The wheel keeps on turning

Generative art piece exploring Bauhaus and riso print aesthetics

Constructive 72

The Decagon is the infinitely evolving, always unique, and eternally open membership token of the Decaverse. Designed by Kjetil Golid.

Decagon #15603

Thomas Lin Pedersen

Screens have been at the heart of art mass production and mass consumption for ages. From screen printing techniques, first developed in China around 1000AD and later popularized in western art culture by e.g. Andy Warhol, to the screens on our devices used to consume both digital art as well as most traditional art we experience in our life.

The "Screens" series is a celebration of modern art. It is inspired by the aesthetics inherent in screen printing along with the compositions and colors of both Bauhaus, Constructivism, and pulp fiction sci-fi covers.

The compositions in "Screens" is based purely on strict geometries and plays with the tension, and symphonies that can be created from combining simple rules. The end result can range from chaotic non-figurative to strongly ordered isometric scenes.

The generative system underlying the rendering mimics the screen printing process by rendering and applying a single color at a time to a master image. Each virtual screen may be more or less aligned with the master, creating a lovely flawed balance to the precision of the rendered geometry.

25% of the proceeds from this project will be donated to Den Blå Planet, The Danish National Aquarium, in support of their work on preserving and restoring marine life and ecology.

Screens #333

Detachment is a piece that exudes nostalgia and materiality through its use of rich analogue texture and references back to the Bauhaus and Suprematism movements. However, Detachment tells a different story underneath its veil of aesthetics.

While appearing static, the piece is in a constant state of flux and might present itself to the viewer very differently upon returning to it. The piece asks questions about the identity of art: Is it the same piece of art every time you look or something new — and why?

Seemingly static but always evolving, Detachment pokes at the conception that there is a clear boundary between static and dynamic digital art.

Seemingly tactile but always trapped behind the glass of a monitor, it asks whether this is less tactile than a painting behind a frame.

Detachment is thus a piece that plays with our preconceptions. It detaches the aesthetic decor of the piece from the underlying essence and uses it to create an intentional disconnect between the perceived and the true.

Technical notes

While appearing to constantly evolve infinitely, computers do not like the concept of infinity. Because of this, Detachment goes through a very slow cycle of 1.157.442 days. Be sure to visit the piece every ~3.171 year to verify this. The piece uses the computer clock to time it's appearance so the only way to go back is to change the time of the computer. You better just embrace the constant flux.

The code for the piece is written in fully self-contained JavaScript, using WebGL2. The script is stored in perpetuity on the Ethereum blockchain as part of the NFT.

Detachment is designed for 2:3 displays but will adapt to any aspect ratio it is placed in. You can request that it auto-rotates so that it will always be displayed in vertical no matter the aspect ratio (e.g. when displaying on a canvas that insists on being registered as horizontal even if you mount it in vertical). You do this by adding ?autorotate=1 to the URL pointing to the piece.

The algorithm uses supersampling to provide a smooth look at the expense of processing requirements. If you experience that it does not render smoothly or causes your system to lag during display, you can add ?fast=1 to the URL pointing to the piece to turn off supersampling.

Both of the above commands can be combined using & (i.e. ?autorotate=1&fast=1).

Detachment

Screens #427

Rapture is a series exploring magical seals overflowing their boundaries, gradually dissolving into the surroundings. It is imagined as abstract iconography for a fictional mystic religion. Rapture is the conclusion of a system I have been working with and perfecting over several years and it is the first time that it is presented completely autonomous. The series consists of computationally heavy art pieces, with calculations happening while the seal shake to contain its powers. 25% of the proceeds from this project will go to the preservation of the Ecuadorian rainforest Bigai through Randers Rainforest Wildlife Foundation.

Rapture #9

An exploration of flows, expressionism, and texture. The sister of winds6040 available as a print at https://data-imaginist.com/art (By Thomas Lin Pedersen, @thomasp85 on Twitter)

winds5060

*Inprecision* is exploring the tension between the precision offered by computers and the imperfections inherent in classic art production approaches. The generative system is based on circles and triangles, perfectly aligned with each other and placed on a grid, but rendered with a technique inspired by the look of water color giving a high degree of imperfection in the rendered output. The precision of the underlying system is then again accentuated by a layer of hyper precise line drawings, outlining the used geometries and providing a scaffold for the underlying colors.

*Inprecision* further builds upon my quest to explore emergent compositions in generative systems. The system started with completely random placements of the different geometries, and gradually evolved by putting in the most minimal constraints to ensure an engaging final composition. In that way, *Inprecision* is an exercise in light-touch control with the aim to explore surprising compositions arising from randomness.

This series takes inspiration from both the color and line work of Wassily Kandinsky and the theories in the Suprematism movement. It asks the viewer to meditate on the texture of the paint and paper through its embrace of simple geometry and compositions devoid of literal interpretation.

Inprecision #11

An exploration of texture, bauhaus, and riso printing — all fully generative (by thomasp85)

Constructive 793

Metaverse is a soothing representation of the community culture present in web3. It imagines the ever-evolving landscape of cryptoculture as a canvas of soft overlaps and hard connections that makes up a, sometimes coherent, sometimes disparate, whole. While appearing as a network structure, Metaverse is made up of disparate entities, only connected through proximity or a brief sharing of interests.

As web3 is a global community, Metaverse will appear identical on screens all over the world, no matter when it is opened. It relies only on the computer clock to determine the state of the community.

web3 can appear impenetrable and technocratic from the outside, but it is predominantly made up of humans. Meteverse embraces the human nature through use of rich and warm textures inspired by watercolor painting and silk screen printing, along with the subdued pace of its evolution. As such, it invites the viewer to take a deep breath and shun the superficially high pace of the web3 community.

Technical notes

Metaverse continues the exploration of deterministic infinite evolution that started with Detachment. This time the only limiting number is the storage mode of the time variable, which counts the number of milliseconds since January 1st, 1970. This number is capped at 9007199254740991 which means that the metaverse will likely break down around the year 274,000. If you, as the owner, are getting close to this date you can contact me for a full refund.

The code for the piece is written in fully self-contained JavaScript, using WebGL2. The script is stored in perpetuity on the Ethereum blockchain as part of the NFT.

Metaverse is designed for 5:2 displays but will adapt to any aspect ratio it is placed in. You can request that it auto-rotates so that it will always be displayed in horizontal no matter the aspect ratio (e.g. when displaying on a canvas that insists on being registered as vertical even if you mount it in horizontal). You do this by adding ?autorotate=1 to the URL pointing to the piece.

The algorithm is pushing against the limits of the computer performance at the time of it's release. Because of this, supersampling will only be turned on automatically if displayed on a canvas below 2000px in width. You can add ?fast=1 to the URL pointing to the piece to turn off supersampling explicitly, or conversley ?fast=0 to turn it on.

Both of the above commands can be combined using & (i.e. ?autorotate=1&fast=1).

Metaverse

Single edition work by Thomas Lin Pedersen, minted on their own Manifold contract. 

Can be either on-, or off-chain as indicated by the "On-chain" attribute.

Becoming is a series that explores the tension between youthful naivety and rigid precision. Each piece consists of two layers; A lower layer of free flowing colors, with a texture reminiscent of water color, and a top layer of well-ordered, precisely placed shapes, applied in a manner evoking industrial production. 

While often relegated to the realm of cold precision, computers are a vessel for both of the above emotions as captured in these pieces where the duality flows from the same algorithm, drawing on the same techniques.

Becoming is hopeful at it's core. The top layer never eliminates the playfulness of the structure, in fact, it helps amplify it by providing a scaffold for the whimsical colors. It speaks to a feeling that the playful and the strict are not opposite sides of a spectrum but can coexist and amplify one another.

Each piece includes a signed unique print to the first owner that claims it.

Technical details

Becoming is a series developed across multiple languages. The structure and composition are all calculated in R, then drawn as single flat shapes using JavaScript after which the texturing and combination is done with WebGL2. 

The output is inherently dimensionless but the version minted is 4667 x 7000 px. Owners are welcome to contact me for a higher resolution version.

Becoming #1

Thomas Lin Pedersen 1/1

If solar systems were into bauhaus...

Generative art piece exploring Bauhaus and riso print aesthetics

Constructive 564

The work it takes to force computers into imperfection...

Generative art piece exploring Bauhaus and riso print aesthetics

Constructive 537

Constructive

Through the clouds they came...

A generative art piece exploring weird and wonderful structures obscured by colourful mist.

Emergence 4783

Emergence

Inprecision #40

Inprecision is exploring the tension between the precision offered by computers and the imperfections inherent in classic art production approaches. The generative system is based on circles and triangles, perfectly aligned with each other and placed on a grid, but rendered with a technique inspired by the look of water color giving a high degree of imperfection in the rendered output. The precision of the underlying system is then again accentuated by a layer of hyper precise line drawings, outlining the used geometries and providing a scaffold for the underlying colors.

Inprecision further builds upon my quest to explore emergent compositions in generative systems. The system started with completely random placements of the different geometries, and gradually evolved by putting in the most minimal constraints to ensure an engaging final composition. In that way, *Inprecision* is an exercise in light-touch control with the aim to explore surprising compositions arising from randomness.

This series takes inspiration from both the color and line work of Wassily Kandinsky and the theories in the Suprematism movement. It asks the viewer to meditate on the texture of the paint and paper through its embrace of simple geometry and compositions devoid of literal interpretation.

Inprecision #80

Inprecision

No-one knew why the sun couldn't keep the colours together...

Generative art piece playing with primary colours, twirls, mixes, and a looming demise underneath the prism.

Prism 53

Prism

Rapture #649

Rapture #648

Rapture by Thomas Lin Pedersen

Screens #23

Screens #0

Screens by Thomas Lin Pedersen

Like fish in the sea, the splotches flowed...

Generative art pieces exploring the tension between watercolour-like textures and highly precise  flow lines

Waterflow 7278

Waterflow

An iteration of the PULP system. This piece was minted as a gift to a collector that combined their B&O DNA token with an art vial by Thomas Lin Pedersen.

The hash attribute for this piece can be combined with the on-chain code stored in token #1 to reproduce this artwork.

PULP #037

PULP is a generative art collection by Thomas Lin Pedersen, released in collaboration with Bang & Olufsen for their DNA Collection.

The pieces in this collection are gifted to DNA Collection collectors who choose to merge their NFT with a Thomas Lin Pedersen vial to decorate it with a PULP piece. Thus there can be at most 640 pieces in this collection.

PULP #001 is special as it contains the algorithm for the series, written on-chain. The remaining pieces will not be on-chain, but using their hash with the code in PULP #001 will allow for the recreation of the piece. 

PULP is released with a permissive CC0 license and 0% royalties. It is intended to be used, to be put out into the world, and decorate a myriad of things.

PULP #041

PULP

My submission for Genuary 2021 day 23. #264653 #2a9d8f #e9c46a #f4a261 #e76f51, no gradients.

Genuary23

Constructive 47

Hic et Nunc

Weirdness in space and planes. A digital render from my papercuts pen plotter system

Papercuts 1260

Weirdness in space and planes — at night! Digital render from my papercuts pen-plotter system. 

By @thomasp85

Papercuts 1

Versum

Constructive 323

Constructive 280

Uploads

A special 1/1 from my Becoming series is part of the Parallel Universes show created by Gucci and Christie's

This piece will include a mixed-media print with a gold-leaf covered background

Becoming Gold

Becoming is a series that explores the tension between youthful naivety and rigid precision. Each piece consists of two layers; A lower layer of free flowing colors, with a texture reminiscent of water color, and a top layer of well-ordered, precisely placed shapes, applied in a manner evoking industrial production.

While often relegated to the realm of cold precision, computers are a vessel for both of the above emotions as captured in these pieces where the duality flows from the same algorithm, drawing on the same techniques.

Becoming is hopeful at it's core. The top layer never eliminates the playfulness of the structure, in fact, it helps amplify it by providing a scaffold for the whimsical colors. It speaks to a feeling that the playful and the strict are not opposite sides of a spectrum but can coexist and amplify one another.

Each piece includes a signed unique print to the first owner that claims it.

Becoming

Metaverse is a soothing representation of the community culture present in web3. It imagines the ever-evolving landscape of cryptoculture as a canvas of soft overlaps and hard connections that makes up a, sometimes coherent, sometimes disparate, whole. While appearing as a network structure, Metaverse is made up of disparate entities, only connected through proximity or a brief sharing of interests.

As web3 is a global community, Metaverse will appear identical on screens all over the world, no matter when it is opened. It relies only on the computer clock to determine the state of the community.

web3 can appear impenetrable and technocratic from the outside, but it is predominantly made up of humans. Meteverse embraces the human nature through use of rich and warm textures inspired by watercolor painting and silk screen printing, along with the subdued pace of its evolution. As such, it invites the viewer to take a deep breath and shun the superficially high pace of the web3 community.

Technical notes

Metaverse continues the exploration of deterministic infinite evolution that started with Detachment. This time the only limiting number is the storage mode of the time variable, which counts the number of milliseconds since January 1st, 1970. This number is capped at 9007199254740991 which means that the metaverse will likely break down around the year 274,000. If you, as the owner, are getting close to this date you can contact me for a full refund.

The code for the piece is written in fully self-contained JavaScript, using WebGL2. The script is stored in perpetuity on the Ethereum blockchain as part of the NFT.

Metaverse is designed for 5:2 displays but will adapt to any aspect ratio it is placed in. You can request that it auto-rotates so that it will always be displayed in horizontal no matter the aspect ratio (e.g. when displaying on a canvas that insists on being registered as vertical even if you mount it in horizontal). You do this by adding ?autorotate=1 to the URL pointing to the piece.

The algorithm is pushing against the limits of the computer performance at the time of it’s release. Because of this, supersampling will only be turned on automatically if displayed on a canvas below 2000px in width. You can add ?fast=1 to the URL pointing to the piece to turn off supersampling explicitly, or conversley ?fast=0 to turn it on.

Both of the above commands can be combined using & (i.e. ?autorotate=1&fast=1).

Thomas Lin Pedersen (thomasp85)

Thomas Lin Pedersen (thomasp85)

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