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(wow) Words Of Wonders Level 2325 Answers – Create 3,333 Drawings Using Generative Code, AI and My Hand – and “Sell” in <2 Hours
Create 3333 drawings using generative code, artificial intelligence and my hands – and “sell” in less than 2 hours. The story of ALTARS, my latest NFT collection
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To the new ALTARS collectors 👁🗨 thank you for your support and welcome nfts (notes, feelings, thoughts) with . This is a regular newsletter featuring long articles about the state of creativity today and short updates from my studio. Enjoy.
The Ladder, June July 1971, Vol. 15, No. 9 And 10
After hearing about my work, someone recently looked at me and said, “Oh, you’re a creative technologist.” Which immediately gave me pause and made me do one of these: 🤔.
.eth 👁🗨 ALTARI – 22/10/2022 13 Likes 1 Retweet
In retrospect, this is because “technologist” is a charged and sometimes dirty word, especially in a creative context, especially in a spiritual context. why? Because technology is often at odds with humanity and/or nature. One robotic, the other organic. One fake, one real. Who is full of lies, who is easily deceived by lies.
In retrospect, it seems that technology aims to improve productivity in more ways than you might imagine. Human purpose, in theory (I think), is to maximize meaning and fulfillment. If you look around, in practice most of us are focused on maximum productivity: in work, in relationships, in financial success, in creativity… to achieve this (wrong?) motive.
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I see many people, myself included, rejecting the corporate life in favor of a more spiritual or “conscious” path that immediately rejects technology—spreadsheets, screens, social media. But I can’t help but think it’s wrong. Technology has become an easy scapegoat for our wrong choices. Blaming technology for human failure is like shooting the messenger. Technology is just a tool and how it is used for good or bad depends on who is using it. This is not bad or good in itself. So what does this mean for art? And more specifically, what does this mean for art based on code or (dun dun dun…) artificial intelligence (AI)?
Technology has become an easy scapegoat for our wrong choices. Blaming technology for failure and confusing people is like shooting the messenger. Technology is just a tool and how it is used for good or bad depends on who is using it.
At every point in history, technology has changed the way art is made, and it has always met with resistance from the old guard, those who benefited from the traditions of the time. During the Renaissance, sculpture was considered an inferior art to fresco – the work of a craftsman. And then Michelangelo did:
In the 1800s, the invention of the paint tube was key to the rise of Impressionism, a wave of painters.
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. Mobile paint allowed the artist to sit outside and paint men working in the fields, people walking the city streets, which were very different from the existing “correct” images. At the beginning of the 20th century, the camera was invented; Photography is considered a lesser art than painting or drawing. Now we know that sculpture, photography, and painting of everyday objects are considered as worthy of art as anything else; the resistance of the past has now been reduced to a ridiculous lack of vision.
This brings us to the 2000s where we live in the advent of digital art that is considered inferior to the physical…see where I’m going with this?
As artists, we are tasked with speaking the truth and responding to our times. Will we really be doing art that doesn’t respond to the internet in 2022? Not responding to the digital movement?
By the way, I failed to notice that last week the cryptocurrency market took another big hit to its value. My intention is and will always be focused on cryptocurrency as it relates to contemporary art. This newsletter continues to provide long-term opinions and thoughts rather than financial advice.
Texas Library Journal
I am a studio artist who is very dedicated to my brushes, paints and canvas. But I’m also a millennial, growing up in the middle of the internet, and an individual deeply immersed in the world of Web3 and NFT. By many (intelligent) accounts, the most interesting artistic movement emerging in the Web3 space is generative art.
Generative art “refers to art that is created in whole or in part using an autonomous system. An autonomous system in this context is usually a system that is not human and can independently determine the characteristics of the artwork that require direct decisions made by the artist. In some cases, A human creator may say that the generative system represents their own artistic ideas, but in other cases, the system takes over the role of the creator.” (Wikipedia)
In other words, generative art is a form of art that combines human hands with non-human “hands” ie code or technology.
In my practice, I am interested in giving my paintings a second life, I wrote about this concept in January.
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I want to stop the creation of painting, the medium, and take it in another direction; I want to use my favorite beats again. If I can copy and paste to the canvas, can’t I just take the perfect splash and put it somewhere else? Will I never use it again? I often wish I could freeze a drawing on a sublayer, duplicate it, and move the drawing in two different directions. I can’t do it on a physical canvas, but I can do it digitally – by taking a picture of a physical painting, transferring it digitally and repainting it digitally. This idea really appealed to me last year.
In January, I launched “SECOND LIFE” on KnownOrigin’s app-based NFT platform. IN SECOND LIFE I did the above. I take a picture of a physical oil painting like DESERT OASIS (center) and bring it to my iPad where I paint a new digital layer on top of the illustrated physical sublayer (RHS) or cut, copy, paste and overlay the illustrated physical sublayer. create a new composition (LHS) which is also drawn.
The result is a body of work that is relevant to my practice – physically but hardly digital – and that feels real in 2022, in this modern time and space.
I’ve been interested in starting a generative project since I heard about the 2021 movement, but the “non-human” part of the equation, which is the computer algorithm part, requires more technical skills (or the resources to pay for technical skills) than I have. That changed when I saw a post by my friend Matias, founder of the new platform Open3, looking for traditional artists who wanted to create a generative collection. The idea is that Open3 builds the technology, artists supply the art, and in return Open3 gets a share of the revenue. Bingo, I’m here.
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As mentioned above, generative art is art (in part) created through code using human-designed systems. You can think of it as “paint by numbers” for computers:
Some generative projects are done at the pixel level – success! But that’s easier to do at the layer level; Imagine a Photoshop file with many layers that can be moved in and out. This can be better understood by looking at the popular projects below, such as the Bored Ape Yacht Club. As you can see, the monkey is in a mold. The figure is always on the screen in one orientation, and its properties – shirt, hat, facial expression, background, transition. The artist defines all possible attributes, but a computer algorithm determines which will appear in which image.
This way, multiple images can be easily created from a single file; each of them has a unique combination of qualities in an almost identical aesthetic and compositional image. In the NFT space, this type of work is the basis for PFP (Profile Picture) projects, which are among the most profitable in the space. But also, in my opinion, some of the least inspiring.
My question – can the same system be used for abstract art? Can I develop a layered approach that produces X number of unique abstract works, and can those works be as close as possible to a physical painting? In other words, what is #abstractgenerative?
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With ALTARS I wanted to create an elegant collaboration between canvas and code – a digital generative collection as close as possible to physical art. To do this, I combined hand-drawn layers on the physical canvas with digitally drawn layers on the iPad, as well as photo manipulation and just for fun – goodness.
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