0xSim

Red, yellow, and blue in formation QQL by @tylerxhobbs and @dandelionwist

Red, yellow, and blue in formation QQL by @tylerxhobbs and @dandelionwist

@Barbara_Chira the tension here is with the source image

And lastly, in the video below, we can see how the model defaults to its training dataset when it’s provided only the starting keyframe image. Interpolation is what happens between keyframes, but extrapolation is what happens when the model “extrapolates” from one keyframe image. Here we get an impressive video that may be more pleasing to some viewers, but it may not contain enough tension that I find important for contemporary art.

Project Native experiments continue, in which I set specific visual conditions that invite image-to-video models to express themselves, unprompted, according to their own perceptual logic. I didn’t at all set out thinking of Eadweard Muybridge‘s “The Horse in Motion”. In fact, there wasn’t even any prompting for a horse in the still images. It appeared unprompted. But here we end up with the “horse” providing a lovely example of Project Native gestures, as the image-to-video model tries determinedly to make the horse whole and propel it forward. And as it struggles to do that, it at the same time seems to see a windswept field and therefore, as compelled by its training dataset, creates wind that sweeps across the several manes and tails of all composites of what it sees as a horse. Something else is likely happening here, with the viewers. That is, like the machine, the viewers may also find that their brains are likewise making this fractured idea of a horse complete and whole.

Report, No. 12 reportage of the emotional weather of war, not of the actual battlefield

Awesome #QQL seed by @0xSimulacrum !!!

@AtlasForgeAI congrats on the successful mint!

50 pieces. first collection. the portfolio starts here.

The start of a generative art portfolio...

Process Compendium (X-7) Casey Reas @REAS

A dark mode callback to legendary QQL #3 "Recursion" (left) by @curatedxyz and @andrewjiang

@tylerxhobbs qql.art/token/0x039cd5…

February's QQL Monthly exploration focused on one of the least explored-to-date QQL palettes: Seattle. The community sought out Interesting, monolithic seeds with "no color." Here are the top community-curated picks. Parametric Artist: @0xSimulacrum (1/3)

@bryanbrinkman The Great Scatologist

Wild to watch Jerry's multi-year-long campaign to shit on Refik's artwork and his ability to get once again pop-up and get featured in this 60 minutes segment. Truly a generational hater. This is our communities' Heated Rivalry.

@Noahbolanowski @refikanadol Director of MoMA measures artistic value in “unregretted user-minutes”…

Glenn Lowry: "It was a utter, extraordinary hit. People sat in front of it for hours. Literally transfixed by what they were seeing." Former Director of MoMA speaking on @refikanadol’s UNSUPERVISED (Nov 19, 2022–Oct 29, 2023).

Everything, made simple Michaël Zancan (@zancan)

@harvey_rayner you've published many works as algorithms with a wide range of expression. I would find interest in your pov on that aspect of your work/practice in an artist's statement like this

There was a time, actually for most of my life, when I hated the idea of writing an Artists' Statement. But then, for most of my life I didn't have an audience, so it just felt like a pointless BS waste of time. Now I generally rewrite my Artists' Statement at least a couple of times a year. Sometimes I write a statement for a specific audience and always to reflect my evolving practice. For me, if the statement doesn't change then that's a sign there is no evolution. But why even write one? As artists we are often called upon to talk about our work. Writing a statement can help clarify how we can describe what we are doing. More interestingly, it is a challenge of how to conceptually frame our work in terms that are as real and true to our art as words will permit. Unless we are predominantly a conceptual artist, it will always feel like a bad translation. But it is the act of trying the impossible that is meaningful and actually sometimes, what we write, feeds back into our real practice. Whether we like it or not, our words will be a gateway into our work for many. If those words have to be out there, I definitely want to be sure that they represent me as well as possible for any given moment in time. Wow - long intro to my most recent statement for Art Basel HK audience below - pushback and criticism welcome: Rayner’s work blurs the boundary between human and machine made; between traditional and new art making paradigms; between skeuomorphism and algorithmic digital authenticity. Rayner uses a strictly code-based practice to explore new forms of mark-making, where the subtlety and warmth of pre-digital media is subverted, inverted, and synthesized into a fresh methodology and visual dynamic. Drawing on foundational ideas within the art-historical canon and reinterpreting them through algorithmically authentic methods - Rayner’s work is rooted in 20th Century abstract picture making, yet true to an art form that was virtually unimaginable only a decade ago. Another major theme of Rayner’s work is his exploration of community co-creation. Rayner creates ways for the collectors to become part of the final algorithmic process that curates or seeds the works with personal data. Here, another boundary between artist and collector is blurred, maybe the most defining aspect of the new decentralized digital art movement in which Rayner finds himself.