Kjetil Golid

Every collector is eligible to claim a **signed print** and/or **3D printed sculpture** of their output before March 22nd at 6pm GMT. 

Prints will be 140 x 118 cm on Hahnemuehle Photo Rag 305gsm, costing $950 inclusive of shipping.

You can claim your print [here](https://views.typeform.com/to/fK6QRosQ)

Each edition can only be printed once.

For the live updated status of claimed and therefore *unavailable* prints please check [here](https://docs.google.com/spreadsheets/d/1QgbNl375UnoknQgV2dI97av-fL9GAspcOX1LGbzH3O0/edit#gid=0)

Sculptures will be 30cm tall 3D printed grey nylon, costing $1500 inclusive of shipping.

Prior to purchasing a sculpture, collectors must enquire with Kjetil [here](mailto:kjetil.golid@gmail.com/?cc=anna@verse.works&cc=holly@verse.works&subject=Monument%20Sculpture) as each sculpture will be bespoke. 

**Please note**: The background of the printed outputs will be desaturated by 60% as was the case in our exhibition of *Monument*.

In *Monument*, Golid’s signature grammar of cubic shapes, black lines and luminous colour is instantly recognisable. In this series, geometric forms take on a new verticality. Inspired by the aesthetic of Brutalism, shapes ascend like totems of concrete architecture. “Flawed, repetitive patterns have always been an interesting aesthetic to me, and where else does one find it more prominently than along the vertical facades of high-rise buildings?” asks Golid. The artist is interested in the pattern and structure of these buildings and the way in which these patterns are disrupted by the presence of people. For example, the way in which an open window or a closed curtain interrupts the architectural uniformity of a modernist high-rise building.


Monument

Verse Solos

Roope Rainisto

Rainisto creates constantly, experimenting with new ideas and techniques. To produce a series such as *Vacation*, he begins by considering the emotional quality he wants to express and formulates a narrative he wants the series to communicate. He trains custom models, such as Stable Diffusion, to express this emotional and narrative quality. He then uses AI to produce thousands upon thousands of images which he then carefully curates and edits. The process is both highly technical and deeply intuitive.

*Vacation* foregrounds the use of AI in the creation of the image, its artificiality is showcased rather than concealed. Subsequently, Rainisto calls attention to the artificiality of photography itself. He explains, “In my mind photography has always been about the real and the unreal. Photos are not real. They're 2D pieces of paper. We have this cultural acceptance, shared norms to consider them real.” By blurring the boundaries between real and unreal: authentic and fake, Rainisto hopes that new technologies will foster scepticism and criticality, interrogating the idea of the photograph as an objective source of truth.


Vacation

In Roope Rainisto's REWORLD, he explores society's complexities through the lens of AI-generated images, examining individual identities and cultural interplay. Rainisto's innovative use of machine learning marks a turning point in visual communication, reflecting our technology-driven era.

His world is familiar, but the intricate details reveal how visual representations have molded our perceptions. The images evoke a sense of belonging while confronting us with the notion that a machine has unraveled how we perceive ourselves.

Roope's wit and cultural understanding create a unique perspective — a REWORLD with cleverly reimagined elements. Beyond mere fantasy, this elevated reality captivates and challenges our imagination, pushing the boundaries of what is possible in art.

REWORLD

Fellowship

Life In West America is a post-photography project investigating America: the land as a concept, as an ideal, and the stories of the people inhabiting the space. The collection combines the visual language of traditional photography with the limitless artifice of AI, capturing a moment in time and in generative technology. Each of the pieces is generated using custom-trained models specific to this project.

Life In West America

Erik Swahn

Prepare a rectangular or square canvas. Pick one or two sets of pigments. Plot one or two fields of slightly irregular dots, with one layer for each pigment. Offset each layer slightly, horizontally or vertically. Apply a level of randomness to the placement of each dot so that pigments in lower layers can obscure pigments in higher layers. Optionally, divide and displace the randomness in rectangular patches.

Click on press the image and press 1-5 to export the image in increasing resolution. Note that browsers have different upper limits for canvas size. There are five different aspect ratios: 1:1, 5:8, 8:5, 1:2, and 2:1.

*Fields* is part of the group exhibition *Imperfections*. 


Fields

qubibi

storeroom

Each *Funktor* is defined by a sequence of mathematical functions called signed distance functions. This type of function describes the relationship between the interior and exterior of shapes, yielding negative or positive values depending on whether a point in space belongs to the inside or the outside of the shapes they describe, and values close to zero for points on the boundary between them.

In that sense, they are like architectural drawings, only instead of lines, they use the the value zero to mark the boundaries between outside and inside - in other words, walls. A room, in this context, is therefore a region of space that return negative values when its defining function is sampled.

In *Funktor*, a simple sequence of such functions is defined, then twice extruded and interpolated, as if going from floor to floor, with the previous level transforming into the next through simple linear interpolation. There are no surfaces, only a field of points at regular intervals, sampled in space. For values close to zero, there's a coloured dot. In that way, only the boundaries between inside and outside are visible, sometimes floating in space, sometimes standing firmly on a ground plane.

You can press '1' to '5' to export PNG image files of increasing resolution. You can press 'e' to export an STL file that can be used for 3D printing, or 'o' to export an OBJ file. You can also press 'g' to export a GIF animation and 'p' to repaint the Funktor. Note that the STL and OBJ files can be very large.

*Funktor* is part of the exhibition *Generative Architecture* and was written in Javascript using p5.js in 2023.

Funktor

Richard Nadler

Yamabushi are revered as mountain priests or ascetic hermits in Japan, devoutly following the ancient traditions of Shugendō. This spiritual practice intertwines elements of Buddhism, Shintoism, and the indigenous worship of mountains. The very name "yamabushi" itself translates to "those who find solace in the mountains."

Every artwork within this series exudes an undeniable spirit of motivation, resonating with the echoes of Yamabushi's teachings. It serves as a profound reminder that life's challenges should not be feared, but embraced as transformative opportunities for growth and self-discovery. Generated through a custom AI model, Yamabushi's Horizons landscapes and strokes of generative-like art act as visual metaphors, reflecting the profound wisdom of Yamabushi and empowering us to harness our inner strength and nurture resilience.

*Every collector is eligible to claim* ***a physical signed print by 31 July 2023***.

*Each edition can only be printed once. You must prove ownership of the NFT and cover the shipping costs at the time of claiming the print here:*\
*[for 20 x 20 cm prints](https://views.typeform.com/to/wEOTnUIw)\
*[for 60 x 60 cm prints](https://views.typeform.com/to/ZWJtNf85)

*The prints will be printed with our local London printing studio on Somerset Velvet 255gsm. The prints will be signed before shipping. Handling and shipping is $75 or 120$ depending on the size. This page will keep track of which Yamabushi's Horizons NFTs have been printed.*
*For live updated status of NOT AVAILABLE for print works please* [check here](https://docs.google.com/spreadsheets/d/1zUErQQPxTJ0zXAgzinRG86defRxAQIJ9vLowm41jCBY/edit?usp=sharing).

Updated daily status:\
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Yamabushi's Horizons

Jacek Markusiewicz

The landscape is filled with massive structures that look like architectural elements, as if a series of vaults constructed from geometric figures has been carved into the ground. They span over mountains and valleys, imposing order on the natural terrain. It appears as if the weight of the land is being held up by columns and walls, shouldering its burden.

Meandering roads find their way through the terrain, between the structures, connecting scattered homes and fields of crops or vineyards. Occasionally, a larger building stands out, resembling a church or town hall.

The people living in these settlements bring to mind ancient barbarians from history books, how they overtook great civilisations and made their homes among the ruins. But it is hard to say who came first. The massive structures may have been built after the wooden settlements: an outside force colonising the land for resources, leaving behind traces of its barbaric conquest.

In both scenarios, the concept of barbarism always refers to “the other”, accentuating the dichotomy between us and them, right and wrong, form and matter, space and time, human and nature. Yet here, in this landscape of contradictions, these divisions are not so clear-cut after all.

—
*DISPLAY*

The size of the image generated by the algorithm adapts to the size of the browser’s window. Add parameters “w” (width) and “h” (height) to the end of the URL address to force a different size, e.g. “&w=1350&h=2400”. 

The project is best viewed in 4K; however, high resolutions result in longer rendering time. Please note that the algorithm will adjust the resolution to the aspect ratio of the rendered edition. 

Certain visual elements, such as the density of strokes on geometries, differ between low- and high-resolution images to ensure the best display quality.

—
*REFERENCES*

All drawing and geometric methods by Jacek Markusiewicz except the following:

For terrain generation, I adapted Hydraulic-Erosion by Sebastian Lague. (MIT License)

For pathfinding, I adapted the C# script from the article Pathfinding Algorithms in C# by Kristian Ekman (The Code Project Open License - CPOL). The code was translated to JavaScript and simplified.

I translated algorithms for ray-cylinder, ray-sphere and ray-torus intersection to javascript from articles and shaders published by Inigo Quilez (MIT License).

Many pseudorandom effects are achieved with OpenSimplex Noise by Josh Forisha (The Unlicense: CC0 1.0) and seedrandom by David Bau (MIT License).

Compiled using a boilerplate by James Merrill (MIT License). The random number generation from transaction hash uses the prng algorithm sfc32 by Chris Doty-Humphry (public domain) as described in the artblocks.io tutorial (GPLv3).


Barbarians

Pierre Casadebaig

*Ridge Regression* is a tour of imagined landscapes rooted in data visualization, drawing from real elevation logs that reveal the landscape topography of France's diverse mountain ranges. The project’s algorithm involves an evolutionary process applied to geology, where new plausible landscapes are built by recombining a set of randomly sampled real location(s).

Because the data does not convey human influences on the land, the resulting landscapes are stripped to their basic, raw forms. By observing the differences between real locations and these fragments of computational geological forms, the artworks highlight the impacts we have on our world – from inspiring transformations to consequential damages.

While some outputs contained unremarkable elements, their potential as components for broader compositions was harnessed by assembling them with stronger outputs, leading to the creation of those synthetic yet realistic landscapes. The project goes on to harmonize additional algorithmic systems for additional ridges, writings, and clouds – using a responsive grid layout that adapts to the shape of generated components.

Lastly, to give these bare forms and natural expressions further life, the algorithmic drawings were output in pen-plotter renderings that embrace an organic feel through coding techniques like line overlays and noise, and also by using physical brushes, calligraphic pens, and technical pens. Through these processes, the works are open to serving as intimate, elevated celebrations of imagined natural forms, or as exploratory gestures to be traded and sent as mementos of peaks not yet climbed.


﻿Various technical and calligraphic ink pens plotted on 200 gsm Canson paper, signed \
148 x 210 mm / 19.7 x 26.7in
﻿

The digital art shows the unique original plot, and is connected to an NFT on the ethereum blockchain. The original purchaser of this artwork will receive the A5 plot directly from the artist, and shipping costs are included in the winning bids. Upon resale, the accompanying physical work shall be shipped to the new owner at their cost.

Ridge Regression

TENDER

Mark Webster

”What I am trying to achieve is a means for transformation of one media that is manipulative of one’s attention in order to instill dogma, to another that is manipulative of one’s attention in order to encourage introspection.

In order to explore this idea, I've chosen a variety of news articles, research papers and presentations on the subjects of emotion, facial recognition and affective computing and analysed them using IBM's NLP Sentiment API. This raw data is then used as content for creating unique generative pieces that play with text and typographic form.

Hypertype is first and foremost a textual work that relies on the visual interaction of a variety of typographic signs and letters. There is visual content based on a language system and there is visual context based on a subject matter - computers automating humans.” - Mark Webster

Font design: Simon Renaud

### Controls
Press the 's' key on your keyboard when in fullscreen mode to download an SVG file of the artwork.

Hypertype

In *Autoscope*, Erik Swahn returns to the theme of color as building material from previous series such as *Farbteiler* (2021), *Punktwelt* (2022) and *Funktor* (2023). His new series as a whole describes an abstract universe consisting only of color, with each piece depicting a different scene within that universe.

Whereas many of Swahn's previous series have had objects as their motifs, *Autoscope* rather portrays places in the form of configurations of simple geometries. Mountains are implied through pyramids and cones, ocean swell through sine waves, and barren forests through arrays of cylinders. Some places are inhabited by primitive geometries moving through space.

In a number of different tableaux, rendered in perspectiveless projection, the series evokes a very reduced sense of place, or perhaps recollection of place, sometimes with parts of the images blurred or distorted. In some scenes, even parts of the geometries are subject to erasure. In contrast to this barrenness, each scene is rich in saturation, movement and animated intensity, pulling the viewer into a chromatic world of its own peculiar logic.

Click or press space to pause/play. Press left or right arrow to go back or forward 10 frames. Press esc to rewind to the beginning of the 60 second loop. 

Press 's' to save a PNG image. Press 4/6/8 to force the resolution to 4000/6000/8000 pixels height (note that different browsers have different canvas size limits). Press 0/1 to reset the resolution.

Specify a forced height by adding a parameter in the format &h=4000 to the URL and a PNG will be automatically downloaded.

Autoscope

 Ivan Zhyzhkevych

Tabor Robak

In *Broken Printer*, Robak artfully blends the nuances of traditional printing with the boundless scope of generative art, inspired by the evolution of printing technology. This series pays homage to graphic design and desktop publishing, focusing on the unique aesthetics of faulty prints juxtaposed against the perfection promised by advertising. 

Beginning as a project to generate printer calibration pages, it evolved into a comprehensive emulation of Photoshop's early functionalities in code—layer styles, masking, filters, and more – with the unlocked infinite possibilities of procedural generation. Through this exploration, Robak challenges viewers to find beauty in technological imperfections, urging a reevaluation of the quest for perfection.

Broken Printer

Jan Robert Leegte

The button has been in a continuous state of shapeshifting over the expanding history of collective interface design. Endless webpages filled with designs, haptics, styles, expressions, subcultures, interactions, effects, all layered over this simple and elemental entity leaving in its wake a fundamental material presence within interface culture.

The internet is an unimaginably vast ecology of data and processes. Deeply stored data is immutable like buried granite, where other is constantly in flux like a rushing mountain stream. The whole system is in continuous evolution through endless processes reshaping the data interacting with each other and with ourselves. At the opaque surface of this churning ocean of bits is the exchange between both the realm of the computer and that of ourselves. The interface. And in the centre of this human machine culture lives the button. A binary entity reaching out from the very core of the machine's logic to touch, at the surface, our reaching finger, after which it dives back down in order to toggle some state from a zero to a one.

Buttons

Serezha Galkin

Giving a little more thought to the idea of marketing the new Artie Galerie exhibition, I thought of a way to present it. We're buying and selling *Collection* by Serezha Galkin, a series of cryptographic trading cards. Fans of cryptography will love these fascinating examples of the cryptographic arts.

Notice the fine way the curated AI-based series fits together – a mix of neo-impressionism and avante garde glitch, along with random minting. What a perfect conversation piece to be treasured and shown to your friends and family.

Plus, your friends will undoubtedly love these cryptographic trading cards just as much. They'll be eager to trade for them. Collect a whole set! They come in all kinds of varieties, from common Pepes, to the rare 69's, all the way up to the seldom-seen Nicolas Cage. Hours of fun can be had for all.

Your friendly cryptographic trading card dealers, Artie Galerie and Verse, want to join the fun, too. They'll be as interested in buying your trading cards back as in selling them.

Try this fascinating and timely new hobby today!

Artie


Collection

Artie Galerie

Maya Man

I'm Feeling Lucky

Auriea Harvey

Auriea Harvey’s practice exists in and between the real and virtual and *The Unanswered Question* situates both realms of existence on the same plane not as simulacrum, but as a suspension of disbelief. Scale plays an important role within the collapse of real and virtual as the artist manifests her digital compositions as an expansive scrollable landscape. Each work is a collage of polygonal models, derived from 3D scans and arranged into scenes using “kitbashing”, a technique from the practice of model-making that forms all parts into a whole and celebrates the simple lighting and highlights of each figure’s digital nature. This process offers the artist the opportunity to interject her personal sculptures into classical narratives. All murals are sold as a digital image where the viewer can scroll, zoom, and uncover the theatrical compositions in detail. Collected works can be viewed online as a Gigapixel zoomable image as well as printed at resolutions up to 12ft/3.6m in height.

The Unanswered Question

bitforms

Nikita Diakur

Bidder's Edition for every collector who placed a bid during the auction of *Making an Egg with Hands*. The video is composed of each three artworks in sync.

The artworks consist of three recordings showcasing an egg manipulated by two animated hands in a simulated kitchen environment. The recordings are derived from 59 simulations, each with the same setup for the hands and objects but varying number of steps per frame and iterations per step in the main scene simulation settings. The variations in the physics settings result in different interactions between the hands and the egg in each simulation.

In addition to the visual element, Foley sounds were recorded and edited in post to align with the movements in the simulations. The artworks, in their entireties, are representations of the interplay between uniform animation inputs and the unpredictability of a simulation.

Making an Egg with Hands 3x (Bidder's Edition)

Marcel Schwittlick

Composition #92 (Digital) is a series of 250 generative digital drawings, based on software written by Marcel Schwittlick and built on a base of millions of recorded mouse movements that Schwittlick has compiled over time.

The database of recorded mouse movements constitutes an extensive digital library of at-first-glance random scribbles. Are these drawings really random? What is randomness? John Cage said: “the first question I ask myself when something doesn't seem to be beautiful is ‘why do I think it is not beautiful?’ and very shortly you discover there's no reason. If we can conquer that dislike or begin to like what we did dislike, then the world is more open.” Can one say the drawings derived from mouse movements are random? They might appear soulless, perhaps, but are they, really?

Composition #92 (Digital)

NGUYEN WAHED

Zancan

I can't explain why the sight of a clump of grass growing bravely through the crack of a concrete wall gives me such joy. Or why watching my lawn explode in the spring into a chaotic throng of wild plant species demonstrating their determination to live fascinates me so much. There is something of the order of the unconscious, or of the collective consciousness, which attaches man to nature to the point of affecting his senses in a primal way, whereas I am like many an urban product of modernity and technology.

In my works, nature is not the main subject, but it is a means of depicting, among other things, the vital force, the resilience of the living. There is in its multiplicity and its autonomous, chaotic and organized aspect something that traditional painting did not allow me to capture, other than thanks to infinite labor and a gesture that was far too controlled. Algorithmic art opened up this possibility for me to render nature, in its movement, its density, its wild abundance.

The mesh is a familiar and basic object for the programmer, the framework of any 3D model, it represents the digital.

I used the yellow color for two reasons. First, the color chosen is a pure yellow (#ffff00) in the RGB spectrum, which immediately places it in the digital realm.  On the other hand the colors used for the representation of nature are muted, in order to attach it to the physical world. The background color also corresponds to that of a paper that I often use for my physical drawings.

Then, the yellow functions here as a representation of the sacred, like the illuminations on ancient religious texts. I am very admiring of certain contemporary painters or illustrators who use gold leaf over their drawings, allowing them to bring a surnatural light into their works, to access a higher stratum of symbolic representation looking towards spirituality. I never took the chance to try out this technique, and working digitally gave me that chance. 

The holes in the net that can be observed symbolize the impossibility of capturing the true nature, the real feeling that one experiences in its presence. The flowers, twisted to the extreme under netting, are there to evoke the sense of hypocrisy in using technology to create art that evokes nature, as a reminder of the impossible environmental challenges that we are facing while galloping toward the chimeras of technological progress.” - zancan. [Full interview here](https://verse.works/journal/capturing-nature-a-ballet-mecanique-in-the-wild)

This artwork was nominated on Verse by [Tyler Hobbs](https://verse.works/persons/tyler-hobbs), and 30% of the initial sale will be donated to the charity [Girls Who Code](https://girlswhocode.com/).

Rapture Captured

By placing our trust in any of the "future techs" to solve today’s environmental problems, we run the risk of postponing the actions that mattered. Carbon capture is one of those technologies we’ve engaged in to give us an impression of action; perhaps, unconsciously, in order to cover up our anguish, our helplessness or our guilt. 

Yet we need to keep moving forward. Art has this kind of energy, charismatic and unifying. If I believe little in technology to save humanity, I keep hope in humanity, in its conscience, in the universality of its love. If only one power is given to artists, it is that of being able to touch, sometimes, the hearts of men.
 
"Landscape with Carbon Capture" is a critique of my own environmental consciousness as an artist working with technology around natural themes. Although I do not know any solution, although I am helpless just like you, I want to fight with what I’ve got. I want to acknowledge the great hypocrisy of our times. Carbon emissions are here to stay, they'll stain my canvas, no matter how green the colours on my palette.

For the final weekend, 20% of sales from this artwork will go to The Good Society, a non profit that harnesses the power of NFTs to fund global initatives working to improve the environment, human rights, and our collective health and wellbeing. Learn more [here](http://www.thegoodsociety.org/).

—

Generative Art

Made with Javascript code

Right click to save a 3240x3240 PNG file

Pass up &pixelSize=5000 in the URL for a 5000x5000 image or more. Maximum is 16384 on a powerful computer. [Video instructions](https://vimeo.com/778986612/3d5c27d254).


Landscape with Carbon Capture

Studio Yorktown

This version of *Tekton* is a fully generative version of a previously released, non-generative capsule collection of ten pieces entitled *Tekton*.

The original intent behind the first collection was to explore the possibility of creating structures through the use of reuseable models, similar to playing with blocks of LEGO.

It also served as a feasibility test for a subsequent collection *Perpendicular Inhabitation*.

By experimenting with various massings and blocks through play with toy bricks, the process allowed the visialization of  the order in which code must be written and repeated in order to create a convincing illusion of a tower. As a result of play, a number of different rule sets and modules were created, however in the original *Tekton*, these were pre-drawn blocks that were assembled arbitrarily to form harmonious compositions.

Here, each block is given more latitude to bend its own rules allowing for the creation of structures that are entirely unpredictable.

Tekton : Optima

Jeres

[Secondary Market on Magic Eden](https://magiceden.io/marketplace/heuristics-of-emotion)

Viscerally digital in aesthetic, yet deliberately static and a fixed aspect ratio, highly blended and textured, embracing the imperfection of handmade physicals while analog static collides with digitally emotive outbursts.

Heuristics of Emotion seeks to abstract an expression of what it looks like for a machine or AI to learn how to feel. An adolescent finding its emotional intelligence by emulating what it can pick up from humanity, and from what feedback it gets from it.

Static and optical aberrations showing blind spots in what it means to feel, or to understand one's feelings, mimicking how a person may be learning how to parse and unpack their own feelings as they evolve. It hopes to create empathy between a biological entity and one that's digital.

With minor variations when rendered across browsers and resolutions—yet still deterministic in context—it tries to pull the beauty and volatility of edge conditions in how software and hardware interpret a set of instructions to find unexpected expressions that can only exist by exploring the spaces where interpretations vary. Let's say it's emotional.

It reflects how pre-digital generative instructions—like rulesets for how lines should be drawn on a wall—can be rendered and presented unpredictably because of who may have executed said instructions where. The beauty is in the tension of interpretation and execution, not the final rendering on a pixel level. Context changes how you feel.

One machine may extract sentiment differently than another based on whatever biases have been programmed in or what their hardware allows. These discrepancies can be the most revealing.

A snapshot of a machine—soft or hard—as it learns to feel by emulating emotion, as we do, in part. All of our becomings.

Heuristics of Emotion

Mark Titchner

**The price will start at $1 and then increase by $1 after every sale.**

Mark Titchner works across a number of media including digital print, wall drawing, video, sculpture and installation. ‘Like there is hope and I can dream of another world’ is a major installation on view at Hauser & Wirth London, commissioned as part of a major new exhibition by the arts and mental health charity Hospital Rooms. The artwork is on view from 19 August  to 14 September 2022.

For this work, Titchner was inspired by the experiences of patients and staff he met in mental health units across London as part of his work with Hospital Rooms. The text was taken from an interview between patient Julia Foxon and Hospital Rooms Research Assistant Laura Cundall, in response to the question: “How would you hope an artwork in a mental health hospital would make you feel?” 

Titchner’s practice explores systems of belief, both secular and spiritual, often focusing on forgotten ideologies and objects we place our faith in. A common theme within his work is a search for idealism and a desire to find some form of internal confrontation or transcendence. 


Like there is hope and I can dream of another world

Victor Doval & xnmtrc

*In our fight to understand* \
*what surrounds our bodies* \
*we may lose that we are floating* \
*in a vast empty space*

*A room in a room* \
*where all limits are filled with void* \
*and they only exist in our memories* \
*and we need them to feel that we are safe* \
*but the outside is us, as the inside* \
*and the only real danger is not to feel*

Doval 2023

"Oda'' is a Turkish word that translates to "room." Sources show that it has existed since Dīwān Lughāt al-Turk (1070). The earlier form was "otağ/odağ," which means "nomad tent." Interestingly, the source of the word "otağ" goes back even further to the word "ōta," which means "to start a fire" or "the place smokes." The Turkish language is unique in that the root of the word "room" is "ateş," meaning fire. This speaks to the importance of light in Turkish culture and how it shapes the spaces in which people live. The way light fills a room can drastically alter the mood and ambiance of a space, influencing everything from the color of the walls to the way they are arranged. In this way, the concept of "room" is not simply a physical enclosure, but rather a multifaceted idea that encompasses both light and the way it interacts with the environment.

Additionally, "oda'' is also a Spanish word that directly translates to "ode," a type of poem that is highly structured and used to praise or glorify an event or individual while also describing nature in an intellectual and emotional manner. As the ode, a room is also a structured space, defined by its use or limits. The ode exalts one event as the room exalts one use. The words are open to the imagination, and so are the rooms we expose. The words point to concepts, as we do with the architectural elements pointing to spatial concepts. Architecture and poetry both worlds share rhymes and rhythms. Both exist in a static form but require time to be explored and felt. The connection between the Spanish word "oda" and the literary form of "ode" brings to light an interesting analogy between poetry and architecture.

*ODA* incorporates duality in its design, playing with concepts such as in/out, transparent/opaque, front/back, left/right, top/bottom, perspective/oblique, light/shadow, and visible/invisible. The form of the piece begins with a simple room in eternal space, which is then deconstructed with an amount of chaos. The piece's rendering highlights its duality by showcasing what should not be seen and hiding what should be shown. The piece draws inspiration from the between-wars period of architecture, specifically from movements such as constructivism and neoplasticism as seen in the works of Rietveld and Mies Van der Rohe.

The artwork utilizes a variety of techniques to create a customized render engine, using Javascript (p5.js) and GLSL (custom ray-marching algorithm) to achieve a unique visual style that blends material realism with an architectural sketch aesthetic. The iterations can be clearly defined in some instances, while in others, they may be open to interpretation by the observer. The code follows a process similar to that of a physical drawing. It begins by sketching out construction lines to establish the proportions and composition of the scene, while also adding basic shading to give a sense of volume to the figure. Once the construction and shading are complete, color is applied to the entire composition. 

Controls:

- "r": restarts the drawing of the scene
- "a": Create a new view from the same space
- "c": Activates/Deactivates the constant drawing mode
- "h": Show/hide Export Menu (PNG/Video/OBJ/SVG) 
- "s": save to .png
- "o": save 3D to .obj
- "v": save 2d Vectors to .svg
- "m": save video of the drawing process .webm


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