VitaDAO Token

VitaDAO

Ethereum

Wrapped Ether

WETH

Dai Stablecoin

# apyeth.com

OpenSea

In ancient Persian literature,  ماه طلعت، (“Moon-faced”) was a genderless adjective used to define beauty in both men and women. In contemporary Iran, it refers to the beauty of women only. Something similar happened, in the world of images, to the Qajar dynasty portrait paintings: the modernization of Iran, the influence of the European tradition of realistic painting, and the use of of camera technology and therefore photography as a model, overshadowed and ended the queer representation of genders that historically characterized these paintings, largely known for their gender-undifferentiation. For her project, “ماه طلعت، Moon-faced,” Allahyari uses a carefully researched and chosen series of keywords with a multimodal AI model to generate a series of videos from the Qajar Dynasty painting archive (1786-1925). Through this collaboration, the machine program learns to paint new genderless portraits, in the effort to undo and repair a history of Westernization that ended the course of nonbinary gender representation in the Persian visual culture. The music in this video was composed by Mani Nilchiani.

ماه طلعت، Moon-faced #68

Base Bridge

*923 Empty Rooms* is an artwork about simulation and the history of visual representation and abstraction. Each room is a space to explore.

Each of the 923 unique rooms contains a simulated still life, an arrangement of forms. There are six primary forms, each linked to a city: Sun (Tokyo), Shard (Berlin), Cargo (London), Hive (New York), Pyramid (CDMX), and Moon (Los Angeles). A series of rooms will be minted over the course of a simultaneous, six-day exhibition at galleries in each city.

There are 923 rooms in total to iterate through every possible combination of the six shapes:

1 form = 6 unique combinations
2 forms = 21 unique combinations
3 forms = 56 unique combinations
4 forms = 126 unique combinations
5 forms = 252 unique combinations
6 forms = 462 unique combinations

*923 Empty Rooms* is an evolution of *An Empty Room*, commissioned by the Los Angeles County Museum of Art (LACMA) for the Coded: Art Enters the Computer Age, 1952–1982 exhibition. *An Empty Room* was installed at LACMA from 9 April to 2 July 2023.

923 EMPTY ROOMS #307

923 EMPTY ROOMS #111

Wrapped Ether 

Time moves forward, and although it can seemingly pause, it can never move in a different direction. However, the way we experience time is cyclical. Year after year, month after month, day after day, our lives seem to happen in loops. No matter what paths we take in life, sometimes we end up right back where we started. In *If You Could Do It All Again* a simple 2D grid of colors is blended, reflected, and refracted through a rotating glass-like structure in 3D space. With a slow and hypnotic motion causing the viewer to stop and focus on the canvas. Their experienced time is, in a sense, paused; a contradiction to the moving image in front of them. 

*If You Could Do It All Again* is coded in GLSL and Javascript within a single fragment shader, using a technique known as Raymarching. Each pixel reacts to the mathematics and logic within the shader software.  Programming a system to carefully color every point on the canvas.

Keyboard Commands:
[P] or click/tap on the canvas to pause the animation and enable anti-aliasing
[S] to save an image

If You Could Do It All Again #39

All maps are presented as-is with no guarantee of accuracy or completeness, and are provided without any warranty whatsoever, either express or implied. In no event shall The Artist be held liable for any damages or loss of profits arising from use of the maps, which may not be suitable for legal, engineering, financial, or navigational purposes.

Any resemblance to real locations is purely coincidental, and nothing perceived by the viewer is to be construed as a "legal description". All markings, sections, symbols, patterns, and other visual elements are purely aesthetic devices; they should not be interpreted as geographical, topographical, meteorological, biological, economic, sociological, or political phenomena. Furthermore, all perceived textures, imperfections, shadows, and marks of damage are mere simulations of an analog printing process, and in no way imply the or existence of, or ownership over, a corresponding physical paper map or anything the map may appear to depict.

The maps are not intended to provide any utility to the buyer. All sales are final, and refunds will not be given for any misprints, discolorations, inaccuracies, imprecisions, or unintended features of any kind.

All maps are licensed under a Creative Commons Attribution-NonCommercial 4.0 License.

Maps of Nothing #534

initial #1

Money Making Opportunity (MMO) is a smart contract-based collaboration game in which 1474 participants send 0.03 ETH to the MMO contract, and must then negotiate and coordinate to distribute the resulting contract balance. MMO is inspired by the Pirate Game: a leader proposes a destination for the contract's balance; participants vote on the proposal; if the proposal is rejected, the leader is eliminated and may no longer vote on proposals. For more information, visit => https://steviep.xyz/moneymakingopportunity

Money Making Opportunity #424 (Week 1050/1474)

Inside the computer there’s a digital hand. The hand selects a metal implement, cuts off a slab of clay, and carves into its surface. It wanders like your hand wanders; it carves imaginary contours, sinuous and exploratory. It doesn’t know the end result so it carves lines until it feels content, and then it numbers the piece and stamps its maker’s mark. It fires the slab in a digital kiln (it calls this “minting”) and through this act its art is preserved for millennia. The hand runs its fingers over the textured surface, feeling satisfaction at having spontaneously produced a piece of art so beautiful, expressive, and unique.

---
 
Ceramics is a generative sculpture that mimics the physical expression of carving into clay. Through uncanny naturalistic rendering it challenges our notion of “handmade”. It asserts that the value of handmade isn’t the time it takes to make the work nor the physical materials consumed, but the endless small decisions and serendipitous details that appear along the way, as can be felt in each Ceramics mint.

Despite the handmade nature of Ceramics the outputs cannot be touched. Highly tactile images enchant the viewer to imagine their tangible representations, and leave them to dwell on their perception of materiality — both in the experiential physical world and conceptually-infinite digital space.

Ceramics #187

Fushi ( Japanese for immortality / eternal life ) is a concentration study to help those who might need help to slow down in their lives, those who get lost in their thoughts, and those who need a focus point to stand up.

No Reality is an invitation to contemplation. 

It acts as a support to our emotional levels and aims to enhance our environment by guiding us into a meditation state. Both contemplation and meditation have proven to have a positive impact on improving mental and physical health.  

Consciousness, Healing arts, and spirituality, Fushi No Reality is a window through surrealities. A procedural immortal healing ritual unlocking our capacity to cure ourselves.  

Each surreality is forged from a real-time organic system running in an infinite and perpetual movement, crafted from chaos and noise-domain explorations. From a computing point of view, there is no distinction between visually random noise and mastered noise. They are both an output of the same algorithm perceived by our brain as a signal. From a soul point of view, the difference is the perception and what we, humans, do qualify as pleasing, perceptible, or intriguing.

Exploration, observation, and modulation are key to this vast pandemonium of chaos. A creative process to re-forge shapes we already observe in our world’s best inspiration: Nature.

This inspiration directed Fushi No reality towards Landscape art/cloth art mixed with vaporware aesthetics, slow movement, and peaceful color palettes.  A light beam travels through each surreality to guide a few voyaging spirits across the landscape. Portrait or landscape,  the surrealities are meant to be displayed in both ways, viewers may look at generative cloth swirling and sci-fi planetary landscapes.  

The more adventurous may move their cursor to the top or bottom to live a faster healing experience.

No one can bring you peace but yourself, but this time, let’s travel together.

フシハ、セイカツノナカデスローダウンスルテダスケガヒツヨウカモシレナイヒト、シコウ二マヨッテシマウヒト、タチアガルタメノフォーカスポイントガヒツヨウナヒトノタメノシュウチュウリョクガクシュウデス。

[Fushi no reality / フシノゲンジツ]ハ、シサクへノショウタイジョウデス。
ワタシタチノカンジョウレベルヲサポートスルヤクワリヲハタシ、メイソウジョウタイヘトミチビクコトデ、ワタシタチノカンキョウヲヨリイイモノ二スルコトヲモクテキトシテイマス。メイソウトジュクコウハドチラモ、シンシンノケンコウゾウシン二イイエイキョウヲアタエルコトガショウメイサレテイマス。

イシキ、ヒーリングアート、スピリチュアリティ、フシギノリアリティハチョウゲンジツヲトウシテノマドデス。フメツノイヤシノギシキハ、ワタシタチジシンノチユノウリョクヲトキハナツタメノテズクリデス。
 
ソレゾレノチョウゲンジツハ、カオストノイズリョウイキノタンキュカラツクラレタ、ムゲンカツエイゾクテキナハタラキデハタラクリアルタイムノユウキテキナシステムカラツクラレテイマス。コンピューティングノカンテンカラハ、シカクテキ二ランダムナノイズトマスタリングサレタノイズノアイダニクベツハナイ。ドチラモ、ワタシタチノノウガシンゴウトシテニンシキスルオナジアルゴリズムノシュツリョクデアル。タマシイノカンテンカラハ、ソノチガイハチカクノチガイデアリ、ワタシタチニンゲンガナニヲモッテ「タノシイ」「チカクデキル」「キョウミヲソソラレル」トハンダンスルカトイウコトデス。

コノコウダイナカオスノパンデモニウム二ハ、タンサク、カンサツ、ソシテモジュレーションガジュウヨウナカギトナリマス。コノセカイサイコウノインスピレーションノナカデ、ワタシタチガスデニカンサツシテルカタチヲサイケイセイスルタメノソウゾウテキナプロセス。シゼン。

コノインスピレーションハ、[Fushi no reality / フシノゲンジツ]ヲ、ジョウキセンノビガク、ユックリトシタハタラキ、オダヤカナシキチョウヲマゼタフウケイガヤクロスアートニムカワセマシタ。コウセンハソレゾレノチョウゲンジツヲトオリヌケ、フウケイヲヨコギルスウジンノコウカイタマシイヲミチビキマス。ポートレートヤフウケイナド、チョウゲンジツハリョウホウノホウホウデテンジサレルコトヲイトシテアリ、カンショウシャハジェネレーティブナヌノノウズマキヤSFテキナワクセイノフウケイヲナガメルコトガデキマス。

ヨリボウケンテキナヒトハ、カーソルノウエカシタカニハタラカシテ、ヨリハヤイイヤシノタイケンヲスルコトモデキマス。
ヘイワヲモタラスノハジブンジシンダケデスガ、コンカイハイッショニタビヲシテミマショウ。

Fushi No Reality - フシノゲンジツ #139

When I started using a computer, I believed that digital data could be stored forever. I saved my favorite picture files and small free software files to floppy disks with a capacity of roughly 1 megabyte and stored them carefully. Those floppy disks were my treasure. Later, when the disks deteriorated and became unreadable or were lost, the data became memories with a deep feeling of loss.

Blockchains have arisen. Are these truly persistent?

After all, digital data are also a type of memories. They are stored in a person's mind, deteriorate, and one day will be lost with that person.

I find the fragility and beauty in them.
　





　
In this work, I attempted to represent a fictional collapsed blockchain world with visuals and sound.
　
The chain has already been abandoned, and the few nodes that remain barely alive are just maintaining their appearances. Visualizing the remnants of blocks that no longer serve their original purpose, they form something like a submerged city. Then, a large amount of data that has lost its connection to the blocks and has deteriorated to the point that it can no longer be opened, flutters through the sky. The countless remnants of data form a cloud, which undulates like a wave. The details of the data cannot be confirmed, however, they can be seen as glittering lights. As I try to recall the contents of the data that can no longer be opened, I am filled with vague memories and a sense of nostalgia.

This work started with generating sound by code. The sound of rippling waves can be heard by clicking on the screen. Since it would be impractical to store huge sound data on the blockchain, the sound was formed from white noise. In order to reproduce the sound of rippling waves, it was necessary to deepen my understanding of the structure of the sound by referring to academic papers. Then the sound was completed, and the visual imagination expanded from there.

I like to visit the sea near my home and in other places. Different seascapes can be seen from different locations and angles. When I am there, idly gazing at the seascape and listening to the sound of the waves, I sometimes feel as if I am the only human there and the world has gone to ruin. If the world were ruined, this seascape and the sound of the waves would remain for a long time. This feeling and the fragility felt in digital data are the basis of this work. I imagine that the heaven or the graveyard where the lost data flies up in the sky and arrives may be a seascape like this.

The reason why I used data as lights and clouds drifting in the sky and moved them like waves is because I wanted to depict unrealistic behavior with a realistic subject matter and to express a beautiful and bizarre world in which these intertwine.

For the visual expression technique, I further pursued and evolved the drawing system that I have developed in "GHOST IN THE CODE" and my other works. Everything is composed of rectangles, indicating that this world is beginning to become low-resolution. Depth is linked to the size of the rectangles, and distant objects are represented by small rectangles as if they were in focus. Dispersion in the position and color of the rectangles indicate the degree of deterioration of the world. Moreover, the sky, blocks, and the surface of the water are identified and each has its own characteristics.

Algorithms generate various compositions, colors, and other features. I have attempted to make each output feel nostalgic and fresh at the same time. The blocks, which have lost their original meaning, are contrasted with the data, which exists in isolation from them, in stillness and movement. Occasional red clouds or blocks mean that they are corrected as red, the first color, due to missing information.

Through these integrations, I have attempted to create a work that can be stored on a blockchain, and that is both visually and sonically interactive.

[NOTE]

-To save the image press the 'S' key.
-To change the flow velocity press the '↑' or '↓' key.

Modern hardware and browser hardware acceleration is recommended. The Chrome browser on a desktop with a high-end GPU is optimal. On iOS, the best experience is available on iOS 15 or later.

Memories of Digital Data #8

By default, browsers stretch and interpolate pixels of low-resolution images into blurred colors. Cage is a study of this flux between the browser and how it interpolates images and color. Layers of these stretched pixels fit your screen to make a cage of light, blending grids of color onto a canvas. Cage paints the screen with variations of six web colors (blue, orange-red, green, magenta, violet, and yellow) to create new interactions made possible only by this resolution play.

Cage #109

Generated by an algorithm, the entire spectrum of the color of noises emerges in Kim Asendorf’s series COLORS OF NOISE. These colored noises are visualized in a flickering mesh of lines, creating a moiré pattern. The different sounds have different effects on the listener, who is directly drawn into the audio-visual experience, immersing into a multisensory artwork.

COLORS OF NOISE #30

HashDemons is a collection of 6,666 NFTs Demons - unique digital collectibles living on the Ethereum blockchain.

This demon is one of the 6,666 summoned to the Ethereum blockchain. He will reveal his appearance on July 6th at 23:00 UTC. Summoned through the official dark gate [hashdemons.com](https://hashdemons.com/?utm_source=opensea)

In &ldquo;Just in case,&rdquo; Thierry Fournier addresses the perception of digital systems as an Other by reversing the relationship between human and machine. Borrowing from the experience of solving captchas, the work sets up a fictional situation where it&rsquo;s considered normal for a machine to detect whether or not someone is human all by itself.

In the piece, the screen shows a message that seems to come from a computer program that wonders if the person who observes it is human (&ldquo;checking you are human&hellip;&rdquo;). It hesitates, calculates, and a wheel turns. Finally, it stops and displays a brief &ldquo;thank you.&rdquo; Then it starts again, ad infinitum. A brief moment of doubt arises while the process runs, which is lifted when the animation starts again&mdash;only to open up more questions.

As an animated GIF, this edition can be easily distributed via social media posts, messages, emails, and any other form of digital communication. In those spaces, it can be experienced outside of an artistic context as a way to hint at humans&rsquo; dystopian relationship with machines, or to question how to define what being human is.

Antoine Schmitt has rewritten a computer game he initially created in the 1970s, using the programming language Logo. &ldquo;Minos&rdquo; is an interactive game based on the well-known Greek myth in which the player, in the role of Theseus, has to escape an invisible maze before getting caught by a Minotaur. Both characters are represented by circles inside a minimalistic maze that is only made visible as they continue to explore the labyrinth. The artwork offers an engaging gameplay and can also be contemplated as a generative visual composition reminiscent of kinetic and op art, in line with the aesthetics of the artist&rsquo;s other process-based works.

Conceptually, the game explores the unspoken rules and codes that we encounter in our daily lives, whether on the level of administrative regulations, social behavior, or software. From this perspective, the game&rsquo;s objective (constant escape from an endless labyrinth inhabited by a threatening character) can have multiple meanings. As one example, in Minos, the walls of the labyrinth aren&rsquo;t the only hidden component, as the rules of the game are also obscured at first. The player has to discover the rules by playing, and in that sense, it is a game with instructions that follow.

&ldquo;Predictive Art Bot&rdquo; is an algorithm that automatically generates concepts for artworks by combining keywords from news and article headlines in real time. Conceived by DISNOVATION.ORG and programmed by J&eacute;r&ocirc;me Saint-Clair, the artwork is a constantly updated commentary on the media&rsquo;s influence on artistic trends and discourses, as well as on the widespread expectation of contemporary and new media art to address the social, political, economic, environmental, and cultural issues of our time. The artwork goes even further by suggesting future artworks that could be created from its one-liner descriptions, which are sometimes prophetic and sometimes plainly absurd. Each sentence is disseminated online on a dedicated Twitter account, and can be read as a critique of contemporary art, as some generative nonsense, or as the seed of an actual artistic project. Through algorithmic serendipity, the artwork opens up unlikely associations of ideas that could stimulate unconventional forms of creativity.

Since its original inception in 2015, &ldquo;Predictive Art Bot&rdquo; has taken on many different forms, including an LED sign, an installation, a video projection, and a website. On Feral File, the artwork can be collected as an archive of all the predictions published on Twitter since September 2015. In this iteration, the sentences are displayed randomly, with an indication of the date and time they were published, plus a link to the original tweet.

&ldquo;Signal of the World&rdquo; is a poem by Varvara &amp; Mar that playfully addresses our daily dependency on internet connectivity, and the ensuing collection of data. The poem is performed by Varvara in the role of a character that represents a Wi-Fi signal, portrayed as a golden idol that is reminiscent of both the statuette appearing in Steven Spielberg&rsquo;s &ldquo;Raiders of the Lost Ark&rdquo; (1981), and the robot Maria from Fritz Lang&rsquo;s &ldquo;Metropolis&rdquo; (1927). The character&rsquo;s cartoonish features infuse the rendition with a farcical mood, although the content of the poem increasingly becomes upsetting as the idol spouts commands and veers from seductive to authoritarian.

The artists also developed a Snapchat filter for this artwork, as part of a series of videos that take a satirical view on the art market and the cryptocurrency boom, among other subjects. They consciously combine references from popular culture and social media to create content that follows the rules of the attention economy, all while inserting critical commentary with a dose of humor.

More Loot is additional randomized adventurer gear generated and stored on chain. Maximum supply is dynamic, increasing at 1/10th of Ethereum's block rate. Stats, images, and other functionality are intentionally omitted for others to interpret. Feel free to use More Loot in any way you want.

This one-of-a-kind OG:Crystal reflects both the remarkable combinations of natural crystalline structures as well as its journey through the crypto wallets of the community. There is no other like it. Welcome to the REEF.

In the summer of 2020, Sage set out to synthesize their previous experiments into an emergent virtual organism. They developed new particle behaviors and an artisanal rendering engine. Particles imbued with homeotic potentiality shapeshift into various behavioral species, and give life to a plethora of embryonic stages. In one particular experiment, this amalgamation beget an uncanny offspring, whose particular genetic code has been unreproducible, creating an anomaly, and a treasure.

The only remaining record of this creature is a 4,749 frame video detailing the poignant gaze of its emergent eye. “Embryogenesis” represents a sort of <a href="https://www.marykellyartist.com/post-partum-document-1973-79">post-partum document</a> to the extinct resonances within the code. Forever trapped in a loop, lost to the symbolic order of memory. It is with a heavy heart that Sage releases their spawn into the wild, but it is the inevitable eventuality of parenthood that children escape the petri dish.

acvaz.eth

$2,473.26

Explore profiles

Company

Learn

Individuals

Businesses

Developers

Support