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Wormdex🪱
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TunerLight with 長恨歌 (全篇)
《長恨歌》
唐 - 白居易
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Petit prélude à la journée
Berceuse
Marche du grand escalier
Shapes
Exploring Fractals
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Mouvement 1 - GM
Mouvement 2 - LULLABY
Mouvement 3 - FANTASTIC TALE
The annotations for the Petit prélude are a matter-of-fact itinerary that Satie certainly followed himself ("Wake up...Brush your hair well...Go for a good walk")
In the Berceuse, little Pierrot is tucked in for the night by his mother. She assures him his grandparents will know he was a good boy - they'll see it in the newspaper.
In the Marche a king has built a 1000-step ivory staircase so beautiful that people are afraid to use it. The king himself leaves his room by jumping out the window. He is so fond of the staircase he wants to have it stuffed.
Each of the three movements display a different family of shapes, connected to Satie's stories for the three movements.
⭐ Star 🌙 Moon 🌷 Tulip 🦉 Owl
☀️ Sun (spirals) 🌻 Flower 🌧️ Cloud 🦋 Butterfly
♦️ Diamond ♣️ Club ❤️Heart ♠️Spade
Compositions
Ensemble
Ensembles are strange and abstract clusters freely composed by the algorithm with a few very basic rules. They tend to produce strange creatures that resemble "human animals" by Corneille, Constant, and Appel
(My favourite)
Disclaimer: This is a WILD algorithm, since it tries to emulate children drawings —children having a wild imagination and a non-polished technique—. The unstructured compositions are intended, and still unexpected when looked at, one by one. I'll be studying them over the course of the nex months. I think they have a lot to teach us for Enfantines III (the last of the series)
Please. Open your favourite pieces live and select MUSIC mode. It completely changes the artwork.
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Goldcat
a biography & showcase.
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This gallery is a selection of works from my formative years as an artist, when I was focused on static 1/1s. They were shared as a series of tweets over 100 days in 2022 as a retrospective on where I've been, and minted as NFTs, but placing them together in a gallery helps tell the story of my journey into math art. I had a lot of fun organizing them according to the tools, techniques, or themes used -- categorizations I didn't give as much thought at the time of their creation!
In 2009, I'd just graduated from college and moved back to my hometown in rural Broadway, VA. I'd experienced a few years of immersion in math and programming, and an eclectic intersection of engineering/academic and EDM/psychedelic cultures. I was 22 years old -- at a turning point where it felt like whole rest of my life was in front of me. It was mine to do what I wanted with, but I had absolutely no idea what that was. There was a historically bad recession at that time, and a tough job market, so I took one of the only jobs I could find nearby in my field -- as a part-time software tester. This left me with a lot of free time on my hands.
My senior year in college, I'd taken a class on Cyber Art that resonated with me. I'd adopted the practice of sketching out creative ideas using technology, and soon found myself sketching for fun -- which I carried forward into my free time after college. It ended up being a prolific time where I was making art using fractals and photographs. Photography had become a hobby in college, and it was exciting to see how I could blend it with my new practice of digital art. The Cyber Art class had left me with a very "how can you hack this?" approach to art that led down a path of altering, distorting, or corrupting photos (a technique I called "photomod").
100 Days of Ixnay
I spent a lot of time exploring fractals with Xaos, a free program for zooming into escape time fractals. I'd explore, adjust the equations until I liked the colors, and then export for post-processing in Paint.NET (which was my go-to for image editing). This was my first experience with printing my work -- as posters, that I sold at music festivals. It was the first time I really felt like I was "making art"
A few of the themes I was interested in were: the relationship between order and chaos, the repetition of shapes or textures, glitchiness/chaos, and capturing shapes and colors that make me feel things. I think my photography practice came into play with these, as I thought a lot about how to "frame the scene" when zooming and cropping in Xaos. The interactive/realtime nature of Xaos also means there were a lot of opportunities to find shapes that look like things -- like hearts, mountains, snowflakes, etc.
Selected Works, 2009 - 2013
ixnayokay
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