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LUKSO Token

LUKSO

**NOTE: This project has audio, click on the live view to start.**

*l.o* (pronounced el-dot-oh) is a series of audiovisual vignettes exploring a process at the heart of generative art and ambient music: creating complex forms by repeating and transforming a simple input. Inspired by starling murmurations, the repetition of a line, dot, or ring forms a flock of flickering particles rippling across the canvas. Interconnected audio and visual patterns create a mesmerizing display of echoes and modulations. As the sound expands and contracts, so do the areas of visual density, revealing ephemeral shapes and structures. Sounds become visible. Visuals become audible.

Within the sonic component, filters and echoes manipulate a sustained chord until subtle melodies and rhythmic structures appear, resulting in a hypnotic and evolving soundscape unfolding from an elementary source. The signal path relies solely on bespoke code built using Web Audio, including an implementation of an early computer music algorithm called *Karplus-Strong* which utilizes tuned delay lines to simulate the physics of stringed instruments. The audio effect design is also inspired by the magical warmth of vintage analog equipment like tape loop echo units. This analog quality found its way into the visual style: the low frame rate gives the project a hand animated feel reminiscent of stop motion.

On our last album, [Still](https://silentseason.bandcamp.com/album/still), we questioned the repetitive experience of pedestrian life, attempting to invoke wonder in the constantly evolving nature of our world, even in moments of perceived stillness. *l.o* expands this line of inquiry, inviting the audience to appreciate the compounding complexity surfacing from a succession of small shifts within a fixed pattern. As the series builds, various directions of color, shape, tone and tempo are unveiled.

Alongside works like *Flux* by Owen Moore, or *montreal friend scale* by Amon Tobin, the project explores core questions about the audiovisual medium: can it be more than visuals in the service of sound, or sound in the service of visuals? How can the synthesis of the two media create a richer whole? While the sound of *Flux* reacts to visual data, and *montreal friend scale* is a literal visual representation of a sonic concept, *l.o* features a two-way dialogue between sound and visuals. The two are interconnected through 9 different paths, including a key relationship where filter frequency modulates flock density (more details available in the [AV section](https://l.o.night-sea.com/#av) of the project’s website). This audiovisual conversation offers a unique encounter between generative visual art and abstract electronic music, two vibrant spaces that share a common thread.

Key controls are available to explore the different components building the final sound:

- Press ‘0’ to turn off all effects and hear the initial sustained chord
- Press ‘1’ to toggle back on / off the amplitude modulation (can sound subtle in certain outputs)
- Press ‘2’ to toggle back on / off the filtering effects
- Press ‘3’ to toggle back on / off the echo based effects
- Press ‘Space’ to pause / resume the piece

After pressing ‘0’, pressing successively ‘1’, ‘2’ and ‘3’ will bring the piece back to the original audio setup.

l.o #162

OpenSea

white noise contains all possible harmonics/notes/chords. by filtering out narrow frequency bands from the noise, pure sine wave “notes” become audible. we’ve limited these bands to only ever reveal specific notes from a particular musical scale. 

each piece then, is a unique iteration of this scale with different notes from it gaining prominence. sometimes they will be chordal and sometimes dissonant but always beautiful because the scale is beautiful.

visually, the white noise is represented by particles which congeal into dense lines. each line that appears is a specific note you can hear and it's amplitude is defined by the corresponding particle density. chords are represented by the lines crossing over each other.

so in summary, it's a quite literal visual representation of sound moving from an arbitrary form to musical form. natural order from chaos with infinitely variable patterns depending on which notes are audible. 

*note we’ve implemented the following variables for more radical variation in particle behavior in addition to the random generation of notes and their corresponding patterns.

- particles will either form straight line shapes or curved shapes 
- particles with vary in size from one iteration to another 
- particles will either favor white or black as their prominent b&w bias creating stark contrast between iterations as well as variables in between the two extremes
- some iterations will reveal faster and some slower

montreal friend scale #319

montreal friend scale #61

First into the breach, MetaExplorers are the vanguard ripping through TPL.  They swarm, battling to be the one to solve the puzzle.  First to defeat any BBEG.  First to reach any destination.  Point them in a direction, then get the hell out of the way.

Flailing Energetic

an on-chain, evolving, interactive metro! Double click to zoom in. When zoomed in, tap and drag to explore the metro map.

metro #1255

Yieldfarmers tend to spend an other-worldly amount on gas, but that's the price you pay for those juicy returns.  This isn't like your grandfather's crop, and there isn't much time for the herd of sheeple.  It's stake and farm and stake and farm, forever chasing that four-digit APY.

Trudging Mustard

Not every Cyberbroker is born with an innate talent. They are the Leftovers. Jacks of all trades, but masters of none. Can't find an Enforcer? Grab some Leftovers instead. After all, there's probably a reason they're still alive after a couple centuries.

Unironic Wescott

**Cargo** is a series of abstract paintings created with animated pixels that are constantly moving without ever repeating. It is painting new patterns on the fly in between macro and micro compositions with a duality of different rhythms and continuous synchronicity. The focus is alternately drawn to detail, then distracted by movement elsewhere and caught up in the overall picture. This rhythm turns the visual complexity into an active experience.

ASDF: “My work should offer individual ways of interpretation, or even allow one to find some self in it. It wants to inspire some thoughts about dynamics and systemics and also just mesmerize the audience, capture them in a little fantasy, or just for a brief moment in a state of satisfaction.”

Cargo is the latest work in Kim Asendorf’s ongoing work series of pixel pattern animations. Starting with [monogrid](https://monogrid.xyz) in 2021, and [Sabotage](https://sabotage.kim) in 2022, both highly conceptual series, therefore visually very raw and unimaginable. Asendorf discovered various interesting details in these works, which eventually became fundamental in his artistic expression.

Cargo is a real time WebGL software written in JavaScript and GLSL. At its core is a flip-flop render buffer, also known as feedback buffer. That means the animation is alternately rendered in two different frame buffers. This technique allows the usage of the previous frame of the animation as an asset in the current rendering, which allows for a series of reactive animation strategies.

An initial image with variable structures and patterns is rendered and subsequently loaded into the frame buffer. A fragment shader is used to apply a set of animation algorithms that make the pixel move and a set of reset algorithms that constantly try to recreate the initial image. The final animation happens in selected containers and is always a combination of two algorithms, one from each set. By regularly animating and partially resetting the pixels, a wide range of movement patterns appear.

Cargo is a responsive and pixel exact artwork and it will fill the screen on any display size, thus changing the total amount of used pixels accordingly. This results in the fact that the detail level in the artwork is changing depending on the dimensions. The overall structure is consistently stretching the x and y axis independently. Single containers scale along the dimensions and offer more pixels to render the patterns at a larger representation compared to a smaller representation. This behavior leads to a brilliance, perfect pixels, a crisp rendering with nothing like compression artifacts.

This software includes the [simplex noise](https://github.com/jwagner/simplex-noise.js) JavaScript implementation by Jonas Wagner and the [cellular noise](https://github.com/stegu/webgl-noise) GLSL code by Stefan Gustavson.

Cargo #356

[SABOTAGE #249](https://sabotage.kim/token/249) / Real-time animation, variable size. Created by Kim Asendorf, 2022 / [https://sabotage.kim](https://sabotage.kim)

SABOTAGE #249

*“History doesn’t repeat itself, but it often rhymes.” - Mark Twain*

In our day-to-day lives, it’s natural for us to fix a conceptual view of the people, places, and things around us in our minds. We might think, “that is the tree outside my window. This is my house. That’s my friend. I’m me.” In fact, this type of abstraction is necessary for us to make any sort of sense of our world. But is the tree outside your window today truly the same tree as it was yesterday? Are you exactly the same person as you were yesterday? Or twenty years ago? In a sense, the abstraction is an illusion. Our physical reality is inseparable from the flow of time; everything is changing, all the time. Sometimes the changes are fast, and sometimes they’re imperceptible — but time never stops. Change never stops.

__*because unless until*__ represents this concept in art, as a generative system of systems where each output changes over time. New days present new views of the algorithm, where a variety of mathematical shapes gradually and endlessly shift, demonstrating a more local and immediate form of change. Even so, each day’s appearance has enough in common with the one before it to provide the output with a continuous sense of identity. With the arrival of each day, what about the art has changed -- and what remains the same?


Changing Over Time
-

One of my favorite aspects of generative art is the joy of discovery when viewing a new output for the first time. I also enjoy the novelty that comes with watching a chaotic system evolve over time. But, once you’ve seen a particular output from a long-form generative art collection, you’ve seen it. My intent, with the time-based mechanics in this algorithm, is to preserve that feeling of discovery so that every viewing and every day brings something new. 

In __*because unless until*__ colors are applied differently depending on the day of the week. The detail level of the animation changes over the course of a month, providing a different visual balance between the shapes, and the textures that fill them. Each month, the animation’s shapes are altered. The weave of these different cycles mean that each day has its own characteristics. It would take at least seven years to see every available combination.

Some outputs come with “Daily Modes” tied to a specific day of the week, where colors and textures are altered in a particular way. Each output also comes with a "Fiesta Day" -- one day of the year where it shows a set of new behaviors. One day in December is designated as “Glitchmas” — a holiday shared across all outputs with another unique behavior. Glitchmas falls on a different day each year.


Animation
-

The algorithm works by layering multiple animations, whose intersections are used to divide the canvas into regions that determine the palettes and rules for a section of the output. The rules are applied to an underlying field of cellular automata, which change state accordingly. At the core of the project is a generic framework that runs arbitrary animations in their own threads. The threading enables performant, fluid motion (I find it sensuous -- I often find myself thinking "I want to run my fingers through it.). Threads run asynchronously, which in combination with the chaotic behavior of cellular automata means that outputs evolve in a unique, non-deterministic way each time. After a few minutes, the canvas is likely to be in a state that will no-one will ever experience again.

The animations in __*because unless until*__ are a return to some of my favorite mathematical techniques from a prolific period (2010-11) when I was first beginning to make art: Mandelbrot and Julia fractals, isolines, polar inversions, spirals, regular and irregular polygons, and — of course — cellular automata. It’s been a joy to revisit them, and to combine them with my more recent animated practice. As the animations progress, a variety of emergent features sometimes appear — such as cloudlike trails, regular and irregular structures, and moiré.

There are dozens of cellular automaton rules in the algorithm, which can take the states of surrounding cells as input in one of over a hundred ways. Derived from these rules, there are over a thousand possible textures, and billions of ways that a cell might change depending on its rules, state, and surroundings. The states of cells in an area around each cell are used in one of 18 different ways to select from the palettes available in the output — each of which is an interpolated gradient containing hundreds of colors. The large number of possible combinations contribute to a diverse pool of possible appearances.


Help
-

Press **[H]** to open a set of interactive menus providing additional information about the available time-based features and interactive controls. The “Today” panel provides realtime information about which detail level or special day is currently active.

For collectors wanting a more concrete experience, a “Canonical” mode is available that makes the animation appear as it did at unix epoch (January 1, 1970), and a “Synchronous” mode is available that makes animations evolve in a deterministic way (at the cost of performance). These modes are used when generating the thumbnail animations for each output.

because unless until #84

Murakami.Flowers is a work in which artist Takashi Murakami’s representative artwork, flowers, are expressed as dot art evocative of Japanese TV games created in the 1970s. The work is being developed with the number 108 as the keyword; a combination of 108 backgrounds and flower colors make up a field, and there are 108 fields. Each field has 108 flower images, resulting in 11,664 flower images in total. The number 108 is a reference to bonnō, or earthly temptations.

Murakami.Flowers NFTs are subject to the Collector Terms available here:https://murakamiflowers.kaikaikiki.com/collector.html. If you buy a Murakami.Flowers NFT, you do not receive commercial rights in the corresponding artwork.

©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

Murakami.Flower #1954

Uniswap V3

TOPIA

Reservoir

IYKYK / ABOSCH / 2023 
synthetic photograph generated from diffusion model trained on artist's custom dataset 
4400x4400 pixels RGB PNG  


IYKYK

🖥️ Obsidian Robotics - MAG 🛠️

Located on a secluded island, the MAG is a self-sustaining, state-of-the-art facility developed by Obsidian Robotics.

Phase One of the MAG provides an opportunity to interact with and customise your Metashima.

Guiding you through the experience is ADA, Chief Scientist of Obsidian Robotics and a sentient AI being. Activate the Lab with an Obsidian Cell, explore the space through cinematic fly-throughs and view your inventory.

Created by the team at Dimension Studio.

MAG #3979

The BLUU PIGEON. One for all. All holders of 1 STAPLEVERSE POOPGANG NFTs received 1 BLUU PIGEON on 12/11/22

Fly high in the sky background that first appeared in Anderson Bluu's Sky High Basketball series. Exclusive to all holders of 3 or more STAPLEVERSE POOP GANG NFTs and airdropped on 12/11/2022.

🤖 METASHIMA ⚡

Welcome to a revolutionary new web3 entertainment experience. Metashima is a total collection of 14,159 metaverse droids. LIGHTNING is drop one releasing the first 4,720 droids from Obsidian Robotics.

[https://metashima.com/](https://www.metashima.com)

These are NFTs created to commemorate GEISAI#22& Classic, an artist incubation event taking place on Sunday, April30, 2023 at Tokyo Big Sight.
The backgrounds come in 108 different colors, and for each color there are numbers ＃001-＃108 and images assigned, resulting in 11,664 unique NFTs total.

Murakami.Flowers NFTs (including any NFTs airdropped to Murakami.Flowers owners) are subject to the Collector Terms available here: https://murakamiflowers.kaikaikiki.com/collector.html. If you buy a Murakami.Flowers NFT, you do not receive commercial rights in the corresponding artwork.

©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

This airdrop is available exclusively to holders of both a HPPRS and Spy Pidgies.

HPPRS  
https://opensea.io/collection/hpprs-collection

Spy Pidgies  
https://opensea.io/collection/pidgies-spy-pidgies-yob-squab

Night Run is a conceptual art project by Matto and Thousand Ant which includes a motorcycle video game, NFT project about imaginary AI fashion houses and a series of videos documenting the process. https://nightrun.art 

Murakami Lucky Cat Coin Bank Feeding Game is a game that utilizes the NFTs that can be obtained by smashing Murakami Lucky Cat Coin Banks open.

When you feed your Murakami. Flower Coins into the Fat Cat Coin Bank, the appearance of the cat evolves into a variety of versions in progression.

Could it be that for those who manage to evolve their Cat Coin Banks to the top level, the beckoning cat will bring in some kind of good luck…?

Murakami.Flowers NFTs (including any NFTs airdropped to Murakami.Flowers owners) are subject to the Collector Terms available here: https://murakamiflowers.kaikaikiki.com/collector.html.

If you buy a Murakami.Flowers NFT, you do not receive commercial rights in the corresponding artwork.

©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

Provides early access to registering 1 .wrld name for free before the public is allowed to begin registering .wrld names. Learn more at https://wrld.name

XMAS GIFT for a limited time! Happy Holidays!

12 Omicron Capricorni (Chromosphere #531) is a piece from the third and final collection in Spectra's Dawn Trilogy. The Chromospheres collection comprises 707 pieces; each an artistic expression of a star from our night's sky. The rendering of each Chromosphere required the simulation of over half a trillion light rays, and each incorporates actual astronomical data from the star that it represents.

0x04a2…85be

$1,589.42

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