{"access_artwork_files":"With proof of purchase, access to complete artwork and supplemental material is granted through creating an account on feralfile.com or Feral File’s official web address at the time of purchase. Files are redundantly stored on IPFS. If the official Feral File domain is no longer accessible or active, contact the present-day custodian of Feral File’s archive, the artist studio, or artist estate.","animation_url":"https://ipfs.feralfile.com/ipfs/QmQDRBtpAVa93NHFm8VXmiiGehxtPdET7fNVq1TS2iBoqd?edition_number=91\u0026blockchain=ethereum\u0026contract=0xF51bFC40C10289246e5BBa7afEDeB8cF976c3250\u0026token_id=4045563695846915711900312409516322895111670683\u0026token_id_hash=0x8cc1bb26f152c74976b764fb04581cc483b1bc4a4ae942d7f5b289ea888ec8dd","artist":"Piter Pasma","artwork_index":91,"artwork_name":"#92","attributes":[{"trait_type":"Exhibition","value":"Feral File - N=12"},{"trait_type":"Series","value":"Balls to the Walls"},{"trait_type":"Artwork of","value":"144"},{"trait_type":"Artist","value":"Piter Pasma"}],"collection_name":"N=12","collection_uuid":"b568cb2d-07bf-4019-b484-cb4b017eeede","creator":"0xC3C05DAae54D6d496597FAc9403F49aE5B4Fb34D","description":"Piter Pasma’s “Balls to the Walls” is an example of the artist’s unique ability to create worlds with advanced techniques. Using swirls to create illusory color, Pasma combines simple primitive forms to suggest a deeper story. The subject of these artworks are seemingly plucked from a story by H.P. Lovecraft, representing unknowable alien circumstances, existing despite the threat of all-consuming darkness. The combination of small multiples into a larger body echo the theme of the exhibition: building something from the influence of many parts.\n\nPasma has great technical influence on his contemporaries, providing many generative artists with pseudorandom number generators and elegantly written functions. His experience in the European demoscene of the late 1990s continues to drive his pursuit of technical excellence, manipulating each pixel with complex mathematical equations in as few characters of code as possible. With this mastery, Pasma is able to create photorealistic renderings, yet in this artwork he eschews that realism for a distorted sense of alien mystery.\n\nThe camera work behind the 1997 science fiction horror movie Cube served as inspiration for Pasma’s research in generating random 3-dimensional (3D) signed distance field (SDF) environments. The set for the film consists of only one and a half rooms, yet the story takes place across a large maze with many distinct rooms. The film crew used camera angles and lighting tricks to leverage limited space to give the illusion of many unique spaces. The artist imagines a single corner in an infinite room, with an inverse cubic corner protruding from it, as the base 3D scene for every composition in the artwork, producing variations through camera angles and color.","exhibition_info":{"note":"N=12 is an experiment in building intentional community, with twelve artists collaborating across seven time zones. Contemporary computer-based artists create their work while connected to an effectively infinite network of information. This affords artists the capacity for infinite input and collaboration, leaving them to distill these disparate connections and experiences into their artwork. Distinctly, the computer artist’s principal tool for creation is also a means for connection. This exhibition leans into the inherent proximity of computer users by explicitly asking twelve artists to create work while in constant dialogue with one another. In doing so, the show makes audible the “wonderfully silent conversations” between artists that Frieder Nake referred to in his foreword to Casey Reas’s \u003ca href=\"https://drive.google.com/file/d/0B9h469--G5OwYWt4XzF3OHNBd2M/view?resourcekey=0-p_2Z2gUGGskN_sjlLmK9OQ\" target=\"_blank\" class=\"link\"\u003e“CENTURY” catalog\u003c/a\u003e of 2012. \n\nFor N=12, the artists had direct and active conversations with each other. \u003ca href=\"https://twitter.com/annaluciacodes\" target=\"_blank\" class=\"link\"\u003eAnna Lucia\u003c/a\u003e, \u003ca href=\"https://www.visualcinnamon.com/\" target=\"_blank\" class=\"link\"\u003eNadieh Bremer\u003c/a\u003e, \u003ca href=\"https://revdancatt.com/\" target=\"_blank\" class=\"link\"\u003eDaniel Catt\u003c/a\u003e, \u003ca href=\"https://www.revafyw.com/\" target=\"_blank\" class=\"link\"\u003eReva Fan\u003c/a\u003e, \u003ca href=\"https://twitter.com/ElsifThen\" target=\"_blank\" class=\"link\"\u003eElsif\u003c/a\u003e, \u003ca href=\"https://www.liacoleman.com/about\" target=\"_blank\" class=\"link\"\u003eLia Coleman\u003c/a\u003e, \u003ca href=\"https://piterpasma.nl/\" target=\"_blank\" class=\"link\"\u003ePiter Pasma\u003c/a\u003e, \u003ca href=\"https://ralenarc.com/\" target=\"_blank\" class=\"link\"\u003eRalenArc\u003c/a\u003e, \u003ca href=\"https://www.bartsimons.com/\" target=\"_blank\" class=\"link\"\u003eBart Simons\u003c/a\u003e, \u003ca href=\"https://nicolevella.com/\" target=\"_blank\" class=\"link\"\u003eNicole Vella\u003c/a\u003e, \u003ca href=\"https://ippsketch.com/\" target=\"_blank\" class=\"link\"\u003eippsketch\u003c/a\u003e, and \u003ca href=\"https://www.melissawiederrecht.com/\" target=\"_blank\" class=\"link\"\u003eMelissa Wiederrecht\u003c/a\u003e convened and collaborated online over several months, sharing their code and artistic processes while fostering a co-creative microcosm enriched by weekly meetings, aesthetic critiques, code reviews, and vibrant discussion. In doing so, they generated work with a dozen distinct fingerprints.\n\nThe participants in this exhibition were selected through a democratic process from the \u003ca href=\"https://www.genartclub.com/\" target=\"_blank\" class=\"link\"\u003eThe Generative Artists Club (genartclub)\u003c/a\u003e, a behind-the-scenes group of over five hundred generative artists founded in 2018. This group has become a nexus for artists working with systems to discuss works in progress, debug code, share mental health journeys, and connect with other creators from around the world that share their passion for generative art. This group is just one example of artists aggregating their collective efforts; many well-known groups throughout history such as the Batignolles Group (1870s), the Dadaists (1910s), and Fluxus (1960s) have seen artists collaborate to push their respective mediums forward.Unique to digital art, the mediums through which these artists interact are the same mediums through which artworks are created, completed, and distributed. By creating an environment for this sort of organic exchange of ideas, N=12 can serve as the basis for future groups to experiment.\n\nCollaborative creation—from a place of trust and vulnerability—spurs new aesthetic directions, strengthening both the work and the relationships. For example, Elsif initially pursued a composition of mountains in pointillist style. During group discussion around black and white outputs she drifted towards a more visceral aesthetic and shifted the entire work to monochrome, then in reaction to that starkness reintroduced color and found a new impressionistic sense of subject and texture. The idea of collaboration itself influenced multiple artists: Reva Fan’s intersecting collisions, ippsketch’s twelve interconnected shapes, Anna Lucia’s woven textures, Piter Pasma’s groupings, Nadieh Bremer’s overlapping lines, Nicole Vella’s clinging forms. \n\n“You put in fragments of an idea… something unexpected always comes out of the machine, and you try to piece it all together.” - Lia Coleman, creator of Emergence\n\nThis cross-pollination of ideas pushed each of the artists towards new technical and aesthetic innovations. Each of their works is created with code written by the artists themselves. This has required artists to be equally comfortable ideating with infinite imagination and instructing a machine to translate these ideas into reality. The \u003ca href=\"https://www.experimentsinartandtechnology.org/\" target=\"_blank\" class=\"link\"\u003eExperiments in Art and Technology (E.A.T.)\u003c/a\u003e of the 1960s normalized the collaboration of artists and engineers. In contrast, the artists of this show and of Feral File’s Ecotone—indeed, much of this generation—are themselves all hybrid artist-engineers. Not only do they critique each other’s aesthetics, they also debug each other’s code. In such a context, variables, functions, and logic are as open to influence as color palette. These artists are not just sharing outputs with each other, they are sharing their innermost processes.\n\nWhen viewing the resulting artworks, only the final output of the story is revealed, obfuscating the alchemical process of each of the artists. N=12 is a testament to the power of collaboration throughout a networked world that enables individuals to create something more than they could conceive individually. ","note_title":"The Influence of Confluence"},"external_url":"https://feralfile.com/series/42ebab42-b930-43f9-8133-261dd30367f6","id":"4045563695846915711900312409516322895111670683","image":"https://ipfs.feralfile.com/ipfs/QmZgCzTiLimrfXS38N97F4C4c41zBetBjG7yenJ1WSbGRG?","medium":"software","metadata_version":"v1","name":"Balls to the Walls #92","royalties":{"decimals":4,"shares":{"0x2033606bE146405870F92Ea3144ef5057b9DEA48":250,"0xC3C05DAae54D6d496597FAc9403F49aE5B4Fb34D":750}},"series_id":"0xF51bFC40C10289246e5BBa7afEDeB8cF976c3250-5","symbols":"","timestamp":"2023-07-25 05:05:51.971356442 +0000 UTC m=+42850.295801428"}