sounds, animation, forged metal
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Announcing Glitchbox, the sculpture. SOUND ON π
Premiering July 12 at @ToledoMuseum in
Infinite Images: The Art of Algorithms, curated by @juliaxgulia
Glitchbox began in 2021 as an early programmable NFT: a generative audiovisual system with parameters modifiable via on-chain transactions.
Through an arduous transformation, at the cost of sweat and sanity, Glitchbox now takes a corporeal form of forged iron and electronics.
A fully interactive audiovisual synthesizer, inviting audience members to touch and manipulate tactile controls in a real-time sensory experience.
Glitchbox has many facets (some would say six) thematically that I'll try to get into over time: labour, craft, generative systems as cybernetic systems existing beyond purely digital/virtual as embodied sensual experiences, and the significance of these themes in an era of generative AI.
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In this era of artificial intelligence, it is becoming urgent to distinguish human art from what machines produce. There is an ontological difference, even before an aesthetic one, between art and what a machine can generate through statistical calculation based on millions of images created by others. Algorithms lack the spark of humanity. For this reason, the Church wishes to renew an alliance with artists and cultural institutions to safeguard our humanity.
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Entropy(2021) is a generative audiovisual artwork that artificially degrades each time the NFT token is transferred in a manner similar to analog media. Its implementation in C code is stored on Ethereum as a "permanent" inscription of an impermanent system.
Entropy will be exhibited in a group show at NEORT++ @neort_io "An Exhibition of Auto-Destructive Art" opening Oct 2nd.
sound onπΆπ
Exhibition
βββββββββββββββ
An Exhibition of Auto-Destructive Art
θͺε·±η ΄ε£θΈθ‘ε±
βββββββββββββββ
0xDEAFBEEF @_deafbeef
"Entropy" (2021)
Every transfer degrades the work, though nothing is actually lost
0xFFF @0xShiroi
"Diminishing Returns" (2026)
Thirty-two contracts. Every transfer wears down the connection it uses
Zeroichi Arakawa @arandoros
"assumevalid" (2026)
"upgradeTo(Leviathan)" (2026)
A blockchain that verifies nothing, and a hundred citizens switched one by one into a single body
Jonah Brucker-Cohen @coinop29
"Alerting Infrastructure!" (2003)
Visits to a website become damage to the building that website represents
exonemo @exonemo
"Hatch/et" (2026)
"ζζ«ιγ¦γΉ" (2007)
A computer guessing a passcode, and a mouse that cannot be restored
Akihiro Kubota @hemokosa
"Collapsed Constellations" (2026)
"Poesia Povera" (2026)
Measuring a qubit consumes it, and that consumption is the computation
Toshi @toshiaki_takase
"@toshiaki_takase: Room" (2026)
His actual X account, open for anyone to delete from
ποΈ Oct 2 - 18 | 14:00 - 19:00
π NEORT++
two.neort.io/exhibitions/autβ¦
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Exhibition
βββββββββββββββ
An Exhibition of Auto-Destructive Art
θͺε·±η ΄ε£θΈθ‘ε±
βββββββββββββββ
Opens this Friday β«
Destruction is not what happens to a work. It is what the work is made of
@_deafbeef @0xShiroi @arandoros @coinop29 @exonemo @hemokosa @toshiaki_takase
πOpening reception
Oct 2 π₯ 18:00 - 21:00
RSVP βΆοΈ luma.com/vn8dym9n
ποΈ Oct 2 - 18 | 14:00 - 19:00
γClosed Mon, Tue and holidays
π NEORT++
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0xDEAFBEEF retweeted
Feels like for anyone whose art practice involves systems or software at all, now is the time to dream ridiculously big. not only in scale, but in weirdness, depth or scope.
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Exhibition
βββββββββββββββ
An Exhibition
of Auto-Destructive Art
θͺε·±η ΄ε£θΈθ‘ε±
βββββββββββββββ
Destruction is not what happens to a work. It is what the work is made of π₯
Gustav Metzger built decay into his works in 1959. Seven artists ask what that becomes in computation, where a process can hold the conditions for its own end
Artists:
@_deafbeef / @0xShiroi / @arandoros / @coinop29 / @exonemo / @hemokosa / @toshiaki_takase
ποΈ Oct 2 - 18 | 14:00 - 19:00
π NEORT++
two.neort.io/exhibitions/autβ¦
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With Navier Stokes in the news, sharing a 2010 SIGGRAPH paper I wrote about a clever solution that was artistically useful. These are "eigenflows". Each are stable solutions to Navier Stokes on a particular domain. If you set up one of these velocity fields, they will persist (or decay exponentially with viscosity), but won't veer off into turbulence, unless perturbed. It's an elegant formulation that has a bunch of interesting properties compared to grid based methods.
I used it to make some cool real time animations.
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basis fields with symmetry, even when combined, will remain symmetric. an interactive performance from the time. paper here:
deafbeef.com/images/FluidDynβ¦
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Dolly Parton, Linda Ronstadt, and Emmylou Harris performing βBury Me Under the Weeping Willowβ on The Dolly Parton Show (1976)
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Official Chronophotograph physical prints now available to token holders. Please reach out via X/twitter or Discord DM. First batch in the fall, but will be available in ongoing basis.
1/1 platinum-palladium photographic prints. Signed on verso. Unframed. 4 ply white matting of 2 - 3 inch width depending on size.
approx $1000 USD + shipping, depending on print size*
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deafbeef.com/chronophotograpβ¦
*Pricing will vary based on size. In most cases $1000 USD but may be more for large prints.
Regarding print size and resolution: Chronophotographs have a time based minting mechanism; they vary in resolution; the earliest mints are low res, with later mints growing in resolution to an absurd level. Within the collection so far, the resolutions vary from 200x200 up to 15000x10000.
In general, artistically aiming to keep the low-res ones smallish and the high res ones large. I aim for print resolution of 250-300dpi. Below 200dpi you start to perceive pixelation/bluriness. That's an acceptable tradeoff for the smaller low res Chronophotographs to make them an acceptable size, but don't expect a huge print for an early epoch Chronophotograph.
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A programmed synthesis of sound and animation that drift from synchronization and then return (sound on πΆ)
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