dp17

Tych started as an exploration of the collaboration between human and computer in generative work. Tych is an attempt to bring personality to a generative system, combining fundamental aspects of computer generated art (Grids and high frequency of repetition) and human created art (Inconsistency and random misalignment on each stroke).

A companion piece to episode 36 of our weekly podcast. Follow along while you listen to the show, and consider purchasing this article to help support the show!

Our first OFFICIAL companion article to our weekly podcast. Follow along while you listen to the show, and considering purchasing this article to support our weekly efforts :)

Being first? Totally overrated. Here's why:

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Love

This ARTKL will be used to document, highlight, and occasionally offer an amateur examination of long form generative art on tezos. Each month will see a new addition to the ARTKL in the form of a revision through updating metadata in the token. Primary buyers will all receive an airdrop of one edition of Mikkel Hartmann's "7 Years of Bad Luck" as well as one NFT certificate of carbon offsets in the form of 10 trees planted. Example can be found at treeoffset.tez's objkt profile (please note - secondary will not receive initial airdrop, but will be eligible for future airdrops if address is holding the token at time of airdrop). All publications will remain in the ARTKL for posterity. The first publication showcases Yazid, and as such, royalties will be split on this token with him. Other artists to be showcased include Ileiv Oivm, Jeffrey Ventrella, Mark Knol, Anna Lucia, mjlindow, Juhani Halkomaki, idlebit, ginzi_o, Ross Goodwin, sableraph, and Mikkel Hartmann.

Defining and implementing abstractions is more practice than elaboration. Interfaces built through formal languages are shaped by a shared praxis whose consensual lessons are established as standards. The use of such normalised means to create art pieces is hence an intuitive deviation: tools fashioned as means to an end are often used for purposes that appear to be the exact opposite of their raison d’être. Recent technosocial developments have enabled the tentative burgeoning of an economy nurturing these deviant applications. A new wave of the so-called “generative art” milieu is attempting to mobilise both factors of production, capital and labour, to augment the manufacturing of such algorithms. While the nature of each factor is apparently unremarkable, their intersection in this space does yield an idiomatic result. Humans and tools which are engaged in this practice, because they are incentivized to systematically share the outputs of their research, participate in the transformation of both factors and, as such, in their own. The generative art milieu is building an attempt to seize the means of generation.

My view on where we are now and where we are going with the gen art movement...

In March 2022, I had the chance to interview Zancan for my newsletter. We learned about his beginnings, process, and plans at the time. An impressive array of events have happened since then.

We've just rolled out a feature aiming at improving and optimizing how we serve and display image medias on our website. This article takes a deep dive into the problems we've observed and the solutions we have implemented.

A brief chronicle of the development of "Absorbed," leading British hi-end audio maker KEF's generative art collaboration on fx(hash). To summarize: transforming noise into pattern meant discovering the unexpected and incredible in between.