A CNS or UNS blockchain domain. Use it to resolve your cryptocurrency addresses and decentralized websites.

Axstone depicts a crowd scene brimming with technological relics, alien characters, and delightful objects, in her signature muted color palette.

Selin Çinar (aka Axstone) is a Turkish artist and illustrator. Her client list includes Apple, Mercedes Benz, and Nike, and she’s been featured in publications including Vogue, and Hifructose.

Quantum Gems represent new works of art created by one of the Quantum Curated Season 1 photography artists - plus a mystery artist.

Khuwab ki Tabeer ‘Interpretation of a Dream’ is Maliha Abidi’s latest series.

This fifth part (exclusively for Quantum Keyholders) of the series advances the narrative as the protagonist reflects and comes face to face with her inner fearlessness.

The full collection of 5 NFTs illustrates the story of a South Asian girl and all the things she dreams about because to her, there is no limit, restrictions, or barriers that stand in her way of achieving any of it.

Each of the unique pieces celebrate Maliha’s Pakistani-American artistic heritage through use of distinct elements native to Pakistan’s culture. The series reminds us of our younger selves, reminding us that in dreams, we can imagine what we want to be, and how to facing challenges emboldens us. 

Raising consciousness and conversation around the intersection between human experience and nature Rob Woodcox' Bodies of Light seeks to celebrate that which brings us all closer to each other and acknowledge the many voices that make up society. 

Through carefully produced images that combine a number of collaborators, his work highlights the beauty of bodies, diverse as they are, creating choreographed synergies that celebrate the human experience and all its possibilities within our complex environments. 

Humans as nature- our true identity. What would the world look like if we chose to live in harmony with our surroundings instead of at war? Each day is a new opportunity for education and contribution; I believe we are on the precipice of great change. How will you get involved in this monumental evolution?

1920x1080 30fps video; 1min seamless loop.  
by Memo Akten, memo.tv  
---

This is the first piece from a new branch in a long on-going series of works, oscillating around (if you pardon the pun) the theme of "Waves" - from ocean waves, to sound waves, to quantum field waves, to social & political waves, ... and now to waves in the crust of the Earth, slow motion waves on geological timescales, mountains.  
The work was created using a number of different AI (Artificial Intelligence) techniques. 

Personal note:  
In a tragic foreshadowing, I made this work before the devastating earthquake on February 6th 2023 in Turkey, my home country, and Syria. 100% of all of my primary sales will be donated to rescue and care efforts. 

100% of the secondary royalties from trades will go to charity & to contributing artists. Charities chosen to receive donations will be chosen in conjunction with the community. Placeholder NFT that will be transformed into a custom 1/1 PFP based on the art & artist you choose to work with, when you choose to do so.

CryptoMutts is a collection of 10,000 randomly generated NFT's on the Ethereum blockchain. Each CryptoMutt is entirely unique and features characteristics inspired by the current market at large. Ownership includes access to our members-only community and future NFT and token airdrops exclusive to holders.

"Receive Transmission" embodies the echoes of Peter Saville's iconic album cover, of Jocelyn Bell Burnell’s discovery of pulsars, and the powerful vibrations of Joy Division's music. Ripples radiate from the central core channeling the spinning pulsar. These stars exhibit symmetry, with two beams extending on either side, similar to a lighthouse's sweep. The composition follows a bending grid, similar to the paper that aided Jocelyn's work. Occasionally this grid is exposed as an overlay, a testament to the barriers confronting women and their ability to overcome them. There is a rhythmic cadence to the artwork, sometimes steady like Stephen Morris' drums or jagged and spontaneous like Ian Curtis' dance. From the distant pulses of a dying star to the timeless grooves on a vinyl record, the artwork encapsulates the endless ripples through time. A transmission received by all who look for it.

--

Dame Jocelyn Bell Burnell, the pioneering scientist who discovered pulsars, was the sole woman radio astronomer at Cambridge University in 1967. She helped build a satellite and operated it alone, carefully studying the marks made by a pen across thousands of feet of graph paper. Jocelyn uncovered a mark that should not have been there. This signal, a transmission received from a perished star, continues to traverse time and space to wash our world in radio waves for eons to come.

Her discovery was initially overshadowed by her professor's skepticism, who attributed the anomaly to interference or faulty wiring. To validate her intuition that this was a new celestial entity, Jocelyn continued working and discovered a second pulsar. Her work earned a Nobel Prize; however that prize was given to the male heads of her program. In 2018 when Jocelyn was awarded the Special Breakthrough Prize in Fundamental Physics for her pulsar discovery. She promptly donated the $3 million award to the Institute of Physics (IoP) to propel women and other underrepresented groups toward earning PhDs in physics. Her impact as a role model will carry on for generations.

ZENTRUM is a dynamic, endlessly running abstract animation made of structural elements and random codes. The random generator ensures that each endless loop is unique. For ZENTRUM, Franke had to make do with the limited computing capacity that a home computer offered at the time. Despite this limitation, it was important to him to develop moving sequences even in his first programs for the Apple II. He considered the movement to be a pioneering digital innovation. The combination of dynamic image sequences and music, as well as the interactivity, were already groundbreaking in his MONDRIAN program code, developed in 1979 for the Texas Instruments home computer.  License: https://quantum.mypinata.cloud/ipfs/QmUnSepLccUajd2kJi3hX7bFvzUuFHr39UUP1TTk9yHaaq

This AiVATAR was asked "What are some warning signs to watch out for in daily life?" the answer was 100% generated by an AI and fed into another AI. For a full understanding of what is going on here, visit our website at www.aivatar.io

This AiVATAR was asked "If you were given one thousand acres of land that you did not need to pay taxes on but could not sell what would you do with it?" the answer was 100% generated by an AI and fed into another AI. For a full understanding of what is going on here, visit our website at www.aivatar.io

Casey Reas has been making abstract artworks with code for over twenty years. Crucially, he prefers that viewers experience his dynamic images as live “performances,” instead of screen recordings—that is, the work always should be generated in real time by a computer executing his instructions. (This is somewhat analogous to the difference between listening to a symphony live in a concert hall and as a recording.) In this way, he invites us to appreciate not only the outputs of his code—which are visually related to modernist art—but also the material and conceptual foundation of his work in the language of computation, which is his chosen “instrument.” 

In recent years, Reas has used the popular software language Processing, which he coauthored in 2001, to produce a series of works that pay explicit homage to the icons of twentieth-century abstraction. As he notes, the forms of these works refer to movements ranging from “concrete and non-objective art to color-field painting and minimalism.” In METASOTO, Reas offers a “meta” reflection on the work of Jesús Rafael Soto, a Venezuelan Op and kinetic artist of the 1960s who explored the aesthetic possibilities of industrial and synthetic materials such as nylon, steel, and Plexiglas. Soto’s sculptural construction <a href="https://buffaloakg.org/artworks/k19652-bois-tiges-de-fer" target="_blank" class="link">Bois-tiges de fer, 1964</a>, is a Masonite board measuring over five feet wide and painted with vertical black lines, in front of which are hung thin steel wires bent into varying arcs. As the viewer passes in front of the work, the visual interference between the actual and painted lines creates a dizzying optical confusion. In the 1960s, this kind of “activation” of the viewer’s body using nontraditional materials was understood by some as a political act, insofar as it rejected the bourgeois model of art as expensive objects to be passively consumed. 

In METASOTO, Reas uses live code that we experience via our browsers to reimagine Soto’s sculpture as a dynamic composition of black and white intersecting lines. The black lines remain static, while the white lines move over them in ways that can make the black lines appear to be animated. Clicking on the image reveals a new pattern (although reloading the work will begin the same cycle over again), and each edition of the work presents an entirely different set of configurations. While Reas’s work reiterates Soto’s embrace of technology to activate the viewer, it also invites us to consider what it means for the viewer to activate technology—or even create their own digital systems.

Winslow Homer’s Croquet Challenge is a digital game that can be played by anyone on the internet or by collectors as an application on their computer. Toronto-based artist Mitchell F. Chan not only coded the game art and mechanics, but also wrote the dialogue, recorded the sound effects, and even created the shaders that calculate the lighting levels on each texture in real time. The first in his new series of immersive fictions called Beggars Belief, this game transforms Homer’s painting <a href="https://buffaloakg.org/artworks/194111-croquet-players" target="_blank" class="link">The Croquet Players, 1865</a>, into a digital “physics game” (like Angry Birds), in which the player uses their cursor to aim and swing their mallet towards the ball. The characters are modeled after the figures in the painting; the action takes place on a lawn that is bounded by a recreation of the painting’s gilded frame; and landscape scenery from Homer’s other paintings provide the backdrop.

Homer first became famous for his images of the Civil War, which were popularized in the press and helped the Union’s cause. Painted shortly after the war’s ending, his idyllic rendering of a friendly croquet competition may represent the desire for reconciliation after an intense period of social and political division—or perhaps a skepticism that such a thing is possible, given the ambiguous relationships between the figures. Chan amplifies the painting’s undercurrent of conflict by giving the characters dialogue that emphasizes the historical context of the Civil War, as well as by making Homer’s genre painting of privileged leisure into an actual game with winners and losers. Given that physics games are descended from ballistics research during World War II (which contributed to the invention of modern computing), the game play particularly highlights the military history haunting this scene.

Beyond contextualizing The Croquet Players as an antebellum painting, Chan’s game reminds us that art—like games or politics or war—takes place within a defined arena according to a set of rules, and that certain ideas, facts, or people must be included or excluded for this arena to be maintained. Using your cursor to lower the in-game camera reveals a chain gang of formerly enslaved African Americans laboring in the fields beyond the lawn, suggesting the Jim Crow laws then forming on the horizon—as if the tenor of Homer’s painting depends on keeping knowledge of these events “outside the frame.” The game also touches on the sexual politics of this era, which saw the birth of the women’s suffrage movement. Homer’s painting reflects that croquet was one of the first co-ed sports, which contributed to its surge in popularity in the 1850s. Chan’s game uses Homer’s same co-ed figures, but we can only play as the women, even though only the men are allowed to speak—and to win.

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