Curator
Group Exhibition
Curator
Group Exhibition
DP-1 playlist, version 1.1.0. 33 items: Dmitri Cherniak, Claudia Hart, Andrew Thomas Huang, Cao Shu, Lauren Lee McCarthy, ertdfgcvb, Helena Sarin, Jan St. Werner, Refik Anadol, Tyler Hobbs, Morehshin Allahyari, Sofia Crespo, Sage Jenson, Rafaël Rozendaal, Whistlegraph, 0xDEAFBEEF, VNS Matrix, p1xelfool, Laleh Mehran, Gene Kogan, Zach Blas, john gerrard, Auriea Harvey, LaTurbo Avedon, Peter Burr, AES+F, Lu Yang, Amelia Winger-Bearskin, Lee Mullican, Ana Maria Caballero x Nancy Baker Cahill, Nancy Baker Cahill, Rick Silva, Kim Asendorf, Serwah Attafuah.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Dmitri Cherniak is an artist and coder based in New York City. His algorithmic art has been exhibited in galleries and exhibitions in New York, San Francisco, and Miami. His most recent project, Ringers (2021), generated an algorithmic edition of 1,000 unique pieces of generative images on the Art Blocks platform. Above all else, Dmitri considers automation as his primary artistic medium. He earned a Bachelor of Science in Physiology and Computer Science from McGill University in Montreal, and he started using social media to share his ongoing projects in 2019."
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"description": "Dmitri Cherniak’s artistic medium is automation. He creates intricate code systems that generate a wide range of images and animations, and over the last few years, he has produced work at an intense pace, posting the results daily to his Instagram account. Scrolling through his feed feels like touring through a tightly controlled explosion of ideas. In his new work, “Transparent Grit,” ethereal lenses orbit around a fixed point. The captivating result feels like it could represent any scale, from a vast galaxy, to a tiny atom. As another way to play with scale, the viewer can change the work’s dimensions to view “Transparent Grit” from a distance, or from the inside."
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"description": "“Mutant Bagua” is a 3D sculptural reinterpretation of the Taoist Bagua (八卦) as a machine-spirit interface. In the center lies the Chinese mythical pearl of knowledge engraved with the Five Elements, adorned with the Taoist talisman for “Opening of the Heart.” Enshrining the pearl are the eight trigrams of the Bagua, each representing a principle of reality translated into computational binary code: yin vs yang, 0 or 1. This sculptural digitization of ancestral code reinvents the form as a hybrid mutant sci-fi abstraction suggestive of queer robotics, drones, and imagined extraterrestrial technology.\nBy uploading ancient Taoist script into virtual form, “Mutant Bagua” serves as an ancestral portal to digital spirits that haunt the interface between Taoist structural code and digital data. As professor Alvin Eng Hui Lim states in his book Digital Spirits in Religion & Media, “Trigrams produce networks, simply by operating as nodes where gods pass their visions and energies to human subjects with the right access codes... Gods are only accessible when human agents enact the trigrams and numbers and use them as codes and passwords to tap into the divine sphere.” Through numbers, the god in the machine speaks.\n“Mutant Bagua” presents an opportunity to reimagine the Taoist binary—thinking of yin and yang not as fixed gendered arrival points, but as vectors in motion: data storage in flux that when combined can reveal an infinite spectrum of possibilities. Or, as Laozi riffed over 2000 years ago:\n“Tao produced the One.\nThe One produced the Two.\nThe Two produced the Three.\nAnd the Three produced the Ten Thousand things.”\n—Laozi, Tao Te Ching"
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"text": "Cao Shu mainly works in new media art, and is based in Hangzhou, China. More recently, Cao Shu has begun to use personal and historical memory as a work interface, while continuing a creative practice that includes a variety of media-based interactions. In recent years, Cao Shu has been an artist in residence at atelier Mondial in Basel, Switzerland(2017), Koganecho Bazzaar Art Festival, Yokohama (2019), and Muffatwerk, the venue for international art and culture, in Munich (2020).\nCao Shu’s works have won such awards as the Exposure Award 2021 of PHOTOFAIRS Shanghai, the New Narrative Award from the Long Week of Short Films, and the Beijing International Short Film Festival Award for Outstanding Artistic Achievement. Recent exhibitions include Cao Shu Solo Exhibition-The Ocean of Solaris（Zhejiang Museum，Hangzhou，China，2019)；Cao Shu Solo Exhibition-Flux(ShanghaiTech University，Shanghai，China); Solo Programme-Monster outside the windows(Koganecho，Yokohama，Japan,2019), and others.\n曹澍1987年出生，他所运用的媒介包括且不限于数字模拟影像装置、空间环绕式配乐以及互动游戏装置等，他通过对日常经验的跨媒介转化和数字空间搭建来构造出潜在的关联，称自己的工作类似于一种在迷宫中不断迷失并寻找线索的侦探行为。曾于浙江美术馆，上海科技大学展览厅，日本横滨太平庄等地举办个展和个人项目。曹澍近年分别作为瑞士巴塞尔Atelier Mondial （2017），日本横滨黄金町艺术节（2019），德国Muffatwerk文化艺术中心（2020）驻地艺术家。曾获2021PHOTOFAIRS|Shanghai曝光奖、上海短片电影周新叙事奖、北京国际短片联展杰出艺术探索奖等。近期作品展出于UCCA沙丘美术馆，亚洲协会香港中心，北京民生美术馆，OCAT 深圳馆，汉堡法尔肯贝格大厅等。除此之外，曹澍的作品也在世界各地的影展主竞赛单元展出，包括莱比锡纪录片与动画电影节，米兰电影节，昂西国际动画节，渥太华国际动画节，汉诺威国际短片节等。作品收藏于澳大利亚白兔美术馆、以色列尧山当代艺术基金会、浙江美术馆等。现生活工作于杭州。"
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"description": "Cao Shu’s poetic piece “The One Who Lived Yesterday” uses vivid simulation to illustrate a scene of distorted time, as well as the oscillation between objective data and subjective memories. Using computer pre-rendered images, the piece explores the possibilities of digital existence, multi-angle views, and spatial narration.\nIn the piece, a voice runs through the film featuring an anonymous, dream-like speaker who tells a story about yesterday. The voice seems to come from a different place, echoing the perspective of a “Progress-tracer” to some degree, from a different “incarnation,” while the speaker himself is hiding. Each of its incarnations is the shape of “this yesterday,” and yesterday just made up the future.\n曹澍的诗意作品《活在昨天的人》用栩栩如生的模拟技术，刻画了一个扭曲的时空，作品充满了客观数据和主观记忆之间的震颤。他用计算机渲染的图像探索数字存在，多视角和空间叙事。一镜到底的3D数字模拟影像中，一个声音贯穿始终。这个声音仿佛来自别处，仿佛是困在数字世界的“进程追踪者”，而讲述者始终没有踪迹。声音把5年来作者在早晨醒来记录下的散碎梦话，编织成了一段寓言故事……作者的脸被扫描成3D数字图像，出现在房间里的桌子上、草丛中、石头上、高楼上。每一次声音的轮回都是“这个昨天”，而这个昨天创造了未来。"
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"text": "Helena Sarin is a visual artist and software engineer working with cutting-edge technologies for tech companies. At the same time, she has done commission work in watercolor and pastel, as well as in the applied arts like fashion, food, and drink styling and photography. Art and software had always run as parallel tracks in her life —software in the digital realm and art in the analog—until she discovered GANs. Since then, generative models became her primary medium. Sarin is known for her artisanal AI art practice, where she works with small datasets made up of her own sketches, ink drawings, engravings, and photographs, which—through the help of AI technologies—are transformed into images that lie across the digital and the analog realm. Her still lifes inherit the particularities of the media in her datasets—we see traces of pastels, newspapers, and photographs as well as the specifics of the AI models. The results are colourful, energetic, and highly personal.\nShe is a frequent speaker at machine learning conferences delivering invited talks at institutions such as MIT, Eyeo Festival, Library of Congress and TEDx Konstanz. Her artwork has been exhibited at a variety of AI Art exhibitions including in Zurich, Dubai, Oxford, Shanghai and Miami. Sarin has published a series of artist books including the sell-out “The Book of GANesis” followed by “GANcommedia Erudita”."
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"text": "Refik Anadol (b. 1985, Istanbul, Turkey) is a media artist and pioneer in the aesthetics of machine intelligence, and the director of Refik Anadol Studio in Los Angeles. Since 2008, his works have explored the space among digital and physical entities by creating a symbiotic relationship between architecture, science, technology, and media arts. As an artist and a spatial thinker, he addresses the challenges, and the possibilities, that ubiquitous computing has imposed on humanity, and what it means to be a human in the age of AI. Anadol’s site-specific audio/visual performances have been featured at other iconic landmarks, museums, and festivals worldwide, such as Venice Architecture Biennale, Walt Disney Concert Hall, The Centre Pompidou, Florence Biennale, Hammer Museum, Art Basel, Dongdaemun Design Plaza, The Portland Building, Daejeon Museum of Art, Artechouse, International Digital Arts Biennial Montreal, Ars Electronica Festival, Arc De Triomf, Zollverein | SANAA’s School of Design Building, santralistanbul Contemporary Art Center, Istanbul Design Biennial, and Sydney City Biennale among many others. Anadol has partnered, and continues to work with, teams at Google, Nvidia, Microsoft, NASA JPL, Intel, IBM, Siemens, Epson, MIT, UCLA, Caltech, Harvard, Stanford University, and UCSF to apply the latest cutting-edge science, research, and technologies to his work."
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"text": "Tyler Hobbs is a visual artist from Austin, Texas, who works primarily with algorithms, plotters, and paint. His artwork focuses on computational aesthetics, how they are shaped by the biases of modern computer hardware and software, and how they relate to and interact with the natural world around us. Tyler develops and programs custom algorithms that are used to generate visual imagery. Often, these strike a balance between the cold, hard structure that computers excel at, and the messy, organic chaos we can observe in the natural world around us."
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"description": "Starting with traditional art materials when he was young, Tyler Hobbs later found his way into creating images with code. Eventually, he stopped creating landscapes and portraits by hand and his work with code took center stage, but he never stopped working with traditional art materials. His graphite plotter drawings and hand-painted murals created from his code are essential elements of his work. For –GRAPH, Tyler has created “F(l)ight,” a study of the aesthetic overlap and differences between the natural world, hand-made artwork, and algorithmic tendencies. It’s a return to his long-standing interests in the continuum of representational images to total abstraction. In relation to his idea that code and algorithms become increasingly important within culture and art, Tyler says, “I am interested in what parts of the analog world we can capture, what we can improve, and what is lost.”\n“F(l)ight” is a software NFT, but the first collector of each edition will receive the corresponding plotter drawing shipped directly from the artist’s studio. Each software NFT includes millions of other images beyond the primary image for each edition. The software NFT and the plotter drawing aren’t linked together; the NFT can continue to be collected on a secondary market without the drawing. Click on the artwork or press the enter/return key to generate a new image with a different random seed value.\nThe image you see on the main artwork page on Feral File is the plotter drawing for the artist-proof (AP). Compare this image of the drawing to the corresponding software version of the AP to see how the software image and the plotted drawing are related. Because the artists are using a range of papers and inks, the software and physical drawings are delightfully different.\nThe “F(l)ight” drawings are 40.6 × 50.8 cm (16 × 20 inches) on cream Stonehenge paper. They are drawn with a black archival ink pen."
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"description": "In ancient Persian literature, ماه طلعت، (“Moon-faced”) was a genderless adjective used to define beauty in both men and women. In contemporary Iran, it refers to the beauty of women only. Something similar happened, in the world of images, to the Qajar dynasty portrait paintings: the modernization of Iran, the influence of the European tradition of realistic painting, and the use of of camera technology and therefore photography as a model, overshadowed and ended the queer representation of genders that historically characterized these paintings, largely known for their gender-undifferentiation. For her project, “ماه طلعت، Moon-faced,” Allahyari uses a carefully researched and chosen series of keywords with a multimodal AI model to generate a series of videos from the Qajar Dynasty painting archive (1786-1925). Through this collaboration, the machine program learns to paint new genderless portraits, in the effort to undo and repair a history of Westernization that ended the course of nonbinary gender representation in the Persian visual culture. The music in this video was composed by Mani Nilchiani."
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"text": "Sofia Crespo is an artist with a huge interest in biology-inspired technologies. One of her main focuses is the way organic life uses artificial mechanisms to simulate itself and evolve, this implying the idea that technologies are a biased product of the organic life that created them and not a completely separated object. Crespo looks at the similarities between techniques of AI image formation and the way that humans express themselves creatively and cognitively recognize their world. Her work brings into question the potential of AI in artistic practice and its ability to reshape our understanding of creativity. On the side, she is also hugely concerned with the dynamic change in the role of the artists working with machine learning techniques. She’s also the co-founder of Entangled Others Studio."
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"description": "In contrast to the other works in the exhibition, “neural swarm” is arranged in less of a gridlike formation and more of a clustering that recalls the display of insects at a natural history museum. It’s only upon close examination and through additional context that we even realize these bee-like insects are of the artist’s own design, and that they don’t in fact exist in the natural world. As Crespo puts it, “These specimens are part of a collection from a particular neural expedition, a swarm of relatives in all their shapes and life-stages.” At first glance, her world appears to be our world. It pulls from colors, patterns, and shapes that are deeply familiar to our conscious and subconscious and plays them back to us in forms that seem fathomable yet fantastic. The end result is a surreal illustration of an imagined lifecycle for a exquisite species that never existed."
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"text": "\"...mesmerizing artistic simulations…\" – NASA\nSage Jenson is a media artist focused on speculative biology and emotive simulation. Their work involves tactile audiovisual spaces, complex systems, and the cultivation of digital creatures and ecosystems. Their ongoing simulation project traces a common living thread through material structures spanning time and space.\nSage's work has been shown internationally at venues and festivals such as the Barbican Theater, Sundance, and Lyon's Fête des Lumières, among others. They have published in the fields of geometry processing, complex network theory, and human-computer interaction.\nSage received a BA and BM from Oberlin College and Conservatory, where they studied mathematics, computer science, and electroacoustic music. In addition to their solo practice, Sage has worked in the field of computational geometry and architecture, most recently with Neri Oxman. Sage lives on a brackish marsh near New York City."
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"description": "In the summer of 2020, Sage set out to synthesize their previous experiments into an emergent virtual organism. They developed new particle behaviors and an artisanal rendering engine. Particles imbued with homeotic potentiality shapeshift into various behavioral species, and give life to a plethora of embryonic stages. In one particular experiment, this amalgamation beget an uncanny offspring, whose particular genetic code has been unreproducible, creating an anomaly, and a treasure.\nThe only remaining record of this creature is a 4,749 frame video detailing the poignant gaze of its emergent eye. “Embryogenesis” represents a sort of post-partum document to the extinct resonances within the code. Forever trapped in a loop, lost to the symbolic order of memory. It is with a heavy heart that Sage releases their spawn into the wild, but it is the inevitable eventuality of parenthood that children escape the petri dish."
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"text": "Rafaël Rozendaal is a Dutch-Brazilian artist who lives and works in New York. He uses the internet as his canvas. He also creates installations, tapestries, lenticulars, books, and lectures. He has exhibited at Times Square, Centre Pompidou, Whitney Museum, Valencia Biennial, Casa Franca Brasil Rio, Seoul Art Square, and the Stedelijk Museum. His work is included in the collections of the Whitney Museum, Stedelijk Museum, and Towada Art Center."
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"description": "“Infinite Entropy” is a series of 25 unique works, each one with its own colors, rhythm, and scale. The script is relatively simple: colorful circles drift from the center of the composition outward, getting bigger as they go. The dense concentration of color at the center of each circle gets more transparent as the circle spreads, creating a soft halo that gives the piece a layered, fuzzy feel. The overall effect is quite different from Rafael Rozendaal’s usual harder-edged works, though the process of building it from simple shapes and small steps is the same. The circles look as if they’re moving toward the viewer, implying depth where there is none."
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"text": "Whistlegraph is composed of artists Jeffrey Scudder, Camille Klein, and Alex Freundlich, who draw, sing, and make videos together. The group formed during the 2020 pandemic in a cabin in Ashland, Oregon, which remains their creative base. Over the past few years, they have honed a distinctive style and practice that speaks to embodied cognition, art education, and experimental composition for live performance.\nThe group’s TikTok @whistlegraph is an important platform for their work, where they regularly engage with their 2.2 million current followers. Whistlegraph has also toured, performed, and led educational workshops at Kunstverein Hamburg (Germany), Rhizome, The Schneider Museum of Art (Ashland, OR), Oneroom Gallery (Providence, RI), Willem de Kooning Acadamie (Rotterdam, Netherlands), OCCII (Amsterdam, Netherlands), and the Banana School (Bananskole; Copenhagen, Denmark).\nJeffrey Scudder (b. 1989) is an artist, coder, gamer, and educator from Assonet, MA, who received a BFA from Ringling College of Art + Design (2011) and an MFA in Sculpture at the Yale School of Art (2013). He has given performance lectures and taught courses about media art, software, and human-computer interaction at UCLA, the Parsons New School for Design, and as an assistant professor of emerging media and digital art at Southern Oregon University. He also keynoted India HCI and Korea HCI in 2019.\nCamille Klein (b. 1996) is a visual artist from Portland, Oregon. She found her expressive voice making collages as an illustrator for the alt teen magazine Rookie from 2013-2015. At Oberlin College, where she received a BA in studio art (2018), she started making sculptures, textiles, and paintings. Her work develops new relationships between shapes, materialities, and terrains of emotional experience.\nAlex Freundlich (b. 1997) is an artist, musician, and snail breeder (heliciculturalist) from Los Angeles, CA. He received a BA in Studio Art at Oberlin College (2019), and lectured at DWeb Camp and the SF Art Book Fair in 2019. Recently, Freundlich has produced paintings in his exploration of new strategies for making pictures using traditional, digital, and unconventional materials. He makes music under the name Song Hope Spring Book."
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"description": "Lyrics:\nIt’s time to grow\ninto something new\nComposed by Alex Freundlich on March 4, 2020\nThis instance of “Time To Grow,” recorded on April 15, 2022, and its supporting materials were produced for Ten Whistlegraphs.\n“Time To Grow” was the first whistlegraph scored for multiple players, rendered here in Hagoromo chalk on blackboard by Alex Freundlich and Camille Klein. The graphic score highlights its stochastic ending: “use these lyrics to complete your drawing.”\nWhistlegraphs are audio-visual digital artworks performed manually by drawing and singing. Every whistlegraph results in a poetic image through the performance of a graphic score."
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"text": "0xDEAFBEEF is an artist and engineer based in Toronto, Canada. Over the past 20 years he has been tinkering in diverse areas overlapping art and technology including music, sound recording, computer animation, blacksmithing, and generative art. He received his BASc in electrical engineering and MSc from the University of Toronto, where he contributed to internationally recognized research in the field of computer animation. As a classically trained musician with a strong background in sound technology, he brings together all of his interests in a bespoke art practice, using low-level computer code and a minimal toolset to craft raw information into audiovisual artworks. His recent generative works explore the unique affordances of programmable blockchains as both subject and medium."
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"description": "Performance and Auction: May 30th, 2022 17:00 UTC+0\nThe live performance is open to the public. Collecting this Access Pass grants access to an editioned recorded video of the live streamed performance.\nThe auction for the artwork created during the performance begins 30 May, 2022 17:00 UTC+0. The auction winner will receive a unique iron sculpture, unique digital output of render produced by software, codebase, and recorded video of live streamed performance, sent within seven days after live performance.\nSince 2020, 0xDEAFBEEF has been known primarily for creating generative audiovisual works that explore the limits of blockchain both technically and conceptually. For the first time, “Sketches in Iron” combines the artist’s core interest in software with a lesser known facet of their background, metalworking. Pushing the boundary further between digital computation and a 6,000 year-old industrial practice that plays out through a choreographed live streamed performance, the artist introduces their own biological, mineral content as catalyst for the work.\nThe work was performed publicly for the first and only time on feralfile.com through an iframe pointed at a YouTube livestream on May 30th, 2022 at 17:05 UTC. 100 individuals purchased “access passes,” which allowed them to receive an edition of the recording, post-live performance. The unique iron sculpture created during the livestream performance was auctioned to one individual."
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"text": "VNS MATRIX is an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt. Taking their point of departure in a sexualised and socially provocative relationship between women and technology, their works subversively question discourses of domination and control in the expanding cyber space. They are credited as being the first artists to use the term cyberfeminism and are generally regarded as the founders of the international cyberfeminist movement, alongside their highly influential 1992 text and artwork “A Cyberfeminist Manifesto for the 21st Century.”\nDuring the 1990s, VNS Matrix was invited to exhibit internationally. Australian galleries also recognized the work of VNS Matrix with exhibitions at Experimental Art Foundation (1993), Artspace Sydney (1994), Australian Center for Contemporary Art Melbourne (1995) and more. The work of VNS Matrix has been written about extensively in Art+Text, Wired, Flash Art, and Artlink, among many others. They are studied in universities across the world and are written about in scholarly, art, and popular culture publications.\nIn 2016, VNS Matrix celebrated their 25th anniversary with the performance of a new text, “A Tender Hex for the Anthropocene.” Since this milestone their work has continued to be exhibited at museums and galleries, including Rhizome at New Museum New York, Institute of Contemporary Art London, and Migros Gallery Zurich, among many others."
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"description": "Contested Zone (1993) by VNS Matrix is a digital image created for the 1993 project ALL NEW GEN. Part artwork, part computer game, ALL NEW GEN was released as a CD-ROM and distributed widely in Australia and internationally. The CD-ROM was also exhibited as the centerpiece of the ALL NEW GEN installation with lighboxes, soundworks, photography, sculptural elements, video and a Bonding Booth for pleasurable distraction.\nJoin the cyber warrior All New Gen and the renegade tribes of the Contested Zone to sabotage the databanks of Big Daddy Mainframe and launch the New World Disorder. Enter the Contested Zone, a labyrinth of bizarre and mysterious cyberworlds, where the future is now, and Big Daddy Mainframe is in control. Manipulating the minds of the online masses through his nasty neural nets, BDM is expanding his transplanetary empire and nothing will get in his way. But resistance is not futile! All New Gen, an omnipresent being (computer virus, bio simsystem, intelligent mist) is on a mission with the renegade tribes to sabotage the info core of the insidious data dictator. All New Gen is assisted on her mission by the DNA Sluts, a band of renegade Sheroes; along with ferals, data deviants, cortex crones and code warriors.\nFor more context, please visit: https://vnsmatrix.net/projects/all-new-gen"
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"text": "INTERNET ARTIST SINCE 3001 *///////// FATHER OF MULTIDIMENSIONAL ENTITIES EXPLORING TIME, CONSCIOUSNESS, AND THE EDGES OF SYNTHETIC OBJECTS THROUGH GENERATIVE ART.\np1xelfool is an artist from São Paulo who quickly rose to prominence in 2021 for his code-based artworks. Released mostly as animated GIFs and real-time code, p1xelfool’s works are conceptualized with Processing, an open-source and community-led creative coding software. His practice distinctively renders 3D geometric systems as pixelated 2D animations that may be suggestive of scientific diagrams, particle simulations, and otherworldly entities. Despite such evocations, the artist has no intention of referencing the (super) natural world. He is instead intent on creating a visual sphere specific only to the computer; his works exist in their own dimension. p1xel often mentions his interest in the perception of time/space — and its (de)construction — as a starting point for his computational art. In his words: “Do screens, pixels, and code engender a specific ontology, or (inter)subjectivity?”\np1xelfool is also known for his community-driven initiatives such as BRG.exe, a foundation investing in and supporting Brazilian generative and digital artists."
}
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"description": "The 33 unique artworks presented in gämma are self-contained systems; each contains 3 seeds generated by the system, selected and arranged by the artist to comprise the final composition. The works are minted on Tezos — the first exhibition on Feral File to use this blockchain.\np1xelfool conceptualized these works with Processing, its visual and responsive coding environment feeling more expressive to the artist than analog painting. The works are executed with p5.js, which allowed p1xelfool to program pixels in the browser in real-time. “Instead of asking the program to draw lines, I asked it to manipulate the pixel arrays,” he describes. This underscores the conceptual motivation of the project, namely, the reappropriation of pixels (and light and code) rather than the visuals produced by them. When viewing the work, there is the option to hit the “P” key to pause the pattern; hitting the “S” key will save and download the frame.\np1xelfool’s generative animations are inspired by the logic of particle systems, yet they share no reference to the natural world. The visual environments of the works are specific only to the computer. In each work, two superimposed and interrelated systems simultaneously interact with one another. Their interrelated velocities determine the speed at which blocks of interplaying (and playful) color seem to descend to the bottom of the screen, cycling through new patterns and creating the illusion of endlessness. Colors and patterns are rhythmic and vibrational; visual pleasure is immense and infinite."
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"slug": "aequitas-hal",
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"description": "From her childhood memories of the fabled Huma bird common in Iran to her fascination in the legends of the hummingbird native to the Americas, Laleh Mehran has found commonalities in the reverence and might attributed to these two birds. The legends say that the Huma bird exists above the planet and never touches the ground. The creature is a common motif in Persian, Ottoman Turkish, and Urdu poetry traditions. In Sufi traditional stories, even catching a glimpse of the shadow of the creature would make one happy for a lifetime. Across the Americas, the very real hummingbird inspires legends disproportionate to its physical scale. The themes span from associations with the Aztec god of the sun, war, and human sacrifice to the Mojave creation myth that people lived underground until the hummingbird came to them and led them out into the light.\nMehran’s work, often modeled on historical research transformed into metaphors and symbolism, addresses contemporary socio-political landscapes. The title for this work, “Aequitas,” is derived from the Latin concept of justice and equality. As encroaching fanaticism furthers inequities, intersectional solidarity of action is required to create hope for more ethical collective futures. Mehran’s project, much like the Huma bird, is meant to inspire our internal and collective powers to make changes — from the smallest ripple to a tsunami.\nThe “Aequitas” form references the back-to-back Huma bird sculptures found in Persepolis, Iran, but in this sculpture, it is hummingbirds merging into a new unified creature. The form is repeated in a ring, wings interlocked to create a powerful presence ready for ongoing action in our complex world.\nDerived from “Hummingbird Ornament” by louisesr71 licensed under CC BY.\nShapeways Collection: First collectors of this work will receive a corresponding 3D print from Shapeways. Within two weeks of the sale closing, Feral File will contact collectors to input their name, email address, and shipping information to provide to Shapeways for fulfillment. Shipping and printing costs are included in the price of the work. Note that all orders will take 6-8 weeks to deliver. After initial collection, NFTs can continue to be collected on the secondary market without the 3D printed component.\nThe artwork will be printed in Grey MJF Plastic PA12 at an approximate size of 8cm x 8cm x 6cm."
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}
],
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"description": "Gene Kogan’s video “Interplanetary” depicts an infinite progression of lush and exotic alien creatures residing symbiotically in organic vegetation. The technique by which Kogan made the video uses a generative neural network trained over millions of images and controlled through natural language. By prompting the model with unusual sentence constructions mixing Earthly ecology with sci-fi alien plots, strange interplanetary juxtapositions are generated."
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"text": "Zach Blas is an artist, filmmaker, and writer whose practice spans installation, moving image, computation, theory, and performance. Blas engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, biometric recognition, predictive policing, airport security, and the internet. In recent projects like “The Doors” (2019), Blas imagines a new psychedelic age fueled by AI, nootropics, and tech culture. In “SANCTUM” (2018), a sex dungeon-cum-detention recasts security and surveillance through BDSM. Blas has exhibited, lectured, and held screenings at venues internationally, including the 12th Berlin Biennale, de Young Museum, British Art Show 9, Tate Modern, Walker Art Center, 12th Gwangju Biennale, the 68th Berlin International Film Festival, Matadero Madrid, Los Angeles County Museum of Art, ICA London, Van Abbemuseum, e-flux, ZKM Center for Art and Media, and Museo Universitario Arte Contemporáneo. His 2021 artist monograph Unknown Ideals was published by Sternberg Press and Edith-Russ-Haus für Medienkunst. Blas is an assistant professor of visual studies in the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto."
}
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"description": "“Lizard King at Spa Day on the Neon Isles” comes to us by way of Zach Blas’ multimedia installation “The Doors” (2019), which explores psychedelia, drug use, and artificial intelligence. Looking closely at Silicon Valley’s connection to Californian counterculture, the work brings together a constellation of references, including Aldous Huxley’s writings on mescaline and LSD and the 1960s rock band The Doors, fronted by Jim Morrison (nicknamed “the Lizard King”). Spoken word poetry generated by artificial intelligence neural networks — trained on corporate nootropics literature and Morrison’s writing and voice — is recited by a CGI lizard modeled on the prehistoric Barbaturex morrisoni (named after Morrison). The work alludes to Silicon Valley’s transhumanist desires to hack and perfect body and mind. In contrast to a “turn on, tune in, drop out” ethos, taking nootropics and microdosing LSD have gained popularity as “smart drugs” designed to unlock the mind to labor harder and faster."
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"title": "Smoke Hands (Dark) 2022",
"source": "https://cdn.artworks.feralfile.io/previews/0b95013a-599b-4af2-a0a4-fe13eff98e89/1664812654/?edition_number=0&blockchain=tezos&contract=KT1Q4SBM941oAeu69v8LsrfwSiEkhMWJiVrp&token_id=87088604826608036002369955630170002623199918326127743845496214030238383280289&token_id_hash=0x76f5f855f112d90d7fc6e188454b9061524c6e11645a77e2db1512c0ec011057",
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"metadata": {
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{
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"text": "john gerrard is widely regarded as a key figure in the development of simulation within contemporary art. Deceptively looking like film or video, his works are virtual worlds, made using real-time computer graphics, a technology developed by the military and now used extensively in the gaming industry. Recent exhibitions include Surrender (Flag) 2023 at Hayward Gallery, London, Western Flag at Dark MOFO, Tasmania, NGV Triennial 2023, National Gallery of Victoria, Australia. Plásmata II, Onassis Foundation, Greece, Corn Work at Galway International Arts Festival, travelling to Gwangju Biennial; X. Laevis at Okayama Art Summit, Japan; Western Flag at Museo Thyssen Bornemisza, Madrid; Solar Reserve, LACMA, Los Angeles, USA; Western Flag, Somerset House with Channel 4, London, England,; Power. Play, Ullens Centre for Contemporary Art, Beijing, China; and Solar Reserve, Lincoln Center in Association with the Public Art Fund, New York, New York. Gerrard's work is in the collection of Tate, London; MoMA, New York; SFMOMA, San Francisco; LACMA, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington; Kistefos Collection, Norway; IMMA, Dublin; Borusan Contemporary, Istanbul; M+, Hong Kong and many private collections internationally. His work Western Flag (2024) was the first tokenized artwork (NFT) to enter LACMA's permanent collection. John Gerrard received a BFA from Oxford University in 1997 and an MFA from the School of the Art Institute of Chicago in 2000. He is represented by Pace Gallery globally."
}
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"description": "John Gerrard has built a practice developing simulation as a language and material, using this mode to examine issues related to energy, consumption, and environmental exploitation. “Smoke Hands (Dark) 2022” is a spatial WebGL sketch showing the artist’s hands cupped around dark smoke. The work was produced in early 2022 to test ideas around subjects of ecology, responsibility, futurism, and politics. Click and drag in background to look around the scene. The smoke, which is produced by a particle system, recalls the artist’s previous works, “Western Flag (Dalhart, Texas) 2017” and the earlier Smoke Tree series of 2006-7. “Smoke Hands” juxtaposes a symbol of destruction with a gesture of offering, instantly evoking the tension, absurdity, and peril of our dependence on carbon-based energy. As the artist says, “I like the sense that we are holding an uncertain future in our hands — or that we are protecting a global petro system that is in essence impossible.”\nProducer: Werner Poetzelberger\nProgrammer: Helmut Bressler"
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}
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"description": "Recalling the display of ancient Greco-Roman sculptures, the pedestal in “Haristory” holds a head fragment and echoes the style of non-finito aesthetics or melting digital morphs. Of course, in this case the work was done, broken, and re-done, scanned, placed, and finished. The strange and ambiguous protrusion of the hair troubles the usual relation with the archeological artifact, evoking a dystopian atmosphere. And what is this sculpture made of?\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nMiddle mouse button/Arrow keys/two finger drag to pan the view\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
},
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{
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"title": "CLUB ROTHKO - ORANGE AND YELLOW STARTER PACK",
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"metadata": {
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"text": "LaTurbo Avedon is an avatar and artist, creating work that emphasizes the practice of non-physical identity and authorship. Avedon has spent the past decade developing a body of work that illuminates the ever-growing intensity between users and the virtual, pursuing creative environments that deepen the meaning of immaterial experiences. They curate and design Panther Modern, a file-based exhibition space that encourages artists to create site-specific installations for the Internet. LaTurbo’s process of character creation continues through gaming, performance and exhibitions. Their work has been exhibited and collected internationally."
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"description": "LaTurbo Avedon is a non-binary avatar artist who exists and makes work on the internet, including social media platforms and online digital games. In 2012, they created their first “Club Rothko,” a virtual environment inspired by the artist’s many hours spent inside the “Afterlife” nightclub within the game Mass Effect 2. Club Rothko looks like a nightclub, with rooms, a DJ platform, and lighting and sound systems. But it is also an interoperable “exoverse”—Avedon’s preferred term for the increasingly corporate idea of the “metaverse”—in which the multiple avatars of Avedon from different platforms can coexist and socialize, prompting us to consider how we construct our identities and experience intimacy in cyberspace.\nClub Rothko’s name derives from its digital wallpapers of paintings by the Abstract Expressionist Mark Rothko, whose large, floating fields of color are known for absorbing their viewers and triggering strong emotions—responses that many now associate with “immersive” virtual experiences. In Avedon’s exoverse, which treats modernism with both reverence and irreverence, Rothko’s blurry, visually unstable contours become a metaphor for the freedom found beyond the limits of existing technological systems: “At a certain point there are restrictions on what you can do in virtual (and online) environments, edges of where games are intended to go or not,” Avedon once stated. “When I am building in my own software those edges disappear, and I am able to render anything I am looking for.”\nWhile many artists, like Rothko, have found freedom in abstraction, detractors have accused it of being “merely” decorative—like a pretty wallpaper. Digital artists today similarly suffer from the suspicion that their work is as decorative as a screensaver. Avedon leans into the idea of abstraction as decoration, prompting us to question the cultural values that frame how we respond to different kinds of aesthetic experiences—and especially those, like games, that involve technology and are rarely seen as “art.” For Peer to Peer, Avedon has created a new Club Rothko inspired by the Buffalo AKG’s iconic Rothko painting Orange and Yellow, 1956. A video preview of the Club takes viewers on a tour through the space, which culminates with a close-up of a digital painting that reimagines Rothko’s painterly effects as a haze of luminous pixels. Collectors of the CLUB ROTHKO – ORANGE AND YELLOW STARTER PACK are given multiple files created by the artist—including three orange and yellow abstract videos, an ambient soundtrack, a customizable DJ “heads-up display,” and two folders of DJ sound effects—that they can use to create their own Club Rothko, in either their own exoverse or physical space. Despite the utopianism of 1990s cyberculture, the internet has become a space of commerce, surveillance, and discord; CLUB ROTHKO updates the avant-garde dream of integrating art and life for our networked present, asking us to once again imagine networked and virtual environments as utopian spaces where we can experience communion, transcendence, and freedom."
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"text": "Peter Burr is an artist from Brooklyn, NY. A master of computer animation with a gift for creating images and environments that hover between abstraction and figuration, Burr has recently devoted himself to exploring the concept of “an endlessly mutating labyrinth.” These pieces have been presented internationally by various institutions including Documenta 14, Athens; MoMA PS1, New York; and The Barbican Centre, London. Burr’s practice often engages with tools of the video game industry in the form of immersive cinematic artworks. Previously, Burr worked under the alias Hooliganship and founded the video label Cartune Xprez through which he produced hundreds of live multimedia exhibitions and touring programs, which showcased a multi-generational group of artists at the forefront of experimental animation. His practice has been recognized through grants and awards including a Guggenheim Fellowship, a Creative Capital Grant, and a Sundance New Frontier Fellowship."
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"text": "First formed as AES Group in 1987 by Tatiana Arzamasova, Lev Evzovich, and Evgeny Svyatsky, the collective became AES+F when Vladimir Fridkes joined in 1995. AES+F work at the intersection of traditional media, photography, video, and digital technologies. They define their practice as a “social psychoanalysis” through which they reveal and explore the values, vices, and conflicts of contemporary global culture. AES+F achieved worldwide critical acclaim in 1999 for their “Islamic Project,” which depicted various Western postcard city landscapes manipulated to appear colonized by Islam. AES+F cemented their reputation as a contemporary art powerhouse in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative “Last Riot,” the first of their now signature large-scale, multichannel video installations. Following a large survey exhibition in 2007 at The State Russian Museum in St. Petersburg, AES+F's next three large video installations titled “The Feast of Trimalchio,” “Allegoria Sacra,” and “Inverso Mundus” debuted at the 53rd Venice Biennale, 4th Moscow Biennale, and 56th Venice Biennale, respectively. The group has had more than 100 solo exhibitions at museums, exhibition spaces, and commercial galleries worldwide."
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"description": "“Lovers I” is an excerpt from the Paradise sequence of “Turandot 2070,” AES+F’s newest large-scale multichannel video installation. The masses are a vulnerable and confused society, trained by those in power to tolerate violence. Their public displays of adoration for the princess border on idolatry and mass hallucination. Heading a radical techno-matriarchy, Turandot obscures her true identity by appearing to the masses as one of many avatars, embodying the nature of the propaganda that she is translating to her subjects. Approaching the subject of the original libretto through “social psychoanalysis,” AES+F surface collective fears and desires by referencing contemporary media scandals and polarizing issues like #MeToo, cancel culture, fake news, and others."
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"text": "Multimedia artist Lu Yang creates fantastical, often painful, and shocking images which represent an interdisciplinary blend of religion, philosophy, neuroscience, psychology and modern technology, as well as the allusions to real life forms and structures of natural and religious origin. The output of Lu Yang’s artistic practice spans game engines, 3D-animated films, video game installations, holograms, motion capture performances, virtual reality and software manipulation. The artist also collaborates with acclaimed scientists, psychologists, performers, dancers, experimental composers, music producers, robotics companies and pop stars.\nLu Yang graduated with a BA and MA from the New Media Art department of the China Academy of Art in Hangzhou. Their work has been featured in major museums and institutions internationally, Lu Yang participated in the 2022 Venice Biennale. Recent solo exhibitions are at: Kunsthalle Basel, Basel, Switzerland (2023); Zabludowicz Collection, London, UK (2022-23); PalaisPopulaire, Berlin, Germany (2022 - 23); ARoS Aarhus Art Museum, Aarhus, Denmark (2021–22); Spiral, Tokyo, Japan (2018); M WOODS, Beijing, China (2017–18); MOCA Cleveland, Cleveland, USA (2017); Ullens Center for Contemporary Art (UCCA), Beijing, China (2011); and Fukuoka Asia Art Museum, Fukuoka, Japan (2011). Recent works in large-scale thematic exhibitions include The Milk of Dreams, 59th Venice Biennale 2022; Asia Society Triennial 2021, New York; Centre Pompidou, Paris (2020); Shanghai Biennale 2018 and 2012; Athens Biennale 2018; Liverpool Biennial 2016; Montreal International Digital Art Biennial 2016; 56th Venice Biennale 2015 (Chinese Pavilion); and Fukuoka Asian Art Triennale 2014.LuYang was awarded the BMW Art Journey in 2019, following which they commenced the making of a new digital body of work titled DOKU. They are also the winner of the Deutsche Bank Artist of the Year 2022 award."
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"description": "“Material World Knight: Flying Mode” is a video loop rendered from within Lu Yang’s computer game “The Great Adventure of Material World.” This capture is of the Material World Knight in a flying pose. The main game character, Material World Knight, completes quests and battles enemies together with other characters drawn from the artist’s earlier works, while undergoing multiple identity transformations as the game moves beyond tropes of popular manga culture to explore the control of identity liberated from the rigid confines of nationality, gender, and sexuality."
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"text": "Amelia Winger-Bearskin is a Banks Family Preeminence Endowed Chair and Associate Professor of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is also the founder of the AI Climate Justice Lab, the Talk To Me About Water Collective, and the Stupid Hackathon. In 2022 she was awarded a MacArthur Foundation Award as part of the Sundance AOP Fellowship cohort for her project CLOUD WORLD / SKYWORLD, which was part of The Whitney’s Sunrise/Sunset series. In 2021 she was a fellow at Stanford University as their artist and technologist in residence, made possible by the Stanford Visiting Artist Fund in Honor of Roberta Bowman Denning (VAF). In 2020 she founded Wampum Codes, an award-winning podcast and an ethical framework for software development based on indigenous values of co-creation. In 2019 she was a delegate at the Summit on Fostering Universal Ethics and Compassion for His Holiness, The 14th Dalai Lama, at his World Headquarters in Dharmsala, India. In 2018 she was awarded the 100k Alternative Realities Prize for her Virtual Reality Project: Your Hands Are Feet from Engadget and Verizon Media. This was also the year that nonprofit IDEA New Rochelle won the $1 Million Bloomberg Mayor’s Challenge for their VR/AR Citizen toolkit to help the community co-design their city. Amelia is an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan on her mother’s side; her late father was Jewish/Baha'i."
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"description": "Amelia Winger-Bearskin’s “Seed Protocol - Dynamical Lunar Indigenous Time (DLITE) 43:28:22.0004124” involves collectors in her ongoing artwork inspired by seeds and their caretakers. The NFT edition consists of an image of an identical pile of corn seeds that have been colored by the artist in 100 variations, wrapping the seeds in hand-drawn patterns. As still life, the seed piles imagine what the future seven generations of corn seeds might look like, suggesting textile and beading patterns or more alien mutations. Corn is one of the “three sisters” (corn, beans, and squash) according to the knowledge of the Haudenausaunee people. (Winger-Bearskin is an enrolled member of the Seneca-Cayuga Nation of Oklahoma, which is part of the Haudenosaunee confederacy.) The three sisters are grown together, giving nutrients, shade, and support. The “seven generations” concept reminds us that our current knowledge is built on that of the seven generations before us, and that we must make good decisions for our descendants seven generations in the future.\nEach of the seed pile variations has a unique DLITE (Dynamical Lunar Indigenous Time) number, riffing on the Terrestrial Dynamical Time that NASA uses as a timestamp for celestial voyages. The future that Winger-Bearskin imagines for seeds is inspired in equal parts by several sources: the celestial storytelling of the Seneca-Cayuga; NASA’s Project Artemis; as well as the work of her colleagues’ Robert Ferl and Anna-Lisa Paul, plant molecular biologists who lead a team focused on growing plants in space at the University of Florida Space Plant Lab.\nAlong with the NFT, collectors receive a participation contract and access to the Seed Protocol website, asking them to contribute to the larger seed protocol project. They will receive regular updates on all online and in-person events related to Seed Protocol project 2023-2024. Collectors will also play an active role in shaping the project by agreeing to make contributions: engaging with a local seed bank or heirloom seed society in their area and uploading information about the organization to Amelia Winger-Bearskin’s Seed Bank Directory or engaging with one of the seed groups with whom the artist is working.\n[Please register your seed pile at https://seedprotocol.space]"
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"text": "Lee Mullican was born in 1919 in Chickasha, Oklahoma and died in Los Angeles in 1998. Upon his graduation from the Kansas City Art Institute in 1942, Mullican was drafted into the army, serving four years as a topographical draftsman before moving to San Francisco in 1946.\nAfter winning a prestigious Guggenheim Fellowship in 1959, he spent a year painting in Rome before returning to Los Angeles where he joined the UCLA Art Department in 1961, keeping his position for nearly 30 years. He divided the later part of his life between his homes in Los Angeles and Taos, traveling internationally and co-organizing exhibitions at UCLA. A retrospective spanning 50 years of the artist’s work was organized by the Los Angeles County Museum of Art in 2005.\nMullican is in the permanent collections of the Museum of Modern Art, New York; the San Francisco Museum of Art; the Metropolitan Museum of Art; the Museum of Contemporary Art, Los Angeles; and the Los Angeles County Museum of Art, among others."
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"description": "In the fall of 1986, Lee Mullican began participation in UCLA’s Advanced Design Research Center’s Program for Technology in the Arts. The program allowed the then 66-year-old artist to expand his vast oeuvre to the digital. He found inspiration in the similarities between his painting style and a computerized matrix. Replacing his brush and signature palette knife striations with a clickable mouse and pen-like stylus, Mullican merged the late Surrealist method of automatism with the computer’s instant and precise replication of marks, stating; “I found that beyond what one thought, the computer as being hard-lined, analytical, and predictable, it was indeed a medium fueled with the automatic, enabled by chance, and accident, discovery of new ways of making imagery.”\nThe artworks in LeeMullican.PCX were originally created in PC Paintbrush and saved as PCX files. PCX stands for “Picture Exchange”, which is a Paintbrush Bitmap image format developed by ZSoft Corporation. It was developed as one of the initial bitmap image formats for DOS and Windows, supporting 24-bit true color images, 1-bit black and white images, 8-bit grayscale and indexed color images. Widely used as the imaging standard on the DOS platform, this raster image format also served as the native file format for PC Paintbrush. Although PCX image format has been replaced by newer formats like PNG and BMP, it’s still used by fax and scanning applications. The original PCX file for this work is included in your collector package.\nWhen Lee made these works they were saved on 5 ¼ inch floppy discs. The technology at the time did not allow artists like Lee to easily search through files, so Lee documented his digital pieces by taking 35mm photographs of his individual pieces and produced slides from the photos. These archived 35mm slides were used as reference material to format the artworks in this exhibition, and scans of these slides are included in the downloadable content unlocked with the purchase of this NFT.\nAs you explore the original art file and slide you will see that these works were made on larger white backgrounds. These backgrounds have been cropped so the artwork better fits your screen, but no graphic information has been lost."
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