Click for sound.

These generative animations and soundtracks are constantly evolving and changing, never quite returning to their original form.

The 64 minted artworks create a series that is driven by artistic and creative decisions coded in software, while allowing for randomization.

These studies include experiments into dimensionality, shape, rotation, color, sound, iconography, layering, movement, connection, language, understanding, thinking, meditating, and communication.

Some of the visual content comes from type, characters, personal photographs, emojis, and the sounds are gathered from a variety of sources.

It's a lot to try to fit into a work or a series, but we are moving into an additional dimension of physicality, speed, storage, software, finance, and art.

The 2 dimensionality of the planes in this work is a reference to Web 2. Overlaying multiple 2 dimensional planes on top of each other, new shapes and concepts emerge, hinting at possibilities for Web 3 and beyond.

We go forward with innovation and experimentation, moving all together into the great unknown.

Technologies used: HTML, CSS, JavaScript, Web Audio

Thank you:

freesound.org - for sound, specifically warmth - 808.wav by rorymceachan, Dream_soundscape_0001_G6.wav by Opossum, bass 16b.wav by Veiler, Birds Tree Forest Meditation by szegvari, Low Tom Of God Wet 006.wav by Suicidity, Bell 4.wav by el1n, Bells 2.wav by gevaroy, Spirit Cello.wav by Nightlife999, bell-meditation_cleaned.wav by JetRye, 808bd4.WAV by stomachache, desolated_strings_&_wood_loose_string_drop_rattling_01.wav by TheSoundcatcher, ROM RAM REM -- A computer's First Dream.wav by zuben, Sewing machine by Jagadamba, SynBass01.wav by deleted_user_9246990, shreem meditation voice.wav by Ashishprajapati, string pizzicato by PhonosUPF, Meditative Ringing by komit.wav, White Noise, Low Colour, A.wav by InspectorJ, Singing Bowl - Soft Stick Meditative Hit by Rimych, Beep Pattern by BrickDeveloper171, LALLOUETTE_Augustin_2021_2022_MoreBeeps.wav by univ_lyon3, Om.wav by ApeironMedia, UI, Mechanical, Text-Scroll, 03, FX, 01, LOOP.wav by InspectorJ, Bell Echo.wav by tec_studio, bell 1.wav by patchytherat, string delay by PhonosUPF, creativeBells_yfs01_yourfreesounds.com.wav by YourFreeSounds, elevator machine room hallway.wav by itinerantmonk108, Strings _ MS Tense Strings _ D.wav by colourofeternity, Meditate Cave Fantasy Night _01.wav by szegvari, sewing 2.mp3 by jimsim, Creatures Night Dream Creepy Fantasy SFX Ghost 201010_0059.wav by szegvari, JinglingBells_Wreath_01.wav by Department64, Cinematic Piano Dream Sequence - 02.wav by GregorQuendel, Green Field - Myst Dreamlike Dream Fantasy Female Men Choir Drone Synth Cinematic Atmo.wav by szegvari, Digital String (F#) by D4XX, bass - bass distort.wav by room, Ambience, Machine Factory, A.wav by InspectorJ, Will DnB Bass 001.aif by humphreyswill, Laundry Buenos Aires by Wakerone, Printer, Very Close, A.wav by InspectorJ
Unicode, Inc. - for characters
lipsum.com - for one paragraph of lorem ipsum
Emojipedia - for emojis. Since emoji rights are currently being worked through, I am claiming fair use for using this content.
Stack Overflow - for all of the incredible software knowledge
Tezos Foundation - for new financial models, that allow us to create things never before imagined
fxhash - for building such a fun Web 3 platform, that helps to pay artists for their work
various tech, art, and finance giants - for all who build the world wild web and make it available for everyone to enjoy, use, play, experiment with, and learn from. No one can build anything alone, but together we can manifest our dream worlds.
collectors - for the generous XTZ that I can use to pick up more NFTs :)
cari ann shim sham* - for all of the wild inspiration

The software used to create this artwork is made available under the MIT license. The artist reserves all rights to this work.

Best viewed in Chrome on desktop.

metatation sounds #38

metatation sounds #13

⭐ 🌟 ✨ hold this token for good luck streak ✨ 🌟 ⭐

⭐ 🌟 ✨ GL ✨ 🌟 ⭐

I tend to work on platforms that I see having a secure and stable future, so that the work that I am contributing can be available for people to enjoy in the future.

Smaller platforms that aren't well funded are nice to follow along with, but investing your time, capital, and energy into them can be risky.

At the time that hic et nunc was being built, I was focusing my efforts on creating my own platform in hopes of paying artists for their incredible work. I am happy that the Museum of Wild and Newfangled Art that I created along with cari ann shim sham* is still going strong.

We threw an Opening Show which ran from January 8 through April 29, 2021, which is the time period in which hic et nunc was launched. It is one show in which I curated my own work. Originally the museum was meant as a place for cari ann and I to put our own work, as the platforms that were available were not paying artists livable wages, and there were many problematic issues such as advertisement, which is too distracting for a pure art experience.

DOSE is a series of experimental photographs, ten of which were exhibited in that first Opening Show. DOSE is a meditative work, where the viewer is invited to sit with the still image, and spend time drifting between viewing, thinking, and being. In a world of popups and constant advertisement they are offered as a small refuge. They were created in July 2020.

The original ten were made available on OpenSea as 1/1's, as part of an exhibition that explored the Ethereum blockchain and the OpenSea platform.

This 11th version is made available on the Tezos blockchain, as part of the #HENreunion event, organized by Rodell Warner. While I never minted a work on hic et nunc due to concerns over the future of the platform, I am happy to mint this version in celebration of it.

Risky platforms will forever rise and fall. Hic et nunc's magic is in the community of incredible artists that it brought together, and this #HENreunion event shows its staying power, and cultural significance to the art space. Hic et nunc has shown that even if a platform fails, the work can find ways of carrying forward both on the blockchain and in the spirit of the people.

Congratulations to all of the builders, artists, collectors, and friends of hic et nunc and other risky startups. Your work is forever a part of this wild story.

Additional copies will be burned as per usual.

DOSE #173

objktunlocked

The Supreme Court just ruled against Andy Warhol.

How much does an artist need to alter something before its fair use?

Is a blur filter of 24 pixels enough?

DOSE #SC

Looking at pond water under a microscope can reveal all kinds of wild and wonderful nature. This was minted as part of the #tezos4nature event.

pond water under a microscope

metatation sounds #53

metatation sounds

8BIDOU

Hic et Nunc

There are few greater pleasures in life than eating a slice of raw tuna dipped ever so disrespectfully in soy sauce.

An occasional slice of toro.

An occasional piece of uni.

Hope there isn't too much mercury poisoning and radioactive toxins.

Subway, is the tuna really tuna?

Is the ocean on fire?

Sushi is a finger food.

__________

This artwork was minted as part of the Tezos Tuna #TUNATIME event, which took place from August 23 through August 28, 2022.

🔥🔥🔥🔥🔥

How much does an artist need to alter something before its fair use?

SUPREME

micro

Oh no, my rare 2014 1/1 ASCII Doge has been ruined by tomato soup. No artwork is safe from the destruction of our planet.

#1111of1111 ASCII Doge (souped edition)

I started this project a long time ago to mess around with Android programming. Like many started projects, it went unfinished.

I started this project intended to be an ASCII art app in 2014 to mess around with Android. Like many projects, it went unfinished.

Computers read 0's and 1's and humans read words and sentences. The 7-bit ASCII character mapping takes 0's and 1's and creates a human readable character. Binary representation such as 0000000, 0000001, ... , 1111111 map to 1 of 128 characters (0-9, A-Z, a-z, punctuation, Teletype machine control codes, space). ASCII converts 10010000 to H and 1101001 to i, so a computer can read "10010000 1101001" and a human to read "Hi".

The ASCII standard was written from 1960-63. The mouse was developed in 1963-64 (made of wood). The graphical user interface was released in 1973 on the Xerox Alto. The command line was the main way to use computers. Pictures on computers were rare. https://www.computerhistory.org/revolution/input-output/14/350

Whirlwind I, a flight simulator built by MIT for the U.S. Navy in 1951, displayed computer graphics via oscilloscope. The project produced the light pen in 1955 by Robert Everett, under supervision of Jay Forrester. Light pens allow a user to interact with a screen and draw images, similar to a stylus. http://upload.wikimedia.org/wikipedia/commons/f/ff/SAGE_control_room.png

John Whitney Sr. and his brother James created experimental computer generated movies in the 1940-50's. Whitney's opening sequence of Alfred Hitchcock's Vertigo in 1958 is beautiful. https://www.youtube.com/watch?v=4CZfSc6nJ8U

In 1957 Russell Kirsch created the drum scanner to scan photographs for display as digital images. The first digital image was Kirsch's son. http://upload.wikimedia.org/wikipedia/commons/1/1a/NBSFirstScanImage.jpg

William Higinbotham, inventor of video games, created "Tennis for Two" in 1958, one of the first video games to use a graphical display. He wanted to be remembered for his nuclear nonproliferation work. https://www.youtube.com/watch?v=s2E9iSQfGdg

Spacewar! was developed by Steve Russell, Martin Graetz, and Wayne Wiitanen in 1962 for the DEC PDP-1. It used ASCII characters for the graphics. http://upload.wikimedia.org/wikipedia/commons/2/23/Spacewar%21-PDP-1-20070512.jpg

Ivan Sutherland created Sketchpad in 1963, the origin of modern computer-aided design (CAD) software. It was the first program to utilize a complete GUI and worked via light pen. https://www.youtube.com/watch?v=495nCzxM9PI

E. E. Zajac, a scientist at Bell Telephone Laboratory, created a film called "Simulation of a two-giro gravity attitude control system" in 1963, showing how a satellite could be altered as it orbits Earth. https://www.youtube.com/watch?v=m8Rbl7JG4Ng

William Fetter, who coined "computer graphics," supervised the development of a computer program that allowed Boeing to create the first 3-dimensional wire-frame images of the human body in 1964. https://siudesign.org/fetter.htm

In 1965 Frank Sinden of Bell Labs created a film called "Physics of Force, Mass and Motion" which showed computers using graphics. https://www.youtube.com/watch?v=f2hbBUWpEVo

The world's first computer ballet was programmed at Bell Labs by researcher A. Michael Noll in 1965. https://www.youtube.com/watch?v=phVN_HS5Fy8

Ken Knowlton, also at Bell Labs, created the BEFLIX (Bell Flicks) programming language which enabled movie creation. He created Poem Field with Stan VanDerBeek, a series of 8 computer-generated animations from 1964-69. https://www.youtube.com/watch?v=V4agEv3Nkcs (warning: flashing lights)

When ASCII became a standard in 1963, the computer world had experimental innovative projects in graphics, animation, pictures, video, and gaming. One of these projects was "Studies in Perception I" by Knowlton and Leon Harmon in 1966. This book included examples of the earliest ASCII art.

Knowlton took a scanned photo of dancer Deborah Hay and converted it to ASCII, the first ASCII art image. On Oct 11, 1967 it was printed in the New York Times, and was exhibited at one of the earliest computer art exhibitions, The Machine as Seen at the End of the Mechanical Age, by the Museum of Modern Art in New York from Nov 25, 1968 - Feb 9, 1969. https://www.albrightknox.org/artworks/p20142-computer-nude-studies-perception-i

ASCII art had many applications through computer history. Images would not display on monitors. Printers could not print images. Images could not be shared. Webpages, forums, email, and chat could not display images, but could display text. ASCII art's popularity grew as people converted images to text and then displayed, sent, or printed the text to give cheap graphics functionality to many types of devices that were already in use.

Later in the 90s, graphical browsing and variable-width fonts became popular, both of which led to the decline in ASCII art.

Apr 7, 2014 - Doge ASCII image generated

Jul 1, 2022 - listed on Tezos as part of @1of1xtz #1of1 event

Original photograph by Atsuko Sato, owner of Kabosu (Doge)

Font - Ubuntu Mono Bold, http://font.ubuntu.com

#1of1 ASCII Doge

This is a very early wip for an upcoming generative project that will happen on fxhash. The series will be built around the waterfall theme. For being an early supported of this project, I will airdrop the holder of this token a complimentary of edition of the series, which will have a minimum floor price of 28 xtz. Planning to take my time and make sure it is a quality project.

💧 💦 🏞 waterfall 🏞 💦 💧

🏞 waterfall 🏞

it's over

essential
post-essentialism

nature
art
movement

stay at home

wash your hands

little boxes

you can be here

but not there

private

public

rock n roll

punks never die

are you really from new jersey?

your best chance

for tonight

is probably a tent

facts not fear

__________

Lake Eerie, April 2020

This artwork was minted as part of the #200tezos event, with concept by Nathan Cornes, organized by Kika Nicolela, Rodell Warner, Sky Goodman.

Lake (Lime Green Edit, C🦠VID-19 Travels)

🦠 Ph🦠t🦠graphy while trying t🦠 stay away fr🦠m C🦠VID-19 🦠

🦠 it's 🦠VER! 🦠

Time is one of the best curators, and I use it as part of my practice in determining what should be released, and when.

No matter what medium I am working in, the days following bring a clarity to the work. When it is late, and the day and night have been spent creating, the new day brings a fresh set of senses to examine the work.

In addition to using time to access a clearer state, I also use it when determining what artworks I like, or find to be important. It is common for me to have many tabs open in a browser, each with a work that happened to catch my eye or ear in some way. The tabs continue to accrue sometimes into the hundreds. About every day I will quickly cycle through these works, occasionally closing a tab when a work no longer resonates. The remaining works are sorted, and every once in a while I'll make a purchase of a handful of works. Sometimes the browser crashes, and all of the tabs are lost. At first this would bring a bit of a dread to me, all of that work spent curating, gone due to an update or bug. But these days I enjoy it. Less digital clutter, and the positive power of destruction.

The good artists and great work always have a way of coming back to you. And the best work is seared into memory, and cannot be lost due to a crashing browser. The blockchain provides a nice functionality to artists, collectors, and curators, in that once you mint or collect the work, you have it there forever. At least until sites crash, storage systems shut down, and blockchains blow up.

I greatly enjoy using time as a curator on the scale of years. Often an artist will finish a work, and hold some opinion of it. And they likely will feel similar with their creation at the end of the week. But how will they feel about it a year into the future? Or a decade? Or more?

While many have rushed to dump their entire portfolio onto the blockchain, I have taken a more reserved approach. Every once in a while I'll release a work, usually as part of some event, in which the community comes together to collectively list new work, and celebrate these works by collecting. For example, this current #opentez event, organized by Joanna Canara, is a way to showcase the work of artists from around the world. Everyone is invited to mint, but not everyone is collected.

For this event I am releasing a photograph from my portal series. This image was taken in May 2019, out strolling the wild and wonderful streets of New York City. If you know the city in an in depth way, you will likely know the source. The work was made during a period in which I was out so often, taking photographs in a classical street photography sort of a way. During this period I explored movement, color, and light pretty extensively, although the fields have not been fully exhausted. This image was taken with a relatively fast shutter, and the camera is shaken aggressively in an up to down tilt motion.

Four years have passed since I took and edited this photograph, and the world has changed in many ways since that time. Over the years I have looked at this image on occasion, and it has always resonated with me. Time, the great curator, has held this image in an admirable light. A time may come years from now in which I no longer like this image, but out of thousands and thousands and thousands of images, and years strolling with the camera, it remains one of my favorites.

I initially released this work on my portfolio website, as none of the Web 2.0 social media/content platforms were worthy of displaying it. By doing so I was able to protect the rights to the image, and hold it until the Web3 space was created, allowing the image to be sold directly to collectors. The portal series was originally a collection of 15 images, and featured an accompanying poem. I suppose the series is ongoing, although it hasn't been actively worked on in some time.

I find these description fields to be a wonderful place to provide information about anything, in this case the artwork I am minting. I find areas like this to be the future of communications and publishing on the internet, and encourage people to explore them, as opposed to running to the next failing social media platform. Social is dying a painful death. Art is forever. Creating and collecting has replaced posting and advertisement, and it is where the value of the internet will be for the next couple decades.

The portal is open for you now, to look into.

🟪 🟦 ⬛ 🟪 ⬛ ⬛ 🟦 🟪 🟪
🟪 🟦 ⬛ 🟪 ⬛ ⬛ 🟪 🟦 ⬛
⬛ 🟪 ⬛ 🟪 🟦 ⬛ 🟪 🟦 🟪
⬛ 🟪 🟧 🟪 🟦 ⬛ 🟪 ⬛ 🟪
⬛ ⬛ 🟧 🟧 🟦 ⬛ 🟪 ⬛ ⬛
⬛ ⬛ 🟧 🟧 ⬛ ⬛ ⬛ ⬛ ⬛
🟪 🟦 ⬛ 🟧 🟪 ⬛ ⬛ 🟪 ⬛
🟪 🟦 ⬛ ⬛ 🟦 ⬛ ⬛ 🟪 🟦

portal 🟪 🟦 🟧

 🟪 🟦 🟧 portal is a series of abstract photographs exploring dimensionality

While this work is meant to be played, as the movement is a critical component, the movement is very fast, and it is possibly unsafe for people who are sensitive to fast moving work, hence the epileptic trigger warning.

While my first four generative series on fxhash have had sound, this one does not. I am anticipating heading into a sound heavy period of time, so am saving my sonic energy for that. Future releases likely will have sound, as it is a key part of my artistic practice.

This work continues the previous exploration seen in the 💫 🌌 💫 series.

In this work I am exploring a variety of different visual properties.

Rotation, movement, dimensionality, layering, light, transparency, shape, form, color, and gradients continue to be important elements of this work.

Playback is possible on a reasonably powered device. When it runs properly it should be 600 fps, although slower movement provided by a lower powered device can also be interesting.

Each work is its own generative system, capable of producing an infinite amount of individual visual artworks. It can be fun to open the work in full screen mode, and take screenshots, and see what you end up capturing.

It is important that my work stays experimental, as this is an area that can lead to interesting discoveries. In order to do that, the generative algorithm explores cases from maximal to minimal and may create a version that you do not find visually appealing. If you mint a version you are not happy with, please send it to me, and I can mint another and send it back to you. If you would like to own this work but cannot afford the mint price, please contact me via my website and I will be happy to send you one.

Reserves are set so that one reserve is given to each holder of each of my previous projects.

Technologies used: HTML, CSS, JavaScript, p5.js

The software used to create this artwork is made available under the MIT license. The artist reserves all rights to this work.

Best viewed in Chrome on desktop.

🪩⚡💫🫧 #10

🪩⚡💫🫧 #7

🪩⚡💫🫧

Less tweeting, more art and critiquing.

(and collecting, curating, exhibiting, writing, appreciating, enjoying, and on and on and...)

This screensaver artwork was made using ChatGPT, as well as some human input.

This is a generative system, similar to what you might find on Art Blocks or fxhash, but instead, you get the entire system. Every time you run it, the artwork will be different.

Pricing this artwork at 5 tez is harmful to the artist.

Will we ever create sustainable financial models for the arts?

Made as part of the Dec 3rd - 8th, 2023 #screensavertez event, created by Sky Goodman.

If you want to leave Web 2.0 behind and hop on the Web3 wave check out this call for submissions: https://objkt.com/asset/KT1KFncNMjuRJ4FqmZ8giAWKemuJuz1jYfVv/7

Enjoy your life.

Technologies used: HTML, CSS, JavaScript, p5.js, ChatGPT

The software used to create this artwork is made available under the MIT license. The artist reserves all rights to this work.

🫧 ✨ screensavior ✨ 🫧

🫧✨ screensavior ✨🫧

✨ starlight ✨
minted for #objkt4objkt event taking place from April 18 - 21, 2024

✨ starlight ✨

I finished my six week Loop Art Critique (LAC) residency, where I was selected to take part by Renata Janiszewska (renatajaniszewska.com).

Loop is initiated by Ariel Baron-Robbins (arielbaronrobbins.com), sustained through personal funding and The MUD Foundation's exhibition Media Under Dystopia 3.0: WASD, hosted in Onland, a spatial internet environment.

This critique’s exhibition is✨ STARLIGHT ✨ from Apr 22 - May 29, 2024 in LAC’s Salon space https://verse.loop.onland.io/k8dzaEE/the-salon. An opening party/meet the artists is on Apr 26 1-3 PM ET.

Featuring:

Cara DiStefano caradistefano.com
Chanika Svetvilas chanikasvetvilas.com
joey zaza digitalzaza.com
Keanu Hoi keanuhoi.art
Kylie Rah clutteredroom.cargo.site

Interesting applications of the metaverse are dimensional, gestural, and connected. The metaverse can have many dimensions, and its work can be incredibly rich in its information and experience.

The gestural element of the metaverse is the critical area between the human and machine. Fingers and hands are most built for. Keys, controllers, and mice allow for subtle movements to be translated into large outcomes. In understanding the power of a system, you must understand its subtle gestures.

Software that is built and used by one person takes on another level of power when a fifth, hundredth, or m/billionth person joins. Spaces and artworks gain new meaning and application when multiple people share input/output such as spatialized audio, uploading files, chat, etc.

This work started as 3d structures in glb format, as it is a common file format used in the creating, importing, and selling of 3d structures. One of the common ways to create glbs is the JavaScript 3d library Three.js, which allows you to create 3d structures from code.

I sent images of 3d models that I made with Three.js to the img2img tool of the Stable Diffusion model in the EmProps platform.

In a search for image to glb models I came across DreamGaussian. I like some of the outputs that the model produces, such as the glb that is found in this objkt.

The work that I made during this critique was assembled in LAC and is viewable here: https://verse.loop.onland.io/AwidCtW/zazaverse.

It would be nice to automate the current process, so that generative metaverse worlds could be created. The flow would be as follows:

✨ Create 2-3d structures in Three.js (can be written by ai)
✨ Send images of structures to Stable Diffusion via img2img
✨ Send images to DreamGaussian to create glbs
✨ Resize and position glbs using Three.js
✨ Mint the generative metaverse worlds on a platform that allows for these creative flows

While the current process is manual, all of the mentioned steps can be automated. These metaverse worlds can have an infinite variety, an infinite amount of dimensions and space, with infinite resolution.

The work itself can be a creative space or material. It can be positioned, screenshotted, and compositions can be built from it. These outputs and ideas can then go back into models such as Stable Diffusion of DreamGaussian, and the creative process can continue.

Slow movements in the metaverse can allow you to enter and unlock worlds that are not initially visible. The world that you see may not be the one that you are operating in. Zooming in or out of the traditional 3d model can provide changes in perspective, while allowing you to access areas that look smaller, but can be infinite in depth. Dimensions in the metaverse space can be created on scales larger than the current physical world. Rules that can be coded in software, and control movement, interface, and perception are creatively and physically unbounded. Various softwares can plug into the process at any point. It's all data, and it can all be manipulated.

How should you explore infinite spaces?

How do you curate those spaces?

What sits in them?

Conceptually, the world, work, or space itself exists, regardless of whether it has been coded, can be seen, or imagined. The idea or thought can be the art. The world is there, whether you think of it or not. Whether you see it or not. Whether you understand it or not.

Software allows you to look into those worlds, that are outside of the realm of the understood, visible, or imagined.

It allows you to unlock the unexpected and never before seen. The system can be incredibly complicated, with infinite outputs. The amount of time required to look at these systems is infinite. You can automate the creation, exploration, and curation of these worlds, but it is a battle of infinite creation against infinite curation. It has no end.

The art and creative spaces are uncovering world-changing technical, cultural, and financial systems and processes that will radically shift the way the world operates.

Can you see the ✨️ STARLIGHT ✨️? Can you access it? The glimmering, glistening, shining, shimmering light, the visible/invisible light, the electromagnetic radiation that can produce a (visual) sensation.

✨ STARLIGHT (drip) ✨

Waves is an exploration into waves of various forms, such as those found in visible and invisible light spectrums, and those occurring in aquatic spaces. The series explores concepts of gradients, dimensionality, amalgamations, transparency, space and time, feedback loops, multiverses, minimalism, deconstruction and reconstruction, and dream states.

The first five Waves were curated by Arthemort for the Artcrush billboard event in Belgium, in which the artworks were exhibited on one thousand billboards in hundreds of cities several millions of times during July 2024.

Wave 6 and Wave 7 were created for the the "Hello, Brooklyn" // Techspressionism 2024 Exhibition, taking place at the Kingsborough Art Museum from August 7 through September 25, 2024, and curated by Tommy Mintz, Giovanna Sun, Seungjin Lee, and Oceana Andries. Wave 6 Movement and Wave 7 Movement were also created for this exhibition. An opening reception will be held on Friday, August 9th, 2024 from 5 - 7 PM ET, in which artists from the exhibition will be present.

Wave is also a reference to the "Hello" part of the title of this exhibition, because how better to say "Hello" than with a "Wave" :)

The process for creating the still images started by writing JavaScript code in p5.js to create interesting abstract shapes, patterns, and colors. After writing code and generating many output images, several were selected for further exploration in artificial intelligence processes.

These curated still images were used as input for the Stable Diffusion models of the Emergent Properties platform by utilizing the img2img feature. The two Stable Diffusion models of SDXL 1.0 and JuggernautXL 8 were used to generate various images. These images were curated, and selected images were fed back into the models, which were again curated, and fed back in. This process repeated many times until an acceptable image was finally created.

Wave 6 and Wave 7 are final still artworks, but they were also used as inputs into the Stable Video Diffusion Img2Vid XT process to generate video from the still images. Each of the Wave artworks was fed into the Img2Vid processes ten times, and the ten outputs were played front to back, and combined into a final longer video.

In this way Wave 6 Movement and Wave 7 Movement, which is minted here, show ten different iterations that were created from the same single image, showing the ability of artificial intelligence systems to convert from one medium to the other, as well as being able to create an infinite amount of variations.

Artists exhibiting in the "Hello, Brooklyn" // Techspressionism 2024 Exhibition are Victor Acevedo, Moritz Albrecht, Juan Álvarez / Wamoo, Malavika Mandal Andrew, Guillermo Arismendi, Sue Beyer, Bernard Bousquet, Lucy Boyd-Wilson, Davonte Bradley, Lee Day, Diana de Avila, Andrea DeFelice, Susan Detroy, Cynthia DiDonato, Roz Dimon, Kathleen Dobrowsky, Snow Yunxue Fu, Carla Gannis, Brandon S Gellis, Darcy Gerbarg, Colin Goldberg, R. Gopakumar, Deann Stein Hasinoff, Carter Hodgkin, Clive Holden, Susan Huang, Cristina Inciarte, Judith Jacobs, Hayede Jamshidi, Renata Janiszewska, Dana Jones, Sherry Karver, Lucie Králíková, Tikoi Kuitenbrouwer, Karen LaFleur, Le Chat Noir, Janis Brandenburg Lee, Seungjin Lee, Francene Levinson, Patrick Lichty, Verneda Lights, LoVid, Chalda Maloff, Randi Matushevitz, Meltdownlove, Huw Messie, Sean Mick, Paul D. Miller aka DJ Spooky, Steve Miller, Tommy Mintz, Momo, Sahar Moussavi, Lee Musgrave, Joseph Nechvatal, Roy Nicholson, Philippe Ormières, Michael Paulukonis, Mark Pechlivanos, Leila Pinto, Ply300, Frédéric Pons, Michael Pierre Price, Prïnce Magnølïa, Roy Nicholson, Sasha Pyle, Carolina Ramonde, Elio Ramos, Michael Rees, ST Rivera, M.Romeo, Cynthia Beth Rubin, Alessio Sanna, Lee Schnaiberg, Reese Schroeder, ScoJo, Ann Shapiro, cari ann shim sham*, Ahmed Shuwehdi, Skywaterr, Nina Sobell, Sarah Song, Anne Spalter, Joanna Steidle, Mary Ann Strandell, Giovanna Sun, Jan Swinburne, Stephanie Sydney, Nesrin Söylemez, Systaime, Tapeglitch, Andy Thomas, TinTin23x, Oz Van Rosen, Yannet Vilela (N3t4), Andy Wauman, joey zaza, and John Zieman.

Wave 7

Waves is an exploration into visible & invisible light spectrums, aquatic spaces, gradients, dimensionality, amalgamations, transparency, space and time, feedback loops, multiverses, minimalism, deconstruction & reconstruction, and dream states.

Waves is an exploration into waves of various forms, such as those found in visible and invisible light spectrums, and those occurring in aquatic spaces. The series explores concepts of gradients, dimensionality, amalgamations, transparency, space and time, feedback loops, multiverses, minimalism, deconstruction and reconstruction, and dream states.

The first five Waves were curated by Arthemort for the Artcrush billboard event in Belgium, in which the artworks were exhibited on one thousand billboards in hundreds of cities several millions of times during July 2024.

Wave 6 and Wave 7 were created for the the "Hello, Brooklyn" // Techspressionism 2024 Exhibition, taking place at the Kingsborough Art Museum from August 7 through September 25, 2024, and curated by Tommy Mintz, Giovanna Sun, Seungjin Lee, and Oceana Andries. Wave 6 Movement and Wave 7 Movement were also created for this exhibition. An opening reception will be held on Friday, August 9th, 2024 from 5 - 7 PM ET, in which artists from the exhibition will be present.

Wave is also a reference to the "Hello" part of the title of this exhibition, because how better to say "Hello" than with a "Wave" :)

The process for creating the still images started by writing JavaScript code in p5.js to create interesting abstract shapes, patterns, and colors. After writing code and generating many output images, several were selected for further exploration in artificial intelligence processes.

These curated still images were used as input for the Stable Diffusion models of the Emergent Properties platform by utilizing the img2img feature. The two Stable Diffusion models of SDXL 1.0 and JuggernautXL 8 were used to generate various images. These images were curated, and selected images were fed back into the models, which were again curated, and fed back in. This process repeated many times until an acceptable image was finally created.

Wave 6 and Wave 7 are final still artworks, but they were also used as inputs into the Stable Video Diffusion Img2Vid XT process to generate video from the still images. Each of the Wave artworks was fed into the Img2Vid processes ten times, and the ten outputs were played front to back, and combined into a final longer video. In this way Wave 6 Movement, which is minted here, and Wave 7 Movement show ten different iterations that were created from the same single image, showing the ability of artificial intelligence systems to convert from one medium to the other, as well as being able to create an infinite amount of variations.

Artists exhibiting in the "Hello, Brooklyn" // Techspressionism 2024 Exhibition are Victor Acevedo, Moritz Albrecht, Juan Álvarez / Wamoo, Malavika Mandal Andrew, Guillermo Arismendi, Sue Beyer, Bernard Bousquet, Lucy Boyd-Wilson, Davonte Bradley, Lee Day, Diana de Avila, Andrea DeFelice, Susan Detroy, Cynthia DiDonato, Roz Dimon, Kathleen Dobrowsky, Snow Yunxue Fu, Carla Gannis, Brandon S Gellis, Darcy Gerbarg, Colin Goldberg, R. Gopakumar, Deann Stein Hasinoff, Carter Hodgkin, Clive Holden, Susan Huang, Cristina Inciarte, Judith Jacobs, Hayede Jamshidi, Renata Janiszewska, Dana Jones, Sherry Karver, Lucie Králíková, Tikoi Kuitenbrouwer, Karen LaFleur, Le Chat Noir, Janis Brandenburg Lee, Seungjin Lee, Francene Levinson, Patrick Lichty, Verneda Lights, LoVid, Chalda Maloff, Randi Matushevitz, Meltdownlove, Huw Messie, Sean Mick, Paul D. Miller aka DJ Spooky, Steve Miller, Tommy Mintz, Momo, Sahar Moussavi, Lee Musgrave, Joseph Nechvatal, Roy Nicholson, Philippe Ormières, Michael Paulukonis, Mark Pechlivanos, Leila Pinto, Ply300, Frédéric Pons, Michael Pierre Price, Prïnce Magnølïa, Roy Nicholson, Sasha Pyle, Carolina Ramonde, Elio Ramos, Michael Rees, ST Rivera, M.Romeo, Cynthia Beth Rubin, Alessio Sanna, Lee Schnaiberg, Reese Schroeder, ScoJo, Ann Shapiro, cari ann shim sham*, Ahmed Shuwehdi, Skywaterr, Nina Sobell, Sarah Song, Anne Spalter, Joanna Steidle, Mary Ann Strandell, Giovanna Sun, Jan Swinburne, Stephanie Sydney, Nesrin Söylemez, Systaime, Tapeglitch, Andy Thomas, TinTin23x, Oz Van Rosen, Yannet Vilela (N3t4), Andy Wauman, joey zaza, and John Zieman.

Wave 6

Waves

Bug 0 and Wave 81 (minted on rodeo at https://rodeo.club/@joeyzaza/posts) are currently on exhibition in the Loop Art Critique XR space. They were installed as part of the Loop Reunion, which took place from July 25 - 26, 2024 and gathered artists from the last dozen Loop residencies. The metaverse exhibition will exhibit through the end of 2024 and can be seen at https://verse.loop.onland.io/TcbfKPe . Bug 0 has been minted on objkt as part of the #SpiritOfHen event. The price has been increased over the recommended amount of mostly zero, in hopes that we can try to find sustainable financial models for the arts, as opposed to giving our wonderful work away for 0-17 cents. The time of the open edition is one week, to stop the spread of addictive based mechanisms such as 24 hour countdowns. What really bugs me, is that Web3 holds so much possibility for wild new creations, but unfortunately most developers and participants are addicted to Web 2.0 social media, porting over harmful practices without taking time to Think. Web3 will not look like its predecessor, so if your platform is the twitter or ig of Web3, you are ngmi.

Bug 0 🐛

Bug 🐛

This is a test of the new objkt gallery contract, and it shouldn't be purchased

horiz 2025 (test)

The 2025 mowna Biennial is the third biennial hosted by the Museum of Wild of Newfangled Art.
May 1 - Sep 28, 2025

2025 mowna Biennial

Really hope we can build a space where innovative platforms like EmProps can receive income for their important work.

Minted for objkt4objkt

Horizontal lines, layers upon layers, p5.js, Stable Diffusion, color cycling, EmProps

joey-zaza

joey-zaza

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