance.

Presently, we witness the nascent stages of AI gradually unfolding and aiding humanity, whether in mundane daily tasks or in unraveling the planet's most intricate mysteries and challenges. We have merely glimpsed a small fragment of the imminent Future, which forms the core message of "Overture" itself.

“Overture” is produced through a complex process that utilizes four distinct AI tools, and stems from training AI on our own vast 15-year archive of cinematic photography.

Overture #2

Overture by Synchrodogs

"Unmoored" seeks to challenge viewers by presenting familiar objects, locations, and tones in unexpected pairings. Drawing upon mundane characters, objects, and settings inspired by personal memories and life experiences, the work displaces these elements from their usual contexts, and challenges viewers to venture beyond the surfaces of the images to find new associations and deeper understandings.

The creation of each image in “Unmoored” entailed equal measures of memory, imagination, and emotion. Each studio session commenced with compiling a list of people (their professions, ages, and attire), settings/locations (specific eras and times of day), and other elements (inanimate objects, animals, etc.), all drawn from fragments within the artist's memory.

Ultimately, “Unmoored” reflects on the intoxicating allure of those moments when inspiration struck—a sensation akin to a drug that has captivated me since my youth. This feeling, characterized by the stimulation of entirely new neural pathways within the brain, serves as the driving force behind my creative pursuits. Striving to evoke this electrifying sensation, I endeavor to forge unexplored realms of perception and experience through my work.

Phantom footprints

[Daily.xyz](https://daily.xyz/exhibition/3020) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.
“Unmoored” seeks to challenge viewers by presenting familiar objects, locations, and tones in unexpected pairings. Drawing upon mundane characters, objects, and settings inspired by personal memories and life experiences, the work displaces these elements from their usual contexts, and challenges viewers to venture beyond the surfaces of the images to find new associations and deeper understandings.

Ultimately, “Unmoored” reflects on the intoxicating allure of those moments when inspiration struck—a sensation akin to a drug that has captivated me since my youth. This feeling, characterized by the stimulation of entirely new neural pathways within the brain, serves as the driving force behind my creative pursuits. 

Car Jenga

Unmoored by Nathan Boey

Infinite Images ∞ 549, 2021-2022

[Infinite ∞ Images ](https://daily.xyz/exhibition/10062) The only artworks created with DALLE-1 by OpenAI.     

“In 2021 we were invited by OpenAI to work with the DALL-E 1 research model as part of a commission. “Infinite Images” are the product of these experiments, large images meticulously constructed piece by piece to explore the models capacity for coherence.

This context hints at why themes of reflection in water and glass, horizon lines and mountain ranges appear so frequently, as the works were constructed by playing an exquisite corpse game with the model. A single initial generation could now be infinitely expanded upon in any direction. To our knowledge these are the only artworks produced with the original DALL-E model. They represent a transitional phase from the more abstract generations of the models that preceded it, and the high fidelity models we are used to today.”

Holly Herndon and Mat Dryhurst

Infinite Images by Holly Herndon & Mat Dryhurst

If they were able to conceive or dream another time, perhaps they would be able to live in it.

––Chris Marker, La Jetée, 1962

Observations of Argleton Lane is a story…or is it a discovery? 

Depending on which one of these statements you believe will determine whether you think Jacqui Kenny (The Agoraphobic Traveller) is a post photographer, curator, explorer, story teller, or a conduit to another world, discovered during her escape from anxiety and agoraphobia. 

Her initial inkling that she was tuning into somewhere else, rather than just exploring a version of our reality, was during her project @streetview.portraits. As she journeyed through the virtual world of Google Street View, she began to notice time glitches and visual anomalies. On returning to a place she had once visited people would have moved or disappeared, something wasn’t right. This other place, crystallized into the concept of ‘Argleton Lane’. Argleton was a town on Google Maps that suddenly disappeared in May 2010, leaving no trace of its existence. 

Observations of Argleton Lane is the third in the Argleton Lane series. It is a collection of mysterious scenes, captured when Jacqui was able to intercept the extensive monitoring of Argleton Lane. To date she has been unable to discern if the “strangeness” is a result of technical anomalies or whether there is something more to it? Is it an indication that those who created and control these worlds have motives that are more nefarious? 

As with all Argleton Lane collections, Observations is seeded with imagery discovered during her extensive virtual journeys in Street View,  but augmented by her imagination.



Observation #036 - 06:24:11

[Daily.xyz](https://daily.xyz/exhibition/3) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

"Moments of Argleton Lane" represents more than a project; it embodies my journey of self-discovery and liberation from anxiety and agoraphobia. I could be perceived as a post-photographer, curator, storyteller, or a guide to an alternate realm discovered in my search for solace. As I delved into Google Street View, I encountered temporal glitches and visual anomalies that hinted at an existing, alternative world separate from the one I created.

This ethereal realm materialized as 'Argleton Lane,' a phantom town that appeared on Google Maps in the 2000s. It may have been a 'trap street' inserted by mapmakers to protect their copyright. The series "Moments of Argleton Lane" is the latest chapter of a larger series, following the debut of "Homes of Argleton Lane" and "Flora of Argleton Lane".

Observation #029 - 16:00:47

Moments of Argleton Lane by Jacqui Kenny

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paik’s gesture, I seek to imbue this project, “Fluxus” with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Once upon a time, I harbored a recurring dream in which I tirelessly searched for a mysterious object—a book, a box, or some enigmatic device—that promised boundless inspiration and artistic creativity. Today, thanks to AI, my dream has manifested into reality, although it possesses the potential to metamorphose into a nightmarish realm. I venture into "The Zone," an infinite expanse that unveils a distinct reality for each visitor. In my case, it materializes as a realm steeped in darkness and disquietude. I contemplate whether the imagery I encounter reflects the depths of my own troubled subconscious or resonates with a collective unconsciousness. Regardless, my affection for what I behold remains unwavering.

Within this project, my aim is to subject the algorithm to a form of shock therapy. Through the utilization of extensive prompts comprising nonsensical words and phrases, I compel the AI to freely navigate uncharted territories, continually surprising me with its responses.

The Architects #04

[Daily.xyz](https://daily.xyz/exhibition/3018) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paik’s gesture, I seek to imbue this project, “Fluxus” with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Typically, my images emerge as unfiltered outputs, rarely subject to modification or retouching, save for the occasional blemish or border adjustment. Respecting the vision and imprint of the algorithm is paramount to me; its errors often unveil unforeseen triumphs.



Wheelchair #02 "Chaos Reigns"

Fluxus by Inigo Bilbao

A portal between reality and what is hidden in your oldest copy-paste JPEG folder. Reimagining old and tacky advertising, internet graphics, and prehistorical memes turns into a nostalgia field trip. Inspired and driven by almost today, back then, maybe soon. A visionary's parody or a parody of a vision. A punchline without a joke is the metamorphosis of every-day boredom-slaying and overthinking everything into an image.

Picnic

[Daily.xyz](https://daily.xyz/exhibition/3017) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

The folder "C:\Users\Admin\Pictures" holds a peculiar fascination for me, despite never having utilized it prior to my foray into PC-based work. Perhaps it holds something sacred or significant that one would preserve, or perhaps it is a repository of accidental clutter. It feels akin to Pandora's Box of JPEGs, its contents an enigma waiting to be discovered.

My work centers around the reimagining of antiquated and kitschy advertisements, internet graphics, and prehistoric memes, and transforming them into nostalgic voyages. I am a visionary of parody or perhaps a parody of a visionary. Through my work, I offer punchlines without accompanying jokes, a metamorphosis of banal daily existence and overanalyzing thoughts into evocative imagery.

Folk

Once upon the time in C:\Users\Admin\Pictures by Graphica

"Overpopulated Symphonies" is a collection of AI post-photography that immerses viewers in a commentary on the contemporary human condition. Through sprawling images of densely populated urban landscapes and human gatherings, the collection reduces individuals to minuscule points, forming an overwhelming sea of indistinguishable dots.

Beyond the literal portrayal of overpopulation, this collection utilizes the metaphor of crowd density as an analogy for the inundation of information in our modern era. It poses questions about identity, individuality, and the struggles faced by the human mind in processing and prioritizing the relentless surge of data we encounter daily. The figures in these photographs transcend mere physical bodies; they represent thoughts, ideas, and information, all vying for recognition and space within the confines of our mental landscapes. With humans depicted as dots in a chaotic neural network, these artworks serve as an allegory for the phenomenon of information overload.

The title "Overpopulated Symphonies" intends to evoke the intricate and often overwhelming nature of our current reality. "Overpopulated" alludes to the physical density of human gatherings depicted in the collection, but also metaphorically refers to the overflow of information and ideas that bombard us incessantly. The term "Symphonies" suggests a sense of harmony and order, offering an optimistic counterpoint to the chaos portrayed. It hints at the potential for synchronicity to arise from apparent disarray.

Symphony No. 2 in D Major, Op. 30, Allegretto: "Move Up"

[Daily.xyz](https://daily.xyz/exhibition/3012) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

"Overpopulated Symphonies" is a collection of AI post-photography that immerses viewers in a commentary on the contemporary human condition. Through sprawling images of densely populated urban landscapes and human gatherings, the collection reduces individuals to minuscule points, forming an overwhelming sea of indistinguishable dots.

Beyond the literal portrayal of overpopulation, this collection utilizes the metaphor of crowd density as an analogy for the inundation of information in our modern era. It poses questions about identity, individuality, and the struggles faced by the human mind in processing and prioritizing the relentless surge of data we encounter daily. The figures in these photographs transcend mere physical bodies; they represent thoughts, ideas, and information.

Symphony No. 13 in C Major, Op. 238, Vivace: "Stranger Than Paradise"

Overpopulated Symphonies by Alkan Avcioglu

"Cognitive Behavior" offers a glimpse into my interpretation of the psychological state of humanity, while also drawing a connection to my personal therapy sessions. My creative process is a fusion of experimentation and spontaneity. I initiate each artwork with a conceptual or emotional text, which I then transform into an absurd visual narrative. I repeat this process until the narrative unveils an unexpected facet of the human psyche.

Both classical and modern art have lost their ability to reflect the psychology of newer generations. The anxieties, insecurities, underlying tension, alienation, and mental fatigue experienced behind the scenes necessitate a new artistic grammar. My aim is to discover a fresh visual strategy and vocabulary that can effectively convey these tensions and accurately reflect the psyche of the new generation. I refer to my style as "absurdist surreal lonerism," as I believe the key to this lies within the realm of absurd stillness.

Depression, anxiety, panic, and other mental health issues have undergone rapid transformations in meaning within the information age, deeply intertwining themselves within our daily lives. The conventional modes of artistic expression for these matters have become obsolete. To adequately represent these issues, we must venture into uncharted territories within surrealism. By blending post-photography using AI tools with neo-surrealism, we lay a strong foundation for this exploration.

Spanning from minimalist symmetrical compositions to awkward surreal chaos, my collection employs a visual strategy that invokes the absurd. The constant bombardment of stimuli in contemporary life has left individuals feeling dull, numbed, and void. Through a visual style that captures this inherent tension and anxiety through absurd dullness, I aim to reveal unpredictable, awkward realms and unexplored territories"

Sociability

[Daily.xyz](https://daily.xyz/exhibition/3013) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

“Cognitive Behavior” offers a glimpse into my interpretation of the psychological state of humanity, while also drawing a connection to my personal therapy sessions. My creative process is a fusion of experimentation and spontaneity. I initiate each artwork with a conceptual or emotional text, which I then transform into an absurd visual narrative. I repeat this process until the narrative unveils an unexpected facet of the human psyche.

Both classical and modern art have lost their ability to reflect the psychology of newer generations. The anxieties, insecurities, alienation, and mental fatigue experienced behind the scenes necessitate a new artistic grammar.

Get quality sleep

Cognitive Behaviour by Alice Gordon

"AI-Log" is an immersive project that explores the realms of memory, place, and the allure of the apocalypse. Its genesis lies in a captivating dialogue between myself and AI, a journey of mutual understanding and shared perspectives.

The collection interweaves photographs sourced from various years and countries that I, as an immigrant, have called home. The resulting compositions resonate with a nostalgic undercurrent, evoking both the sentiments of bygone eras and the interconnections of our present reality. “AI-Log” unfurls like a diary, with entries that oscillate between personal anecdotes and contemplations on universal themes, notably the elusive nature of memory. Through this process, I have not only revisited past experiences but also forged new ones.

An unexpected facet of “AI-Log” manifests as a chronicle of events preceding the apocalypse. This element emerged organically during my interactions with AI, perhaps influenced by my state of mind or the melodies that serenaded me. While the imagery often alludes to disintegration and decay within nature, there remains an exaltation of beauty and a profound sense of curiosity for what may lie beyond. This sentiment is particularly palpable in the depictions of human figures who valiantly confront destruction with open arms.

To commence the creative process, I meticulously organized my extensive archive of photographs into categorized folders, considering factors such as year, location, subject matter (nature, people), and a particularly evocative folder entitled "Magic," housing images that exude a textural quality capable of imbuing the final compositions with an air of enchantment.

Guided by intuition and a desire to generate fresh narratives, I carefully selected pairs of photographs. Employing the capabilities of AI models, I harmoniously blended these visual counterparts, occasionally augmenting the process with textual prompts to achieve the desired outcome. After numerous iterations and variations, I amassed over 2000 images, each a testament to our collaborative journey.

Tearing At The Seams

[Daily.xyz](https://daily.xyz/exhibition/3014) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

“AI-Log” is an immersive project that explores the realms of memory, place, and the allure of the apocalypse. Its genesis lies in a captivating dialogue between myself and AI, a journey of mutual understanding and shared perspectives.

The collection interweaves photographs sourced from various years and countries that I, as an immigrant, have called home. The resulting compositions resonate with a nostalgic undercurrent, evoking both the sentiments of bygone eras and the interconnections of our present reality. “AI-Log” unfurls like a diary, with entries that oscillate between personal anecdotes and contemplations on universal themes, notably the elusive nature of memory. Through this process, I have not only revisited past experiences but also forged new ones.

Bus Station II

AI-Log by Alina Trifan

My exploration into the intersection of photography and AI began with early AI generators such as VQGAN+CLIP and NightCafe's "artistic" mode. As a painter, I was captivated by the results that skillfully balanced the figurative and the abstract - an aesthetic I often strive for as an artist. When I first experimented with DALL-E last summer, I was initially put off by its seemingly flawless output. However, as I discovered ways to harness its potential in the creation of a series of absurdist film stills, I became hooked. This experience gave birth to my project titled "Sentient Muppet Factory."

Inspiration for the project stemmed from a talk I attended by Laurie Anderson, who used puppets as an analogy for new technologies. Imagining my AI-generated images as part of a late 1970s variety show, I began to develop the concept of “Sentient Muppet Factory.” Although the title humorously references AI discourse - as these muppets are not truly sentient - the term "factory" speaks to the mechanized production facilitated by AI, as I churn out new characters in a seemingly automated manner.

All the pieces in this series were generated using a bank of images stored on my computer, primarily consisting of the early NightCafe pieces, along with a few photos of myself in my studio. Purposefully utilizing disparate source imagery from the text prompts, I aimed to provoke an unsettling result, intentionally confusing the AI into responding in unconventional ways.

Sentient Muppet Factory #33

[Daily.xyz](https://daily.xyz/exhibition/3015) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

Inspiration for Sentient Muppet Factory stemmed from a talk I attended by Laurie Anderson, who used puppets as an analogy for new technologies. Imagining my AI-generated images as part of a late 1970s variety show, I began to develop the concept of “Sentient Muppet Factory.” Although the title humorously references AI discourse - as these muppets are not truly sentient - the term "factory" speaks to the mechanized production facilitated by AI, as I churn out new characters in a seemingly automated manner.

All the pieces were generated using a bank of images stored on my computer, primarily consisting of the early NightCafe pieces, along with a few photos of myself in my studio. Purposefully utilizing disparate source imagery from the text prompts, I aimed to provoke an unsettling result.

Sentient Muppet Factory #90

Sentient Muppet Factory by Beth Frey

My artistic practice embarks on an odyssey through the ethereal expanse of the Invisible Realm—a boundless space where intuition, memories, visions, and dreams converge to assume tangible visual form. Within this domain, “String Theory” emerges as a quantum plunge into a terrain I once identified as “The Edge of Reality.” Comprising ten narratives situated in an ostensibly divergent era, “String Theory” beckons us to dismantle our perception of reality, unraveling it into ethereal strands of color that resemble an infinite tapestry woven by the very fabric of our sensory encounters.

My creative process germinated years ago with “The Edge of Reality,” an exploration that entailed the creation of digital collages meticulously crafted from vintage postcards. Once the foundational composition is established, I embark on the laborious undertaking of manually stretching select areas of the image, transmogrifying them into delicate tendrils of elongated pixels. These vivid pixel strands are fastidiously chosen and orchestrated to confer equilibrium upon the compositions without compromising the essence of the subjects they envelop.

Through this project, I sought to depict a diverse array of scenarios where subjects and environments were deconstructed into ephemeral strands of texture and color, reminiscent of an imperceptible barcode—an encrypted language of the unseen. Through this process, I worked to decode our collective perception of reality, rearranging its constituent elements in a novel fashion. However, as I commenced my collaboration with AI, I encountered instances where subjects were disassembled and rearranged into an array of heterogeneous, and at times repetitive, patterns. This exploration resonates with the very appellation of the series, drawing inspiration from the homonymous principle in quantum mechanics. “String Theory” postulates the existence of multiple realities within an infinite matrix, where the passage of time eludes linearity.

Wave-particle Duality 

[Daily.xyz](https://daily.xyz/exhibition/3012) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

“String Theory” embarks on an odyssey through the ethereal expanse of the Invisible Realm—a boundless space where intuition, memories, visions, and dreams converge to assume tangible visual form. Within this domain, “String Theory” emerges as a quantum plunge into a terrain I once identified as “The Edge of Reality.” Comprising ten narratives situated in an ostensibly divergent era, “String Theory” beckons us to dismantle our perception of reality, unraveling it into ethereal strands of color that resemble an infinite tapestry woven by the very fabric of our sensory encounters.

Through this project, I sought to depict a diverse array of scenarios where subjects and environments were deconstructed into ephemeral strands of texture and color, reminiscent of an imperceptible barcode.

Metrology

String Theory (Beyond the Edge of Reality) by Felipe Posada

"Wasteland" stands as a testament to the allure that emerges from chaos and devastation. Its imagery portrays a post-apocalyptic world, where humanity grapples with survival amidst the remnants of a once-thriving civilization. The dominant presence of stark, brutalist concrete structures symbolizes the arrogance of mankind, while towering heaps of waste and debris serve as poignant reminders of the repercussions of our actions.
Within this desolation, an uncanny tranquility permeates the captured images. Inhabitants move with deliberate, almost meditative grace, as if they have come to terms with their fate and found solace amidst the ruins. Employing lighting and set design rooted in the theatrical tradition, the series evokes a sense of grandeur and spectacle, simultaneously beautiful and disquieting.

"Wasteland" manifests as a vision that oscillates between bleakness and hopefulness. It serves as a reminder of the delicate nature of our civilization and the ramifications of our choices, while also suggesting that even amidst the darkest periods, beauty can still be discovered. These evocative images challenge us to reflect upon our role in shaping the world and the responsibilities we bear towards future generations.

Woman of the Water

[Daily.xyz](https://daily.xyz/exhibition/3011) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

Wasteland by Mowgly Lee

"Wasteland" stands as a testament to the allure that emerges from chaos and devastation. Its imagery portrays a post-apocalyptic world, where humanity grapples with survival amidst the remnants of a once-thriving civilization. The dominant presence of stark, brutalist concrete structures symbolizes the arrogance of mankind, while towering heaps of waste and debris serve as poignant reminders of the repercussions of our actions.

Within this desolation, an uncanny tranquility permeates the captured images. Inhabitants move with deliberate, almost meditative grace, as if they have come to terms with their fate and found solace amidst the ruins. Employing lighting and set design rooted in the theatrical tradition, the series evokes a sense of grandeur and spectacle.

Going To Work

Wasteland by Mowgly Lee

De La Naught is a post-photographic animation series that breathes life into sequences of still frames, revealing captivating and perpetually evolving worlds. Rooted in a childlike sense of wonder, it intertwines subjects and abstractions with themes that both threaten and embrace the intricate tapestry of the human condition.

Through this 100-piece collection, generated using a variety of distinctively trained personal diffusion models, PUBLIKFRUIT seeks to understand which images leave an imprint on our minds, and how they may evolve to challenge our perceptions. Each frame exerts its influence on the next, weaving together harmoniously to embody a lifetime of experiences, of realized and unrealized thoughts.

Flavin' Flav

[Daily.xyz](https://daily.xyz/exhibition/3010) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

De La Naught is a post-photographic animation series that breathes life into sequences of still frames, revealing captivating and perpetually evolving worlds. Rooted in a childlike sense of wonder, it intertwines subjects and abstractions with themes that both threaten and embrace the intricate tapestry of the human condition.

Through this 100-piece collection, generated using a variety of distinctively trained personal diffusion models, PUBLIKFRUIT seeks to understand which images leave an imprint on our minds, and how they may evolve to challenge our perceptions. Each frame exerts its influence on the next, weaving together harmoniously to embody a lifetime of experiences, of realized and unrealized thoughts.

Phyllotropolis

De La Naught by PUBLIKFRUIT

Chapter 1: Idle Hands
“Idle Hands” series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancer’s performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing.

As Hands follow their carefully choreographed path, there comes a moment when they break free and improvise, before returning to form. This departure represents artists' metaphorical journey into uncharted realms, leveraging AI to explore new creative territories while still retaining full creative control.

We should not fear these AI-aided creative escapades. Rather than eroding our identity, they may enable us to delve into the depths of creativity previously unexplored, akin to how the personality of each of Hands is reflected not in the charted choreography, but in these fleeting moments of improvisation.


Idle Hands #10: Coherent

[Daily.xyz](https://daily.xyz/exhibition/3009) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

Almost Human by Irina Angles and Dr Formalyst 

“Idle Hands” series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancer’s performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing."

"Fragile Memories" is a video art series that explores the ephemeral nature of dance as a powerful metaphor for a way that our memories are formed, distorted and erased. These art pieces embrace the fragility, uncertainty, and flexibility inherent in our perception of the past.

Chapter 2: Fragile Memories
"Fragile Memories" is a video art series that explores the ephemeral nature of dance as a powerful metaphor for a way that our memories are formed, distorted and erased.

Human memories are not fixed and unchanging. Every time we recall a memory, our brain reconstructs and reinterprets it, a process called memory reconsolidation. This process not only influences how we remember but also has a significant impact on the authenticity of our recollections. The very act of remembering something can alter, modify or even erase parts of that memory. These art pieces embrace the fragility, uncertainty, and flexibility inherent in our perception of the past, to highlight the delicate balance between preserving and transforming our personal experiences.

Fragile Memories #06: Probably Not The Right Decision

Almost Human by Irina Angles and Dr Formalyst

My work in Synthography explores other worlds, civilizations, or even parallel worlds. I'm creating visual stories based on intuition. This new technology is helping me to shape new narratives and a unique atmosphere as if I had the power of breathing underwater. It gives another layer to my work; as Claire Silver once said, "Photography is a camera for what is. AI is a camera for what isn't."



 Year: 2023

Edition: NFT 1 of 1

Copyright: © 2023 Pierre Zandrowicz. All Rights Reserved.

License: CC BY-NC-ND 4.0

Light Years Away #7

[Daily.xyz](https://daily.xyz/exhibition/3003) - Post Photographic Perspectives I is DAILY's inaugural group show celebrating a new wave of innovation in photography.

My work in Synthography explores other worlds, civilizations, or even parallel worlds. I'm creating visual stories based on intuition. This new technology is helping me to shape new narratives and a unique atmosphere as if I had the power of breathing underwater. It gives another layer to my work; as Claire Silver once said, "Photography is a camera for what is. AI is a camera for what isn't.

Antartica 1830 #4

Lo and Behold by Pierre Zandrowicz

The Uncanny Valley acts as a gateway to explore the boundaries of creativity, inviting us to challenge conventional notions of artistry and embrace new forms of expression.
As individuals, I firmly believe that our inherent limitations prevent us from ever attaining a complete understanding of ourselves, our place within our present society, or our role in the broader scope of history. It is a perpetual quest for knowledge and growth that we must embark upon. In line with this pursuit, my aspiration is to create works that possess both recognizable attributes and an enigmatic, concealed nature—an intricately hidden realm within an existing realm, akin to a valley within a valley. This creative endeavor serves as a message intended for civilizations far removed in time, extending across ages yet to come. While I, personally, lack the capacity to decipher its meaning, I hold an optimistic expectation that a future race of profoundly advanced, cybernetic and genetically evolved humans will possess the innate ability to swiftly unravel its depths.

Moreover, I hope that this message will present a perspective and insight far beyond my own comprehension. I understand that my ideas may reflect an idealistic sentiment, meanwhile, my current approach embraces novelty, spontaneity, and experimentation. My immediate aspiration for the work is to ignite curiosity and fascination regarding the potential of artificial intelligence, allowing viewers to interpret and expand upon it in diverse and personalized ways—an “open-source” approach where its application becomes whatever each individual deems suitable.

Heritage House

[Daily.xyz](https://daily.xyz/exhibition/3008) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

Current Value by Frank Manzano

My work explores the obsession with violence in American entertainment. While most Americans are removed from actual violence, there is still a celebration of it that exists on both ends of the spectrum. Despite years of movie and TV violence, it fails to capture the true horror and chaos of violence, which loved ones are left crippled by. The AI-generated images I create challenge viewers by presenting them with uncomfortable realities they may have otherwise ignored. As desensitised Americans, we need to confront these difficult truths, even if they turn our stomachs."

The Uncanny Valley serves as a haunting reminder of the delicate balance between familiarity and estrangement. 
As individuals, I firmly believe that our inherent limitations prevent us from ever attaining a complete understanding of ourselves, our place within our present society, or our role in the broader scope of history. It is a perpetual quest for knowledge and growth that we must embark upon. In line with this pursuit, my aspiration is to create works that possess both recognizable attributes and an enigmatic, concealed nature—an intricately hidden realm within an existing realm, akin to a valley within a valley. This creative endeavor serves as a message intended for civilizations far removed in time, extending across ages yet to come. While I, personally, lack the capacity to decipher its meaning, I hold an optimistic expectation that a future race of profoundly advanced, cybernetic and genetically evolved humans will possess the innate ability to swiftly unravel its depths.

Moreover, I hope that this message will present a perspective and insight far beyond my own comprehension. I understand that my ideas may reflect an idealistic sentiment, meanwhile, my current approach embraces novelty, spontaneity, and experimentation. My immediate aspiration for the work is to ignite curiosity and fascination regarding the potential of artificial intelligence, allowing viewers to interpret and expand upon it in diverse and personalized ways—an “open-source” approach where its application becomes whatever each individual deems suitable.

Familia Atomically

Current Value by Frank Manzano

Some questions that are always at the forefront of my art practice: how do my images relate to the images that precede and surround them; what expectations are we bringing to images, and how are these expectations established and reinforced; what purpose do these expectations serve and how can we interact with these expectations? AI image generators are a fascinating new tool for exploring these questions because they create images based upon a dataset of hundreds of millions of preexisting imagery but are otherwise unfettered by the preexisting expectations of visual culture. That is, they make new images based on predictions from all the images (and image tags) that precede them. However, they are not otherwise bound by human logic or cultural codes and therefore make images that reflect these codes in surprising and often challenging ways, like a funhouse mirror. There is a beautiful collapse of category distinctions and a dynamic interplay between un-indoctrinated naivety and an appreciation of precedent.

Fried Egg

[Daily.xyz](https://daily.xyz/exhibition/10023) - Misunderstandings (or Life on the Island) is a series of 10 artworks Engman produced for Frieze Magazine and 3 artworks from his interview with The New Yorker.

An art practice questions: image relationships, image expectations and their establishment. AI image generators are a tool to explore these; they create new images from vast pre-existing imagery, unconstrained by visual culture expectations. They predict from all preceding images and tags, unbound by human logic or cultural codes, making images reflecting these codes in unexpected ways. It's a captivating collapse of category distinctions and an interaction between untrained naivety and appreciation of precedent.

Lunch Break

Charlie Engman 1/1

"Temporary" is a thought-provoking collection of post-photographic images that delves into the emotional journey of grief. Through a visual representation of the five stages of grief - denial, anger, bargaining, depression, and acceptance - this collection offers a unique perspective on the complexity of human emotions. Each stage is expressed through visual storytelling and the carefully crafted use of color – aimed to encourage and inspire individuals to connect with their own emotions and seek comfort in the knowledge that they are not alone on their journey.



 Year: 2023

Edition: NFT 1 of 1

Copyright: © 2023 Julie Wieland. All Rights Reserved.

License: CC BY-NC-ND 4.0

Temporary #071

[Daily.xyz](https://daily.xyz/exhibition/99) - Post Photographic Perspectives I is DAILY's inaugural group show celebrating a new wave of innovation in photography.

Temporary is a thought-provoking collection of post-photographic images that delves into the emotional journey of grief. Through a visual representation of the five stages of grief - denial, anger, bargaining, depression, and acceptance - this collection offers a unique perspective on the complexity of human emotions. 

Each stage is expressed through visual storytelling and the carefully crafted use of color – aimed to encourage and inspire individuals to connect with their own emotions and seek comfort in the knowledge that they are not alone on their journey.

Temporary #057

Temporary by Julie Wieland

"In a world that ceases to exist, every universal being coincides in a peculiar harmony. Their individual tales and perceptions are woven together in a mysterious fabric of connections, unearthing a realm too vast to comprehend. The bonds between its inhabitants and their stories forever remain etched in time and are stronger than any tangible fabric of reality. 
Surreal and ethereal depictions of this place offer stolen moments of insight. It is where the impossible becomes a daily occurrence, and a veil of uncertainty is lifted to reveal a glimpse of the extraordinary. This alternate realm of existence is a testament to the power of the human spirit, the limitless potential of the mind, and the ever-changing nature of the universe."



 Year: 2023

Edition: NFT 1 of 1

Copyright: © 2023 Katie Morris. All Rights Reserved.

License: CC BY-NC-ND 4.0

Subject #16

[Daily.xyz](https://daily.xyz/exhibition/93) - Post Photographic Perspectives I is DAILY's inaugural group show celebrating a new wave of innovation in photography.

In a world that ceases to exist, every universal being coincides in a peculiar harmony. Their individual tales and perceptions are woven together in a mysterious fabric of connections, unearthing a realm too vast to comprehend. The bonds between its inhabitants and their
stories forever remain etched in time and are stronger than any tangible fabric of reality.

Surreal and ethereal depictions of this place offer stolen moments of insight. It is where the impossible becomes a daily occurrence, and a veil of uncertainty is lifted to reveal a glimpse of the extraordinary. This alternate realm of existence is a testament to the power of the human
spirit, the limitless potential of the mind, and the ever-changing nature of the universe.

daily.xyz (dailyxyz)

daily.xyz (dailyxyz)

Featured (0)

All Works (0)