#Generative
#Generative
#Generative
The following project is inspired by exploring what lasers and long exposure photography.
I used openSCAD to first create a few functions that will give me the raw materials that I needed to start with a flexible “pegboard” that can be used to distribute mirrors in a specific manner.
I bought some adhesive mirrors off of Amazon for $10 as a start. I then created the paddles on which I adhered the mirrors and then created an OpenSCAD function that would provide me the board in which I placed the mirrors. With that created, I started with a basic array of mirrors to see what can be done with them.
This has been an interest of mine for a while. I’ve started on this but there is yet much to be done and a continuation of a process that I’d like to refine in the next year or so.
I used OpenSCAD and found that it was quite easy to make some of these images. I didn’t realize how easy this was going to be and I have been daunted by the task of 3D modelling. However I’ve been taking alot of time to mess with Blender and Houdini to really get a sense on what they can do. This has allowed me to really understnad the terminology that is used in these programs and thus I’ve been able to really put that knowledge to work.
I am writing this on 3/3/2023 at around 1:20 PM while the great winds and potential tornados in Middle Tennessee. It just seemed right to put it out there given the circumstances.
“Down On Earth and To The Heavens” is a generative reflective collection as a depiction of the feelings I have when I think on the subject of living and longevity.
The longer we live, the more I just realize that the bustle of life is but noise. Noise that causes grief, anxiety, and the other drama that comes with it. Yet when we get a 10,000 ft view, we realize we are in the hands of nature.
There are a few elements that have been added in here that in mind really make me think of these great forces of nature.
#generative #nature #generativeart #noise
The following images was understanding
The idea behind these pieces was me sorting out my own thoughts about NFTs and art. There is so much to be said when money is a contributing factor. It is alluring and it is nice to know that individuals have an interest in the work that you do. But specifically they are interested in the long term effects that you provide with owning a piece of the art that you are collecting.
I think I saw that the drive to make.. fueled by the money was something I needed to reconcile. I love the process of creating and when it started to merge at becoming so upset of not curated status on a project I was working on, well I ended up realizing I needed to step back and reconsider what it means.
I am a free market type of person, but I also believe that greed and disatisfaction provide evidence that rationality is not always part of the equation. And it was not something I really needed to understand what I am participating.
Like making a living is great, making a living with disposable income is even better.
Yet when we start continuing to want everything and having the ability to really live a modest but content life.. Do I need to really take part?
What I am about to write here is something that will bring some information about the project.
These were originally added to the Tezos network in 2021 as my first curated long-form project. They can be found on Objkt
What I am about to write here is something that will bring some information about the project.
The set of images are part of the exploration of the primitive elements, sticks and earth tones. I wanted to explore how simplicity can bring both chaos and order to the same generative agent that is creating these images. You can find more on Twitter @generatecoll or Instagram @generate.collective (2021)
What I am about to write here is something that will bring some information about the project.
What I just love about this is the graininess added to create certain images to be more blurry. This can be made with shaders, but there is something beautiful when using simply “pixels” to paint certain elements of the image. Computationally more expensive?
Yes. But it does have to beg the question, does efficiency always inquire something beyond the work that has been done here.
I had been curious what I would get out of the model if I were to feed it The Waste Land by T. S. Eliot.
This isn’t the whole thing, but I used the line:
And when we were children, staying at the archduke’s
As the input for this particular piece.
I. The Burial of the Dead
April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten, And drank coffee, and talked for an hour. Bin gar keine Russin, stamm’ aus Litauen, echt deutsch. And when we were children, staying at the archduke’s, My cousin’s, he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter.
This collection, found at fxhash, is an artistic exploration marrying the gentle fluidity of organic textures with the whimsical randomness of color pencil simulations. Each piece in the series is a testament to the unpredictable beauty of celestial phenomena, crafted through a sophisticated algorithm that offers over 380,000 unique combinations, ensuring that every orientation of the artwork remains distinct and engaging.
Drawing inspiration from a childhood filled with starlit imaginations and celestial wonder, I recall moments spent capturing the night sky through my mother’s cherished Minolta. Those early years, punctuated by visits to the planetarium, nurtured a fascination with the stars — not just as distant balls of gas, but as symbols capturing the human spirit’s boundless curiosity. This fascination extends to the stars’ periodicity, echoing a cosmic order and continuity amidst the apparent chaos of the universe, an element subtly woven into each artwork’s design.
Experience the artwork interactively:
Atom Dynamics: Activate the ‘atoms’ to witness a pulsating dance, where these elemental particles fluctuate from near invisibility to a commanding presence, depending on the interval settings. This feature requires careful observation to appreciate the varying degrees of visibility among the atoms. Controls: ’s’ to save a snapshot of the current state ‘a’ to activate or deactivate the atom feature Designed to be fluid in its presentation, the piece naturally adapts to different resolutions, with its default being a crisp 1000x1000. This adaptability is not just a technical feature but an artistic choice, encouraging viewers to experiment with various sizes, each offering a unique window into this cosmic dance of colors and shapes.
One of the things about light, is that it spreads and has this interesting spread over a specific spread of time. What this does is really the opportunity
