This is a study of the RGB colour space and there are 3 rules governing the outputs:

1. Each mint has a seeded R,G,B colour channel value.
2. These values are cycled between the colour limits.
3. The cycling movement can be static/incrementing/decrementing.

The resulting colour values are plotted according to these rules as the output image.

Color triads #7

beardcoded

'Radiance' takes the concept of emanating energies of bodies as its starting point. These energy centres represented by the symbols - circle, square and triangle, intersect along the spinal axis generating a soft body glow of emergent patterns.

Mouse click OR keyboard numeral-1 generates a new radiance, among the infinite  unique possibilities.

Radiance

This is the second iteration of a study on subdivision of space, using pixellations of basic forms and colours generated through parametric equations. 

keyboard '1' enables autoplay of unique infinite iterations of the minted space.

Created for 'ART OF CODE' Tezos Exhibition, 27 May 2023, Bengaluru, India.

Subdivisions II: pixel forms #40

"How much of one is in the other" explores the unique invocations of the RGB colour space. Colour value as defined in applications is a combination of Red, Green and Blue values between the ranges of 0-255. This work generates a unique colour from the hashcode and thus values for each of Red, Green and Blue channels. Each unique minted edition of this work visually explores its RGB colour space by keeping one value constant while the other is circled between 0 to 255 values. The resulting work is a unique rendering of each color value varying between their maximum ranges, by always keeping one value constant. The final image is constructed in a way that it also reads as an aesthetic graph of the minted RGB values.

"How much of one is in the other" is also a conceptual artwork, in a way that the title also encodes the algorithm itself. The idea driving the work emerges from our individualities that creates differentiated notions of self resulting a fragmented world, but yet we are also social beings with our emotions, desires, likes and dislike and such qualities that bind us as human beings. This work attempts to bring to surface these commonalities of our unique selves.

How much of one is in the other #126

Exploration in abstract writing and forms and their diffs.

Diff #1

A musing on life..
Click changes modes Dark/Light/Colour

Come together, separate forever #1

This work alludes to the need for rethinking our dependencies on primary sense faculties. In recent times we have seen with the explosion of web3, we are blinded by beautiful visuals so much that we are not able to see anything else anymore. Can beauty be described, or felt, or touched, can it touch us in that process? These were some of the questions that resulted in giving direction to this work, where the challenge was to create a simple landscape using descriptive labels, so that the landscape might be seen in a different light.

Also over the years having worked with differently abled people, the motivation also was to create a work that is inclusive and the beauty of a visual that can be enjoyed by everyone. With this in mind, I tried to create this work that uses the p5.js accessibility library, so that a description of the visual can be read by a screen reader.

Pressing '1' generates a text output of the visual the can be read by the screen reader, and 's' saves the current image. 

I had a few challenges in using the accessibility package, and had to resort to a basic version of the work to make the library usable for me, and much needs to be done in terms of it being user friendly for the general public. To that effect, 50% of the sales from the work will be donated to The Processing Foundation, to help with developing the accessibility library further. Also 66.66 % of the royalties will be perpetually split between The Processing Foundation and the first minter.


Describing a landscape #15

This is study of colour, by the lines that separate them. The algorithm basically takes the various seeded lines of colour and splits them by adding lines perpendicular to the central line, differentiated by one colour channel being varied from the central line value.

The resulting lines and their overlapping interactions generates sub-textures and higher order patterns, exposing how colours and patterns are a result of various lines placed next to each other.

written in p5js @beardcoded

Lines separating colour #10

Subdivisions II: pixel forms #7

Subdivisions II: pixel forms

How much of one is in the other #31

How much of one is in the other

Diff #11

Diff

Come together, separate forever

Describing a landscape #54

Describing a landscape

Lines separating colour #11

Lines separating colour

'Tropicália' is inspired by the varied influences that elevate our perspectives, by seeking out the aesthetic sublime. This work takes the much loved genre of flora as its starting point, and aggregates a minimalist composition.

As the Brazilian artistic movement that arose in the late 1960s, a dominant principle of Tropicália was antropofagia, a type of cultural "cannibalism" that encouraged the conflation of disparate influences, out of which could be created something unique. The idea was originally put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, and was developed further by the tropicalistas in the 1960s. It was characterized by the amalgamation of Brazilian genres—notably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Tropicália was not only an expression in analyzing and manipulating culture but also a mode of political expression. 

Even though the utopian movement formally ended in 1968, it continues to live and inspire work in current times.  

@beardcoded, 11 May, 2022

Tropicália #1

Tropicália #12

Tropicália

'Itaya' means belonging to or resident of a place, almost like a co-ordinate system that always orients us to the canvas. This work plays with this notion of fixed positioning of loops and grids, by adding minor displacements to the rendered position of the unicode characters as a study in nature of things and their organic arrangements.

Itaya #1

Itaya #12

Itaya

I like colours a lot. There is something uplifting to be immersed in pure colour. I also like how glasses of various thickness and transparencies allow light to pass differently, creating various shades of the same source. This generative work is an imaginative study in the interest to witness various such settings.

@beardcoded, 28 May 2022

Luma #3

Luma #7

Luma

A series on study of generative aesthetics based on endless repetition of fixed primary forms - lines, triangles, circles etc..

Each work contains 10 sub works, one for each of the form configurations above, which can be enabled by pressing keys 0-9.

's' save the current canvas image.

Foundation Series #9

Foundation Series #10

Foundation Series

Generative scrawls between writing and drawing.

Scrawl #97

Scrawl #86

Scrawl

Continuing the study of textures and fabric weaves, this series uses parametric equations to create infinite RGB patterns in a quilt like patchwork. 

This work is created for #tezosartweek 2022, in p5js.
@beardcoded

Parametric quilt #3

Parametric quilt #5

Parametric quilt

Having been fascinated with various fabrics and print, I feel there is a an intrinsic connection between generative art and the various modes of fabric generation and weaving patterns that feels so close to computational arts. Continuing with this line of pursuit, this series riffs on generating silk like textures and some dotted stitching patterns using parametric equations, in a way that these metaphorically feel like the various silk routes that were used to travel, crisscrossing each other with each path writing its own history and the various ways they were used to trade, exchange and treasure the silk in different parts of the world.

@beardcoded written in p5js.
12 Jun, 2022

('s' saves the current image)

Silk Routes #52

Silk Routes #54

Silk Routes

continuation of exploring fabric weaves and patterns, applied to landscapes looking through a patchwork quilt of a window. 

'clothing a landscape'

@beardcoded, 1 July, 2022
 

clothing a landscape #14

clothing a landscape #17

clothing a landscape

This is a 3rd artwork in the Currency Series on meta performance of value creation on the blockchain. These tokens display a random background and value from 0.1 to 9.9 fxt. These tokens do not follow deterministic rules, so the value that is displayed is always changing, there is no guarantee to it, also each click randomizes the state again to display new background and value. Only the minted hashcode is unique across all iterations.

The tokens are being released as part of a performance where 100 tokens starting at 10 tez are minted. Every 10 mins the value is dropped by 1 tez, also at the same time 10 tokens are burnt, till there are no tokens left to burn anymore.

The work is meant to be an endless performance on valuation of artwork, where the artwork itself is changing and has no permanence.

Currency 3.0 #5

Currency 3.0 #2

Currency 3.0

An equation with two sets of parameters are entangled in a perpetual dance of sound and colour. The underlying concept being that a pair of interplaying notes of colour or sound are needed to interfere with each other and create microtonal harmonies and forms. Also harmony and harmonizing implicitly indicates an interaction, just like a double slit is the minimum required to allow an interference of photons, this piece uses the outputs from two parametric equations to render both sound and colour grids emanating from this process. 

Although each mint is unique, there are nine variations of the visualisations that can be cycled by pressing '1' on keyboard, so in effect all the mints will contain a unique iteration of all the nine modes. 'mouse click to enable sound'

@beardcoded

Soundgrid #34

Soundgrid #10

Soundgrid

Currency 4.0 is an edition of the "Currency" series of conceptual artworks, a meta-performance that plays out on valuation, pre and post minting of the artwork. In this series each minted currency follows its own trajectory of daily changes in value, either incrementing or decrementing. These changes accumulate over time and are recorded in the currency itself, so in effect the currency stores its own value chart perpetually from its inception, giving memory to the currency itself.

's' saves the current image and 'h' saves a txt file with the price values that have fluctuated overtime.


Currency 4.0 #5

Currency 4.0 #9

Currency 4.0

In celebration of #fxhashturnsone, this series speaks to the forms that emerge out of interference patterns. The idea was to study the patterns emerging out of parametric equations and how they might interact. For this, first the space is subdivided and a plan is etched out and on top of which some patterns are layered progressively, creating architectures of interference. In a larger context this work aims to reveal emergent aesthetics on interferences of abstract nature.

's' saves the image.

Interference architecture #57

Interference architecture #17

Interference architecture

As a painter, I am interested in using algorithmic processes to aid the exploration of the abstract painting space. While the inherent nature of mediums are different, either being code, oil, acrylic, pastels etc..this work tries to create a uniform layer of frizzy paint like materials, in turn creating random overlapping forms and textures.

Frizz #21

Frizz #22

Frizz

What are the drawings that equations make, and what can it inform us about our own drawings?

A study on the forms and fields generated by parametric equations. Each iteration, the background and the foreground drawings are uniquely rendered using a single equation, in a way to observe the various ways in which parameters may guide us.

#TributeHerbertWFranke for #fxhashturnsone - 50% collection proceeds are shared with Herbert W. Franke foundation.

written in p5.js

Glow fields #35

Glow fields #39

Glow fields

Currency 5.0 is generative token commenting on the concept of value creation. The essential aspect of this process being that instead of the token being subjected to an arbitrary value determination and fluctuation, this token promises the minter that this "Coin" can always be reimbursed for the original mint value "till the artist is physically/mentally capable of performing this duty", hence this is also a long-form meta performative piece.

For this purpose a new dedicated wallet has been created (tz1N24vNXwcbmCRak3v83Qah5HaQn1xd768a), which promises to hold all the actual tezos generated for this purpose, in such a way that this exchange can be fulfilled.

Currency 5.0
@beardcoded Nov, 2022

Currency 5.0 #9

Currency 5.0 #10

Currency 5.0

"Everything grows by subdivision" a general observation that led to defining this work and the concept behind it as a study how a surface can be subdivided recursively to define forms. The patterns inside the forms are generated by parametric equations and also change according to the forms that contain them.

@beardcoded 
1st jan 2023

Subdivision: forms and feelings #50

Subdivision: forms and feelings #191

Subdivision: forms and feelings

When the edges are chopped off, some brilliant facets emerge.


Gemstone #1

Gemstone #23

Gemstone

Poster 1 - Automata,
Generation 2023

A series of posters being released as part of an exhibition on generative art processes to be held in December 2023. The exhibition alludes to the notion that art forms use generative art practices to create conditions for the works to emerge, in a way that the process itself is generative.

This poster, the first in the series, references the classic cellular autmata algorithm to produce unique variations of the word "Generation", that is also the title of the exhibition.

's' saves a 4800x4800 pixel image
'1' start an animation
'0' pauses it 

This exhibition is being developed by and realised at Sunaparanta, Goa Centre for the Arts, curated by Srinivas Mangipudi.

Generation - Automata #241

Generation - Automata #232

Generation - Automata

keyboard: "s" saves an image in 2400x2400 pixels

subdivisions: la culpa #10

subdivisions: la culpa #1

subdivisions: la culpa

Digital squeegeeing in the study of abstract painting. Only rarity is the vision that you see.

Code by @beardcoded on p5js.

Squeegee #28

Squeegee #25

Squeegee

progression #21

progression #30

progression

Color triads #19

Color triads #18

Color triads

An attempt to study abstract animation, where forms just emerge out a pot-boiling process, like sometime you just cook all the leftovers and then enjoy the delicious burnt bottom. This is a tendency to realise the same through drawing and abstract animation.

mouseclick or numeric-0: reruns the animotion
doubleclick or numeric-1: endless animotion mode
keyboard key 's': save the current canvas as image

Animotion @beardcoded

Animotion #2

Animotion #4

Animotion

Currency 1.0

This is one of a series of conceptual artworks about art and valuation. Each artwork is an exact replica of itself, so all the generative pieces look and feel the same. This work references Fxhash & Tezos eco-system and thus each token is fictionally named as FXT, but it has no relation to the official platforms. 

This artwork attempts to questions the basic premise of art valuation - does art have any value if the art itself costs nothing? Is the value of art what the anyone wants to pay for the work? Is art itself the currency, or is currency the art?

There are 2500 editions in Currency 1.0, with each edition costing 0 XTZ. 
Royalty is 10%, the minimum permitted.

Currency 1.0 @beardcoded

Currency 1.0 #4

Currency 1.0 #1

Currency 1.0

Ever since I was a kid, I used to love the feel of woven cotton fabrics with their colourful and funky patterns, especially the ones with irregular designs or erroneous aberrations. Later when I first came across the cellular automata algorithm, I was impressed by the ingenuity of the code and imagined it as a base for generating abstract designs, resulting in some fabrics of my imagination.

Automata cotton fabrics #4

Automata cotton fabrics #1

Automata cotton fabrics

"Tumbling over time" is a homage to fxhash.

The moving blocks of time had all of us scrambling over to either get our works in, or get some works out within the opening and closing time slots. This was an amazing innovation and was a hallmark of the platform, that left us longing for more every time, just like the limited time we have in our lives. This work renders this spirit and anthropomorphises the clock face to convey this feeling.

Either the background or the clock hands reflect the changing light conditions and thus the colours keeps changing through out day and night. Rest of the colour combinations are assigned randomly. 

Pressing 's' saves an image of the current time. The preview image rendered is a snapshot of the time the edition was minted on the server, while the live version will always display the local system time.

50% of the proceeds will be donated to fxhash as an offering for the time given to us.
 
@beardcoded - 14 January, 2022

Tumbling over time #1

Tumbling over time #2

Tumbling over time

This work is the 2nd part of a series of conceptual artworks on art and valuation. The emergent differential behaviour of the market that may be generated between the currency series is the intended result of the work. 

Each token has an individual value of 1 FXT, has its unique colour. When the token is touched, it glows golden and shows the cumulative value of all the total tokens of the series, that is 100 FXT, and it goes back to it based value of 1FXT when its not being touched.

Each token is 1 tez with 10% royalty (the minimum allowed)

Currency 2.0 @beardcoded

Currency 2.0 #5

Currency 2.0 #10

Currency 2.0

Landscapes are an inherent part of the self, where often times the self is represented as an anthropomorphic form, self is indeed also a landscape. While the self is usually concentrated in a living form, self is also the infinite. The self dreams its unique dreams, there is nothing that is as this. These are the landscapes that dreams are made of, and in the dream, dreaming of these landscapes. Lived experiences are the seeds for the dream. These seeds encode the knowledge as algorithms that dream, and they dream of self, through the dreams of the landscapes.

This generative system uses movement, collision and gravity as the landscape generation engine. This work adapts to the full screen size, hence the renders of each unique iteration are expected to differ across devices and screen sizes.

'1' or mouse click - creates a new landscape element
's' - saves the current canvas

Written in p5js @beardcoded
27 Jan, 2022

Dream autonomy #20

Dream autonomy #21

Dream autonomy

What I wanted to write today, was written by a machine.

An endless generative notebook, unique for each token.
"Mouse click" or "keyboard-1" shows the next page. 
"Keyboard-2" shows the pages sequentially in an animation.

Marginalia #2

Marginalia #19

Marginalia

An exploration of endless audio and visual generation with sine waves.
Click to enable audio. 's' saves the current image.

@beardcoded

Sinescape #15

Sinescape #18

Sinescape

Each day adds new petals to the generative flower, creating an iris of petals all year round. The same arrangement will repeat only on the same day next year. There are various configurations of flowers from 2-10 petals. 's' saves the current image. 

Most of the flowers are regular, but some are irregular, thats just the way it is. 

"My garden, your garden, 
flowers look and smell the same"

Flower Iris @beardcoded 14 Feb, 2022

Flower Iris #4

Flower Iris #10

Flower Iris

Exploring space and depth by rendering curve repetitions. This state is created by giving ample leeway to the parametric variables, so that they can flit in and out of the frame.

Expansion #4

Expansion #1

Expansion

As a study on moire patterns produced by overlapping basic shapes ○ □ △ in RGB, on either dark or light background.

RGB ○ □ △ -> beardcoded in processing

RGB ○ □ △ #21

RGB ○ □ △ #24

RGB ○ □ △

Colour Triad 19

Radiance 8

8BIDOU

This is an old generative artwork from 2016, and in spirit of reliving old memories of a #HENreunion, minting this special edition. The work is a colour wheel that is ever changing and that is the only constant. 

Coded in p5js.

I wonder who prays for us

Hic et Nunc

Stemming from visual heuristics in drawing and painting, this series 'Visions', renders outputs from a custom generative algorithm to explore the aesthetics of abstraction using progressive forms. 

These hi-resolution outputs are coupled with the artist's unique vision as the name of the artwork. 31 unique 1/1 iterations from this algorithm will be released. Once the editions are sold, the algorithm will be made available as a print to the collectors.

Visions 4 - summer sea

Visions 3 - Bougainvillea

Beardcoded - Rarible

©...

love is more than a ...

Typed

'Lost to be found' started as a public intervention project, where commonly found notebooks were filled with abstract signs and symbols as part of my cognitive drawing practice, and then anonymously left in different parts of the world. Till date some 70+ notebooks have been lost in various public places, not bearing any marks of artist, so that drawings may be the only source of interpretation. There are no whereabouts of the original notebooks, if they remain, modified or are destroyed, and no stories of what happened when someone must have found them. 

Some notebooks from this project were exhibited as part of  Open Sessions 10 group exhibition 'Marginalia', at The Drawing Center in New York in 2017. (https://drawingcenter.org/exhibitions/marginalia-open-sessions-10)

In this series of works, I am curating pages from these scanned notebooks to be interpreted and reconstructed by ai algorithm trained on public ImageNet dataset using variational auto encoder and clip. On the left side is the original drawing, and on the right side is the image reconstructed by the ai model.

Lost to be found  Ai#1

Lost to be found Ai#16

Versum

The concept of auto mimesis, where one sees an image of itself in its own creation becomes more and more relevant now in the age of AI. More so as GANs (Generative adversarial networks) have really revolutionised autonomic learning, where the machine is pitted against itself and keeps learning and optimising till it can beat itself at its own game. While in many situations a clear goal like victory, classification, solution etc can clearly define how the machine is performing, but in other areas like art it becomes a subjective truth.

There are a couple of motivations here 1) the pursuit of learning about and furthering painting by exploring the various painting styles of master painters 2) how are the ai models are making their decisions while conjuring these images based on various instructions using artifical intelligence methods public image datasets like imagenet. Bearing in mind that neither the model nor the dataset has sufficient information to entail a precision study of the topic to make an informed opinion on the same. Neither does it intend to be reduction or generalisation of the works of the master painters. It is just a casual exploration in the interest of studying aesthetics through generative painting, by coaxing a machine to reveal its thinking process.

The deviations between painter's styles and ai model's approach on constructing these images are exposed by forcing the algorithm to render one of the most iconic painting "Monalisa" in various artist styles as it understands, so that it gives us some comparative basis for reading the deviations. Although various ai methods exist where transfer learning is used to apply one artist style over the other, this approach is different using variational auto encoders, where the image is constructed bit by bit, transforming the input attributes to map onto the attributes and features and relationships that the model has learnt itself.

Monalisa by Francisco Goya

Auto mimesis where one sees an image of itself in its own creation, forms the basis of this work. The deviations between painter's styles and AI GAN's approach are exposed by coaxing the algorithm to render one of the most iconic painting "Monalisa".

Monalisa by Paul Gaugain

Automimetic painting: Monalisa and the AI painters

In exploring how to render different patterns and their interferences through coding an algorithm, different variations emerged that were special for me, that are being released as unique editions. Also maybe interesting to note that all the variations were generated through a single equation by varying its parameters.

Interference architecture 1

This series is a part of my research in visual heuristics to determine simple learnings from complex visual language and be able to understand ourselves better through our drawings, that are unique iterations of custom generative algorithms.

Sub symbols 4

Generative Drawings

extracted out some symbols lurking just below the surface of cognitive skin.

- minted for #1of1 tezos art week, july 2022

Sub symbols 2

Sub symbols are drawings that lurk just beneath the surface of our cognitive abilities. They are codes that influence the being, or it maybe that the being is part of that code. Surfacing these drawings to able to sense and perceive these symbols.

red frame on nature

- minted for #1of1 tezos, 2022

Sub symbols 3

Sub symbols

just felt like painting some coconut trees and landscapes

Coconuts #1

Coconuts #9

Coconuts

A curated series of 1/1 to study drawings emerging from parametric equations.
Generated using custom algorithms in p5js - @beardcoded

Raining on amazon

A curated series of 1/1 to study drawings emerging from parametric equations. 
Generated using custom algorithms in p5js - @beardcoded

Grip

Parametric code drawings

exploring abstract compositions using binary classification of light or shade, with references to b&w photography and drawing studies.

beardcoded

beardcoded

Featured (0)

All Works (0)