Ethereum

Woodblock printing uses a single wooden carving (aka “the matrix”) to produce multiple prints that each have their own subtle variation in texture and registration—in this way, the matrix is the “true” source of new work.

In Luke’s algorithmic process, a single body of code produces many unique matrices which represent related but distinct perspectives on a single idea. A systems based approach to creation leaves space for things to emerge that the artist had not conceived. In its best form, it also enables the creation of artwork with complete unity of concept, system, and manifestation as they become one and the same.

In Seating Arrangements, Shannon highlights both the matrix and its product, the print. The algorithm generates a digital file that serves as the blueprint. These unique instructions are then executed by a CNC machine to carve out the distinct sections of the chair. The carved wooden slab is inked, simulta- neously creating the print and painting the final chair. Finally these pieces are assembled to create a free standing chair entirely from the matrix—without any hardware. The print becomes a record of an inter- mediate event and the matrix is shared as the final assembled sculptural piece of furniture.

In this series, the generative algorithm does more than ornament the final structure: it is central to the very essence of the chair. The artist defined 220 short, straight segments of wood that can be included or excluded by the algorithm and can intersect with up to 13 other segments. The repeating geometry of the design allows the viewer to see the positive form of the chair in the included segments and the nega- tive form of the chair in the absence of those that are not.

The range of possibilities for this algorithm is 2^220, or 1,684,996,666,696,914,987,166,688,442,938- 726,917,102,321,526,408,785,780,068,975,640,576 unique chairs. The incomprehensible multitude of potential chairs elevates one of Shannon’s core questions in the work: what is a chair? Many of the potential outcomes are not sittable, but does that exclude it from being a chair if it still registers as one visually?

If you were to overlap all of the chairs, there would be no single element that is shared by all. The viewer is denied an understanding of the platonic form of a chair, as there is no one common feature that can be distilled as the essence of chair within this series.

The removed segments insert a new dimension to the relationship between body, consciousness, and object. So much of what we come into contact with on a daily basis is designed to recede in our minds— consider “pain free” UI/UX or an office chair. We constantly interact with engineered systems that do not assert themselves. Their recession can mean forgetting that they exist at all, and forgetting that they are designed for their own purposes outside of our wants and needs.

The unique generative structures and simple materiality of Seating Arrangements mean these chairs do not disappear, but rather insert themselves into your consciousness. You must think of how to sit down, perhaps where to put your arm. This awareness of your body and your relationship to the piece reminds you that it has its own identity.

Seating Arrangements #204

Mint Pass Buenos Aires Collection | MPBA | Bright Moments

Ana Maria Caballero | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

OpenSea

**Trichro-matic** meditates on perception.

As you explore the piece, your perception of the structure shifts. Elements change their relationships - what is out turns in; what is flat deepens. What stood adjacent now occludes.

The piece uses rhythmic color and form, displacement, and juxtaposition to create structures that invite interpretation and exploration. Some outputs challenge our depth perception conventions, while others manipulate explicit structural cues and emphasize intentional imperfections.

From this concept, the piece gets its name - Trichro-matic - denoting the ability to perceive using all three primary colors. The hyphenated "o-matic" denotes fictional machinery, hinting at the generative system supporting the piece. Both hand-selected and algorithmically-generated color palettes feature, with the latter aiming to elicit emotions akin to the former.

When you explore an output from different starting points, you understand the elements' relationships differently. In these changing interpretations, no answer is definitive. Each perspective, whether your first, your last, or someone else's, is valid.

Prints will be available for Trichro-matic owners. For more details, visit [this link](https://www.mountvitruvius.art).

Note: Renders might take longer on lower-end or mobile devices. This piece is my most technically complex release to date, relying on a custom GPU render process which can demand significant resources, even if outputs appear simple.

Finally, I dedicate this piece to my father, who suffered vision loss from a stroke in September 2023.

Trichro-matic #121

Socket

Ana Maria Caballero #6

In 'Dolor Gravitacional' I explore the profound analogy between the universe's gravitational forces—both creative and destructive—and the intense attractions in human relationships. These forces, powerful enough to warp planets and alter our very identities, reflect the delicate balance of creation, destruction, and the emotional contortions we undergo to fit into the world's reality. 

Through sweeping lines and bending forms in 'Dolor Gravitacional,' the oscillating patterns echo the internal human struggles, akin to celestial bodies responding to gravitational pulls. 

As viewers, we're drawn into a contemplative journey, recognizing the deep interplay between cosmic dynamics and our personal existential challenges, all within a universe marked by both chaos and serenity.

Dolor Gravitacional #17

Flowers, yes, but not the likeness of any real flower: rather, flowery exaggerations, bouts of pure flowerness, overgrowths of shape and color, algorithmic fever dreams, delirium blooms.

Flowers, then, not as parts of plants, but as explosions of feeling. A turmoil of mixed emotions: something to do with life and happiness, to be sure, but also with madness and perhaps with death. 

Flowers not as placid representations of nature, but as artificial life forms from an era of machine hallucinations, information overflow and a degrading environment. Flowers for a time of inflamed passions and strangely distorted ideas of reality. Flowers for Argentina, flowers for the world.

Press
[s] to download capture
[2-9] to redraw and download capture at x times the original 900 x 1600 size
[f] for fullscreen
[SPACE] to pause/unpause animation

Delirium Blooms #30

An excursion into visual proportion. Bright Moments Buenos Aires, November 2023.

Cuadro #19

Images that are born from the combination of primitive elements: points, lines, and intersected elemental geometries. #purevisibility

Subtraction, Reconfiguration #26

_Desde Lejos_ is a series of generative digital paintings that explore the realms of memory and perception. Using nostalgia and pixels to create digital scenery, I revisit places and moments now part of my distant past. These fragmented landscapes are my interpretation of the prompt “On-chain, Off-line” for the Bright Moments Buenos Aires collection.


**Controls:**
X : Pause
Z : Play
D : Pause + Dither
S : Save current frame as PNG
Click and Drag : Add new particles 


**URL Parameters:**
?size=0 : Render at window resolution (default)
?size=1 : Render at 1920x1280px 
?size=2 : Render at 2400x1600px 
?size=3 : Render at 3000x2000px 
?size=4 : Render at 4500x3000px 
?size=5 : Render at 6000x4000px 

*Different resolutions might slightly affect the dithering patterns on the images.*


Thomas Noya, 2023

◉_◉

Desde Lejos #22

“Vértigo Las Luces” (Vertigo the Lights)  takes inspiration from long exposure photos I take in Buenos Aires. It’s made with several particle systems following two simple attractor systems. These particle systems are modified and tuned to compose the final images. In a way, it aims to reflect the unpredictability, the spontaneity and speed of the city.

Vertigo Las Luces #31

Souls from Gaia is a delve into the sublime. This piece intends to spread curiosity about the continuity between all living and non-living beings of the universe. It becomes from questioning and thin the veil between the worlds defined by modern Western culture as rigid and opposite concepts. A coming and going from tangible to ethereal, between live and death, invisible and visible, nature and technology, ocean and earth, chaos and logic.

Souls from Gaia #19

KARNE #23

*BLINK* originally grew from our fascination with Baroque vanitas paintings, 17th century still life artworks filled with symbolic objects chosen to remind us of our mortality: hourglasses, skulls, burning candles, butterflies, bubbles. From this inspiration, we distilled the bubble as our object of fascination: the bubble as a symbol of both ephemerality and joy.  *BLINK* is in conversation with our other work, which often plays with time and scale. Here we display the bubble at a large scale, with background streams and fields that reference some of our most well-known examples from *The Book of Shaders*. The effect is the delicacy of a bubble shown at planetary scale.

The color and speed variation within this series are intentionally chosen to create a wide range of pieces. We are particularly interested in outliers and push the edges here, giving the code freedom to wander through a wide range of outcomes. Some pieces are calm and reflective, like the quiet surface of a pond, or a candle’s flame, while others evoke the energy of a city flying by.

We want to invite people experiencing *BLINK* into a moment of presence. Viewing the bubble at this scale is both planetary and fleeting: in ictu oculi — in the blink of an eye.

BLINK #21

Thomas Noya | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Jeff Davis | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Jorge Ledezma | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Juan Pedro Vallejo | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Patricio Gonzalez Vivo & Jen Lowe | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Leonardo Solaas | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Tamara Moura Costa | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Lolo Armdz | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

Guido Corallo | Mint Pass Buenos Aires Collection | Bright Moments | MPBA

VeeCon 2022 - Created By Snowfro and Gary Vaynerchuk.

This token is a verifiable ticket for admission to VeeCon 2022, which is a multi-day event exclusively created for VeeFriends & the Web3 community.

Time: May 19th - May 22nd, 2022

Location: U.S. Bank Stadium in Minneapolis, MN, USA

To be admitted to VeeCon 2022, attendees must hold this token in a mobile-compatible NFT wallet and register it for admission with the official VeeCon event app. The VeeCon event and ticket registration app will be released in May 2022 on iOS and Android and will be used for verifiable ownership of this NFT, event registration, and programming.

To commemorate the first ever VeeCon conference, VeeFriends is honored to collaborate with Web 3 pioneer Erick 'Snowfro' Calderon. Snowfro, the founder of Art Blocks, a first of its kind generative blockchain platform, and creator of the Chromie Squiggle, collaborated on this collection during early Spring 2022 with Gary Vaynerchuk, the creator and visionary behind VeeFriends. Snowfro's squiqqles and Gary's doodles have melded together to create the artwork for the first NFT ticketed conference and to live forever on the ethereum blockchain.

If you plan to attend VeeCon 2022 with this ticket NFT please RSVP now at [VeeCon.co/RSVP](https://veecon.co/rsvp)

Instructions for how to use this ticket to gain admission to VeeCon are coming soon to [VeeCon.co](https://veecon.co/)!

VeeCon 2022 #5629

VeeCon 2022 #1307

VeeCon 2022 #5358

Hot Wheels is an edition piece by Rich Caldwell. Using extensive searching on Google Earth and aerial photography I bring you views rarely seen before that just go to highlight that earth is the greatest canvas!

Hot Wheels

Funhouse is an edition piece by Rich Caldwell. Using extensive searching on Google Earth and aerial photograph I bring you views rarely seen before that just go to highlight that earth is the greatest canvas!

Funhouse

Recursion is a common technique of computational problem solving involving self-referential functions. Tectonics is a generative, 90-piece visual study of recursion, an exploration that produced unlikely associations with traditional cubism.

Tectonics #068

Owning an NFT from the Deadfellaz 10K grants you access to one of the most innovative and trusted brands in Web3. The utility of DFZ is constantly evolving through multiple developments within metaverse, interoperability, digital identity & Web3 tech. DF token ownership comes with non-exclusive IP rights to the likeness of the artwork. IP ownership details are available on www.deadfellaz.io

DeadFellaz #827

If you wish to learn the highest truth, begin with the alphabet.

one of 10k cc0 tiny dinos minted out across 7 different chains

snowfroburner.eth

$2,257.54

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