Kelly Milligan

An arrangement too orderly, effortless work for these Digital hands. Purity through precision, excellence unmatched by the creator. To win the hearts and minds of those replaced: add a touch of warmth, soften through disruption, be clumsy and imperfect. Autonomous practice in being more messy.

A continued study into scattering arrangement. Composition-through-simulation where simple individual pieces are dispersed with physicality. These "simulative" experiments reveal hidden complexity unlocked by bringing 2D forms into a physically simulated environment. Recognisable force, form and charm emerges in the abstract, readily inferred through human eyes. A nod to much of Molnar's work; this breaking of rigid mechanical structure injects meaning into what are fundamentally simple compositions.

Scatter Process[or]

Kerim Safa

*Monolithic Machines* is a series of digital animations that reimagine the hidden complexities lurking beneath the surface of digital screens. The project encompasses a collection of 11 artworks, with the central piece being *The Monolith* and an accompanying series of 10 pieces titled *Components.* Initially created for the LED façade of the School of Digital Arts (SODA) in Manchester, the series explores the intricate world of interconnected systems, initially appearing as a unified whole.
 
Inspired by the dual nature of digital screens, *Monolithic Machines* draws parallels between the LED façade and the vertical displays that saturate our modern digital landscape, from smartphones to digital billboards and rotated TVs serving as art installations. It is when these screens fall silent that their true essence is revealed, transforming into monolithic entities reminiscent of Arthur C. Clarke's iconic slab.

Beneath the apparent simplicity lies an intricate labyrinth of interconnected machinery, meticulously crafted through frame-by-frame pixel animation, bridging the mechanical and the digital. The artwork portrays an industrial production line with black and white boxes endlessly moving through complex contraptions in a closed loop, transitioning between forms without yielding any tangible output. *Monolithic Machines* elevates the rhythmic motion of the machinery beyond its practical function, transforming the machine itself into an object of fascination and turning the screens, regardless of their size, into monolithic entities.

Monolithic Machines

Harvey Rayner

Quasi Dragon Studies

Scerbo

The series is predicated on disturbance, instability, confusion, a distraction from logic and reason. It plays on the human fear of losing oneself in the unknown. The focal point of the works in this series is the body, which is distorted and abstracted into an ephemeral state of fragility. Scerbo describes the process of creating these works as a cycle: creation-photo-destruction, creation-photo-destruction.

Scerbo describes his art as ‘marked by intellectual love, conditioned by the readings of oriental philosophers such as Jiddu Krishnamurti, touched by the spiritual power of directors such as Kim Ki-duk, tainted by the symbolic force of Danh Vo, lost in the memories of Plato's metaphysics, and finally matured inside a bottle of Giorgio Morandi.’

Anti-crash

Fakewhale

Kristen Roos

*When I was first creating my animated cityscapes, I imagined that they may come to life in the future. It was more of a dream that these vibrating patterns might be incorporated into architectural forms. The work that I’ve created for the facade of the SODA building has enabled me to think about how these cityscapes can have a real impact on the physical world. This also brings up questions regarding the personal world of the viewer, and the thousands of screens that inhabit this world.  We all simultaneously inhabit both a physical landscape and a digital landscape. In creating this work it’s been interesting to think about how these two worlds are connected, and how both worlds are impacted by my work emerging into an architectural form that is both screen and physical structure.* - Kristen Roos

Cityscapes

qubibi

storeroom

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).

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Yamabushi's Horizons

Gretta Louw

This hybrid work encompasses an NFT — a digital moving image work produced with input from AI algorithms alongside hand-drawn digital elements and digital collage — and a physical art poster edition of the digital hand drawing. In this way, the piece fully integrates digital and analogue elements, highlighting the dissolution of the digital/physical dichotomy in this post-internet age.

The project was commissioned by the German newspaper WELT AM SONNTAG and developed in collaboration with Office Impart for the 75th-anniversary edition of WELT AM SONNTAG. It’s an ideal combination as WELT AM SONNTAG is part of the 360 degree media brand WELT producing digital as well as printed and thus physical news and the media industry in total undergoes a huge transformation lead by AI. Please complete this form by midnight on September 28th to reserve the work.

Portal

Maya Man

I'm Feeling Lucky

Rich Poole

*Ahunga* is composed of artist-curated outputs from a long-form algorithm exploring the origins of Rich's early physical plotter work. It represents a journey of reflection, introspection, and discovery.

The chosen works speak to the power of generative art to surprise and delight. Challenging our perceptions of what it means to draw in tandem with a machine without losing our own voice.

Ahunga

Emily Edelman

This collection, titled “Martin”, invites viewers into a world of richly textured minimalism through storied, symbolic forms. 

Layered grids of squares are scaled, shifted, and overlapped within narrow constraints. 

The series was inspired by the bright, warm feelings of sharing music with my close family. I hope people find their own version of warmth in its layers and colors.

Martin

Marcel Schwittlick

Composition #83

Zancan

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

Anna Carreras

Discs is a generative curated project. It is an exploration of the generative medium and its intrinsic characteristics. It observes how abstract systems can evoke memories and life experiences.

Discs (the word for vinyl records in Catalan) relates to records visually and explores the idea of phonograph records being a medium having their own characteristics and their crackling sound.
Can we push the generative medium to find it's particular and unique characteristics and reveal them visually?

Generative algorithms use a lot of randomness, as the ending of the lines and arcs in Discs; generative uses noise, as used in the background of the artwork, the visual crackling, we could say; a lot of loops, and algorithmic systems.

The system behind Discs places elements scattered on a grid. Each element then, looks for it's neighbors. If it's not isolated the visually links to them.
An allegory of our life, society and relations. Our need to build connections, to relate to our closest ones, our necessity to build paths, paths that constantly and sometimes randomly change, paths that diverge and grow, creating clusters and long trails.


Discs

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

Zach Lieberman

Commisioned by Verse for the *Cone Gradient Study: Mint Pass* holders.

*Point Gradient Study* is a variation on [*Cone Gradient Studies*](https://verse.works/collections/color-gradient-study-by-zach-lieberman), a series of computational artworks that explore the intersection of graphical form, gradients, color and light simulation.

"The work is built with a simple premise – what if the color of every pixel is derived from a small number of points which have a hue, an intensity and a direction. Given a simple equation, the color of a given pixel can be determined. You can think of these cones like light sources, and the equation is not dissimilar to how you might explore the mixing of different light sources. Starting with that simple approach, I did my normal thing of turning the volume knob up to 11, and tried to see how I could break this system in different ways, in order to explore the different feelings, moods and expressions that emerge. I gravitate to work which feels illuminated, where light is a central component, and with this study I found light everywhere I looked. The system starts as a simple mathematical function (these are essentially photographs of math), but I like to iterate and iterate to find natural, emergent properties and moments that surprise." - Zach Lieberman

Point Gradient Study

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

Melissa Wiederrecht

This is an entirely generative piece that was created using p5.js and GLSL. Each iteration is an artist's rendition of what could possibly have been happening in some random corner of the universe while it was being formed.

Cosmic Rays

This piece is interactive and plays music.\
Open and close the door.\
Music: Mysz-Gmeiner M 3 Side B – Der Nussbaum (Schumann), All recordings are from Grammophon ca. 1928, Public Domain Mark 1.0

The artwork, titled "Magical" Door is an interactive artwork that invites viewers to step through a magical door and into a realm of surreal, dreamlike experiences. As they open the door, they are greeted by a swirling light and music, beckoning them to enter. As they explore this magical space, viewers are manipulate the door itself, opening and closing it to reveal the imaginary worlds and sound experiences. 

Qubibi, who is usually known for his generative art to a wider audience, is showcasing this time his latest multi-media digital work "Magical” Door in the exhibition 'Magical Realism'. The piece admirably embodies the theme by blending boundaries between the real and the imaginary, creating a magical and otherworldly space.

At its core, "Magical" Door explores the concept of imagination and the boundless potential it holds. Qubibi's "Magical” Door showcases the artist's unique vision and ability to bridge the gap between reality and one's imagination. Through his use of interactive digital media, the artist invites the viewer to step into a world of wonder and possibility, challenging our perceptions of what is possible and encouraging us to let our imaginations run wild.

"Magical" Door

Corneel Cannaerts & Luis E. Fraguada

This generative artwork is a study on spatial perception through ambiguous drawings. The use of oblique projection opens the opportunity for the viewer to create their own interpretation of the spatial illusion. Three dimensional geometry is textured and rendered and further manipulated as a two dimensional image. The colors emerge in the process of translating between dimensions. The ambiguous interpretations are further strengthened by allowing each iteration to be viewed from four orientations.

The project is inspired by the drawings of architects El Lissitsky and Ilya Chashnik, both associated with the Suprematist movement.

**Interactions**:
- UI - Double-click or double-tap to bring up the UI where you can save a screenshot or get additional information.
- Rotation - press left and right arrows or swipe left and right to rotate the drawing.
- Add Fragment - press spacebar, single click, or single tap to add a fragment
- Video Capture -  add “&captureVideo=true” to the URL in full screen mode and refresh the page. After all animation concludes, the video will be ready for download. Works in Firefox and Chrome.




		Floor price	Total sales
1 View detail	Scatter Process[or] Kelly Milligan View detail	Ξ0.054 View detail	$12,848 View detail
2 View detail	Monolithic Machines Kerim Safa View detail	$400 View detail	$8,200 View detail
3 View detail	Quasi Dragon Studies Harvey Rayner View detail	$55 View detail	$5,188 View detail
4 View detail	Anti-crash Scerbo View detail	$725 View detail	$4,660 View detail
5 View detail	Cityscapes Kristen Roos View detail	-View detail	$4,200 View detail
6 View detail	storeroom qubibi View detail	-View detail	$3,200 View detail
7 View detail	Yamabushi's Horizons Richard Nadler View detail	Ξ1.35 View detail	$2,003 View detail
8 View detail	Portal Gretta Louw View detail	-View detail	$1,710 View detail
9 View detail	I'm Feeling Lucky Maya Man View detail	$113 View detail	$1,574 View detail
10 View detail	Ahunga Rich Poole View detail	$200 View detail	$763 View detail
11 View detail	Martin Emily Edelman View detail	$150 View detail	$492 View detail
12 View detail	Composition #83 Marcel Schwittlick View detail	Ξ0.19 View detail	$483 View detail
13 View detail	Landscape with Carbon Capture Zancan View detail	Ξ0.013 View detail	$409 View detail
14 View detail	Discs Anna Carreras View detail	Ξ0.15 View detail	$220 View detail
15 View detail	Rapture Captured Zancan View detail	Ξ0.12 View detail	$185 View detail
16 View detail	Point Gradient Study Zach Lieberman View detail	$55 View detail	$73 View detail
17 View detail	Tekton : Optima Studio Yorktown View detail	$75 View detail	$69 View detail
18 View detail	Cosmic Rays Melissa Wiederrecht View detail	Ξ0.056 View detail	$64 View detail
19 View detail	"Magical" Door qubibi View detail	Ξ0.05 View detail	$57 View detail
20 View detail	curio Corneel Cannaerts & Luis E. Fraguada View detail	Ξ0.035 View detail	$34 View detail