@Annika

Erik Swahn is an architect based in Stockholm, Sweden working with structures and computational art.

Each Kinetogram traces the movement of a number of simple shapes constrained within a single cell or a grid of cells. Forces are applied to the shapes in the form of attraction, gravity or shaking.

Some Kinetograms are partially or completely reflected, vertically or horizontally, some with chromatic replacement.

Kinetograms #312

Kinetograms #235

Kinetograms #191

Mark Knol is a generative artist from Netherlands most famous for his procedurally generated NFT series SmolSkull.

Over the past decade, Mark has produced and contributed to hundreds of open source projects, including notable contributions for the Haxe community.

He has produced a wide variety of generative art and is ranked in the top 20 artists on hicetnunc and fxhash. He created international award-winning projects, games and work for brands like Google, Red Bull, Amazon, Pandora, Netflix, McLaren and many more brands during his career at Media.Monks.

The most wonderful thing about a beautiful outside view is that you swim in the aura created by that view as if you were in an endless pool of happiness!

An allele, short for 'allelomorph', is an alternative version of a specific gene.

This collection (which is in no way scientifically accurate), was born out of an exercise in simplicity. Outputs are made up of arrangements of squares in various compositions, yet within that we are free to imagine what they could mean.

For some, the resulting shapes might represent DNA strands or atoms. Others might see cells or the building blocks of the hereditary instructions that shape us as individuals.

Kwame Bruce Busia is a multidisciplinary artist from London, better known as Studio Yorktown.

"I went from architecture, through photography and graphic design, to making templates and effects for digital artists, which led me here now to making different types of art and NFTs"

PLANET ERROR #149

PLANET ERROR #130

Planet Error :

The legendary collaboration between ippsketch and Piter Pasma.

Jeff is a generative artist, using code to create.

Jeff's artist handle (ippsketch) stands for i++ sketch. The increment operator (i++) is used in code to iterate a process forward, so it's a reference to the code behind the art and an invitation to move foward and evolve the artistic practice.

Jeff lives with his wife and three children in Austin, TX.

Piter Pasma is a generative artist from Netherlands, inspired by randomness and expressing himself through experiments with code and complexity.

Describing his work, he says ....." Among the space of algorithms are buried gems in carefully tuned black boxes, concrete trap doors leading to unexpected dungeon forests, only seen when you open them a thousand times, sideways."

Suprematism has advanced the ultimate tip of the visual pyramid of perspective into infinity....... it has swept away the illusions of two-dimensional planimetric space as well as the illusions of three-dimensional perspective space, and has created the ultimate illusion of irrational space, with its infinite extensibility into the background and foreground" - El Lissitzky

Caving Wilde

Last Fire Editions: Van Gogh's Self portrait

Machines: Machine #1

BlomBlom Poster

Last Fires Life: Different Species

BLOMBLOM

Ryoanji (龍安寺, The Temple of the Dragon at Peace) is a Zen temple located in Kyoto, Japan. The Ryoanji garden is considered the grail of kare-sansui ("dry landscape"), a type of Japanese Zen temple garden. Kare-sansui features distinctive larger rock formations arranged amidst a sweep of smooth pebbles raked into patterns that facilitate meditation.

Given the reality of physics, rearrangements of Ryoanji is not feasible. John Cage composed his Ryonaji with chance, pencil and paper. In 1982, when Cage was commissioned to design the cover for a book to be published by Editions Ryôan-ji, he developed a process of chance-controlled creation, consulting the coin oracle of the I Ching and later computer-generating randomized numbers, reducing the subjective aspects of both composition and performance.

Here, artist Jimi Wen recomposes Ryoanji exploring the limits and boundaries of generative art. Instead of rearranging the stones, which he fixed, everything else is by way of chance. Every aspect of this piece - the original physical walls, imaginary walls, p5js raked sands, trees beyond the walls, and including the visions we see with our mind not our eyes, elicit a form of meditation on screen.

Like any work of art, the artistic garden of Ryōan-ji is also open to interpretation into possible meanings. Different theories have been put forward about what the garden is supposed to represent. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize anything, or more precisely, to avoid any misunderstanding, the garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural beauty that one can find in the real or imaginary world. I consider it to be an abstract composition of objects in space, a composition whose function is to incite “meditation”.

In the science journal Nature, Gert van Tonder and Michael Lyons analyze the rock garden by generating a model of shape analysis. Using this model, they showed that the empty space of the garden is implicitly structured, and is aligned with the temple's architecture, where the axis of symmetry passes close to the center of the main hall. The implicit structure of the garden is designed to appeal to the viewer's unconscious visual sensitivity to axial-symmetry skeletons of stimulus shapes.

Jimi Wen: Ryoanji #45

Amy Goodchild is an artist based in London. She uses code and other technology to create art which explores generativity, group experience, and interaction.

"Considering the rule-based nature of algorithms has led me to consider the rule-based nature of the universe. Complexity emerges throughout nature from simple rules. I question whether anything exists outside of a ruleset, or if all existence can be considered an algorithm."

“In a universe without meaning, we constantly strive to find it. This search is something I find absurd, liberating and joyful. While a computer has no innate sense of what a human might consider meaningful, it's possible to create algorithms that create art that seem imbued with meaning.”

matter Waves #66

MATTER WAVES