Inhabiting means making space parametric. In other words, the presence of a life form in a given area yields a series of its relationships to the elements in that space, whose sum in turn can be reordered as a series of parameters through which that area is then perceived. A plant will flourish if the amount of sun, soil, water, and other organisms necessary to its survival are present. These four elements are so many parameters to its relationship to the space it is in. Being immobile, one can guess that its position in space regardless of these parameters becomes irrelevant. To other, more mobile lifeforms, mobility becomes a crucial parameter whose main function can be seen as the reshuffling of all the others.&#x20;

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The [anaver.se](anaver.se) is built as an opportunity to question this intuitive axiom by reversing it. In that framework the artist does not make the space parametric but rather shapes parametric spaces. If a specific culture is a local answer to the question “how do we organise our flourishing in this area of nature?”, then the anaverse aims at widening approaches to culture synthesis. By providing very simple and structural constraints, it makes the “nature” it provides the blandest of supports to the artists’ generative cultural creation.

The anaverse is a three dimensional web page that is designed to perform on most devices, including those with weak processing power and slow internet access. While many generative performances may yield a single static image made of millions of points after several minutes of rendering, the anaverse is a radically opposite approach: it aims to be as accessible as it can technically be. Its native content, that is the spaces and skies that the user peruses through, are generative tokens published on *fx(hash)*. Its non-native content, which mostly means frames of “paintings” minted on different services, come from the *objkt* and *OpenSea*. It also allows for cross-generation of native and non-native tokens, as is already available through a collaboration with *versum*.

::tezos-storage-pointer[]{contract="KT1BJC12dG17CVvPKJ1VYaNnaT5mzfnUTwXv" path="ledger::10059" data_spec="FX-GEN-DATA-002"}

Spectators can connect to the anaverse from any device without the need to identify, and dwell through the words that have been generated. They can also use the spaces for other purposes, some of which are explained in the starter [documentation](https://observablehq.com/collection/@anaglyph-ic/starting-with-the-anaver-se).&#x20;

The anaverse’s purpose is to enable the flourishing of a parametric ecosystem. Its API is public so that any generative artist can try their hands and design generative tokens that could be explored in the anaverse. This does not mean that anyone can publish anything at any time. The anaverse’s [government system](https://observablehq.com/collection/@anaglyph-ic/anaglyphism-the-anaver-se-governance-system) precisely relies on a collective choice to vet and allow or disallow future generators.

If you want to learn more, you can check the complete [documentation](https://observablehq.com/collection/@anaglyph-ic/anaver-se-documentation) or reach out on [twitter](https://twitter.com/anaglyph_ic).


The anaverse is a collective generative art project. It sets up a frame made of a three immutable constraints for artists to cope and play with. In its simplest and most abstract form, the anaverse is a question asked: what does your art look like in a generative and textureless three-dimensional world?

𝗔𝗡𝗔𝗩𝗘𝗥.𝗦𝗘

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