Bassil Taleb

In spaces where digital logic meets the pulse of emotion, this work navigates the intricate choreography between planned structure and unscripted spontaneity. It beckons us to confront the inherent contradictions that shape us—oscillating between the organic and the algorithmic, the chaotic and the composed. At its core, cellular automata merge with recursive systems, crafting a visual language that mirrors the delicate balance between chaos and order in our lives. This project, rooted in the philosophy of generative art, unfolds as an autonomous art-generating entity, devoid of external influence, crafting its narrative through self-generated instructions and thresholds.

Each emergent pattern serves not merely as a visual spectacle but as a philosophical exploration into life's cyclical rhythm. The art defies linear time, weaving a complex temporal tapestry where past, present, and future are inextricably linked by the ever-evolving cellular automaton. This interlacing of time carries the resonance of individual histories, cultural legacies, and possible tomorrows, urging viewers to reflect on their own intricate identities.

More than a random generator of patterns, "Awabid" represents a thoughtful exploration of the shared control between artist and algorithm. The thematic congruence from the visible output to the underlying code forms a cohesive narrative, revealing that the essence of generative art lies in the interplay of control and surrender, predictability and surprise.

Delving into the realm of the conceptual, the work probes the philosophical ramifications of unwitting repetition in our day-to-day existence. It spotlights vital questions about personal agency and the nebulous boundaries between order and anarchy in the human condition.

The piece employs quasi-fractal configurations to suggest a nuanced view of human complexity, akin to a fractal pattern that has been subtly shifted at its origin. This offers a fresh perspective on the human condition, both intimate and interrelated, delicately balanced yet susceptible to sudden upheaval.

Ultimately, the work extends an invitation to scrutinize not only what we see but also the very foundations upon which our individual worlds are built. It evokes a sense of timelessness and enduring resonance, much like ancient ruins or timeless verses, inviting a deep reflection that transcends the immediate and the ephemeral.

The term 'Awabid' comes from the Arabic **أوابد**. It is often used to describe ancient ruins or classical poems, imbuing them with a sense of timelessness and emotional resonance. In Arabic culture, the word carries a depth of meaning that goes beyond mere antiquity, touching upon the enduring and ever-present.

Press "s" to save image.

Awabid unfolds in a landscape where redundancy breeds familiarity, each pattern a nuanced balance of order and chaos. Here, contemplation is kindled by the precision of algorithms coalescing with the unpredictability of nature.

Awabid

Paulo Silva

Folia is the Portuguese word for revelry, a joyful and noisy celebration. In Brazil, folia is mainly used to refer to Carnival as people take part in vibrant gatherings, wearing colorful costumes and dancing lively rhythms like Samba, Frevo, Axé Music and many others. This collection tries to capture that spirit with vibrant color palettes and shapes that give a feeling of movement. The organic patterns resemble the costumes and decorations associated with this festivity.

Press "s" to save image.

This project uses paper.js library.

For further information, please visit my site https://paulosilva.art.

Note: Most renders take from 15 to 30 seconds, but might take longer on lower-end or mobile devices. It is recommended the use of Chrome browser for this project.

A generative art collection that celebrates the joy and the vibrancy of Carnival.

Folia

Qotonana

The culmination of my representative generative art series exploring the code and math of Mediterranean landscapes and ancient cities. For me, after a year of struggles, it finally marks the end of a personal odyssey, sailing into quiet harbor waters to moor the ship. However, for any journey to unfold, it always requires that initial step – 
to Set Sail.

I hope it inspires your own quest for inner calm and connections with the past.
Thank you for supporting me on this journey.

When you dream of those small, serene places... 

Set Sail

SaraSmith

*Snow globe is a small, decorative object that is typically made of glass and contains a miniature scene. Inside the globe, there is often a model of a landscape or a scene. 
When the globe is shaken,small particles resembling snowflakes fall and settle on the scene, giving the appearance of a snowstorm.

*The "Snow Globe" is an interactive and animated project that allows movement through the use of keyboard keys(A,D,W,S). You can navigate inside the project using the W, S, A, D keys, allowing movement upward, downward, right, and left. Furthermore,  you can explore the environment from various angles by moving the mouse.

*Note that to create interactivity, you need to click once on the canvas with the mouse.

*In each variations, you can observe various elements, including houses, mills, trees, gardens, cafes, cars, and etc. Each of these elements is designed  3D, and you can examine them closely.



wish you luck, and I hope you enjoy navigating through the Snow Globe.



The "Snow Globe" is an interactive and animated project that allows movement through the use of keyboard keys(a,d,w,s). Various elements are observed in each variation, which are explained in the artist statement.

Snow Globe

summerhaze.eth

From the ashes, the phoenix arises. From the bear market, the bull market arises. From challenges, opportunities arises. 

The phoenix symbolizes hope and reborn, it is an animation that never ends, just like life. We keep going, reboot, restart and move forwards despite challenges.

This project is inspired by the time when I was feeling down and self-doubt due to job loss, now I am in a better place, and I still have so much that I want to explore. 2023 is 90% complete and 27th is my birthday , I would like to present this project to inspire others to keep going and reinventing ourselves just like the phoenix.

From the ashes, the phoenix arises. From the bear market, the bull market arises. From challenges, opportunities arises. We keep going.


The Phoenix

R1B2

"Circle Of Life" is a simulation of organic growth in a constrained environment. It is written in vanilla js, using WebGL and Tone.js for the generative ambient music.

Depending on the growth style and parameters, an initial single-cell organism evolves into a complex colony. Cells grow and spawn children, or run offshoots, or sometimes explode in a spore-like behavior to propagate further away.

As time passes and all the living space is occupied, older cells start to die, living room for new ones to grow. Sometimes, the cycle goes on forever. Most often than not, the organism eventually grows itself into extinction.

It is my hope to trigger existential thoughts with this piece. Thoughts about life, about the necessity of death, and most importantly, about how a society based on infinite growth is doomed to fail eventually.

Press the 's' key at any time to save a screenshot.
Although the piece is designed to be experienced at a slow, meditative pace, impatient users can toggle 'fast mode' by pressing the space bar.



A meditative, generative audio visual experience, reflecting on the meaning of life.

Circle Of Life

Daniel Catt

Pinball, but totally not. Glitch, deleting, rotating and shifts interrupt a flow-field. Pulling on aspects of print, zen, hacking the Gibson and pen plotting.

This started as a combined pen plotter and print artwork, which would output the results to both. (I've stripped the outputting to SVG out on this version to save space, a full version on my website [https://revdancatt.com/art](https://revdancatt.com/art) will allow that). Then I started to treat those lines as raster graphics that could be shifted across the canvas and deleted to produce breaks and negative space, while still holding firm to an internal compositional rule.

Also an attempt to not overcomplicate already complex things.

This collection is my own take on Flow-Fields, having not used them before but always admired them. I wanted to taken them in the direction of glitch combined with the lines I'm used to using on the pen plotter.

(81-82-83-84)

Kira0

Don’t get tricked by the allure of these cookie cutter homes. This is our dark future.

After centuries of ignoring the warning signs, humanity has abandoned a wounded Earth to make a new home among the stars. We now float through space in artificial habitats, huge metal cylinders of our own design, a simulacrum of the environments we once knew.

We thought our technology was good enough to recreate the homeworld we gave up, but the artificiality of our manmade ecosystem always seems to shine through. Sterile landscapes that fail to replicate the intricate beauty and delicate balance of the natural world.

Now generations have been born and raised in this mimic land. And as the years pass, memories of once lush forests, sprawling meadows, and vibrant wildlife turn to faint echoes. Humanity’s connection to Earth's history grows ever more distant.

As we adapt to this existence defined by our technology and our isolation from nature, the very essence of what it means to be human has slowly eroded. Can you feel it?

And in our perpetual escape, refugees sailing the seven stars, how do we awaken from our synthetic stupor to rebuild and rediscover the home that we lost?

---
Kira0, July 2023.
Created with p5js.

In their quest for escape, humanity left their beloved Earth behind to exist in outer space. The scars of their past follies still remain, while they wander in a metal cylinder, seeking progress without addressing the consequences. Will they find wisdom among the stars or repeat their mistakes? 

Remnants of Humanity

Mark Ludgate

At its heart this piece is a combination of several concepts that I love, technology/nature, tech like geology, colour, and animation. I wanted to pull them all together in a consistent way if possible. I really love the juxtaposition ( apologies for the pretentious word) of sci-fi technology in the natural world. Something I put into all my pieces and wanted to push further here. 

I suppose a piece of futuristic tech is the last thing that you want to leave by itself lying around in the wilderness. It’s so fragile in an environment where it’s competing with raw nature, but incredibly powerful in the right environment. Technology is our magic edge that allows us to lift ourselves above nature. 

We have a kind of symbiotic relationship with technology. It gives us the power of the gods and all we have to do in return is build and maintain it. We're so reliant on it that sometimes it feels like we worship it. So it seems fitting to create an art piece where a future solstice would have a totem pole of pure tech to honor it.

# **The style of the geology**
The geology is made up of fairly rudimentary shapes with distinct forms, cubes, pyramids, spheres, tubes etc. This is mostly due to a limitation of coding art. To create interesting geology with pure randomness is hard, and often leads to a mess with no distinct form. I decided instead to mimic the geology of certain natural wonders that look man-made ( such as the giant’s causeway ). It was great to combine the limitations of coding and real natural phenomena in such a cohesive way. 

# **Colour colour colour**
You may have noticed this piece can be quite colourful. I really wanted to explore colour randomness. There are problems with random colour. Sometimes anything more than 2 colours, or varying values in saturation can produce ugly results. However sometimes the results are amazing. Colour combinations you wouldn’t imagine. I wanted to get as close to this as possible. 

Even though the colours were completely  random, to let it be wild and still consistent I used a few simple rules for colour. Generally the saturation is kept under 85%. This takes the edge off. There are only 2 starting colours (picked completely randomly), and any further colour variation is a slight hue change of those 2 main colors.

To keep it under control, If the script increased the hue variation it would have to lower the overall saturation. In general you can get away with either lot’s of hues and low saturation or vice versa. 

# **Life moves - Animation**
This piece is fully animated! Designed so for screens and the future of visual art. It will also fit to any screen size ( see below). When the still image is loaded the animation will then load. It can take around 10-15 secs before it starts. 

The major chunk of my art inspiration comes from the great animation films, particularly Japanese styles. I really wanted to try and create something that had life like those films. I also felt that it is very important that digital art on screen try to make use of the main reason for a screen, its ability to change the image. 

It was by no means easy to make an image with so much detail that also moves. I had to ditch WebGL ( a 3D graphics library) and return to pure pixels. The only way I could generate these complex images quickly enough was to break up the detail and store it in “buffers”. These are basically canvases of pixels. I then used these small details stored in buffers to rebuild larger details. This was much faster than trying to draw each little detail fresh each time. 


# **Settings**
Press [s] to download a PNG of the image  
Press [a] to download 25 frames of animation that can be put together to form a GIF/VID. These will need to be a yo-yo GIF to play forwards and backwards.  
Press [p] to pause or play the animation.

# **Fitting to any screen aspect ratio**
This piece has 5 aspect ratios.

Press [f] to fit the image to your screen size. This will slightly alter the image. But is useful for screens when you want to fill them properly. 
You can also add fit=true to the URL parameters .

# **Rescaling the image**
Press [1-9] to rescale the image. Each number multiplies the current scale by that value. Yo will rarely need to go above 2. 1 will scale to 1.5x.
You can also add scale=2 to the URL parameters. Where 2 can be replaced with any number. 

ODYSSEY I is a melting pot of themes and aesthetics that bring deep nostalgia to the artist. A thought about the juxtaposition of technology and nature, a cheeky prod at our worship of tech, a hint of man-made-like natural geology, a nod towards ancient monuments and astrology,  an exploration of colour randomness, and a proof of concept for making a detailed animated landscape from pure code. 

ODYSSEY I

Aleksandra Jovanić

  
*"Billowy bodies with celestial impressions heaping onto one another; spreading, shifting, drifting."* from *'A Meditation on the Endless Appeal of Clouds in Art'* by Charmaine Li  

 

Although algorithms in generative art lend themselves to creating an infinite variety of latent images, latent images are more commonly associated with film development in analog photography as an "invisible configuration of silver halide crystals on a piece of film after exposure to image-bearing focused light" — when the image has been exposed, but not yet revealed.

Through that process, condensation forms tiny specs of silver atoms on an exposure, which are observed after processing as film grain, and resemble a vast population of tiny cirrocumulus clouds. On the opposite end of the spectrum, different kinds of condensation similarly contribute to the formation of clouds in the sky. These formations, in contrast with a stabilized, finished photograph, remain impermanent and beyond our control. The only thing we can do is endlessly project our gaze, thoughts, and interpretations onto them.

Recognizing embedded images in the clouds can be explained as a byproduct of our brains processing visual data. In the generative setting of this project, Billows, basic geometric shapes combine to form a vast array of fantastical creations: croissants, radishes, egg white floaters in yellow cream (œufs à la neige, Schneenockerl or šnenokle) if we are famished, or otherwise various billowy beings and cartoonish, stylized clouds. Constantly changing and adapting to whatever the spectator wants them to be, clouds continue to astound not just artists, but everyone willing to simply look up and dream. 


I am tracing a peculiar connection between various latent states and billowing bodies; between the figures we see in clouds and pseudo-random configurations we recognize as clouds.  
 


Billows

"Stride" is a generative art creation that explores the creative potential of p5.js and chroma.js libraries. This artwork presents a seamless visual journey, where nearly everything, except for the far sky and sun, is crafted within a single continuous take.

One more aspect of "Stride" is the absence of extensive hardcoding, allowing the artwork to emerge from fundamental inputs and generative algorithms.

By leveraging the capabilities of p5.js and chroma.js libraries, this artwork demonstrates the beauty and elegance that can be achieved through minimal hardcoding and a focus on essential inputs.

Made completely in 2d canvas using p5.js and chroma.js libraries.

Press s to save high resolution image.

"Stride" is an evocative art piece that encapsulates the power and determination of the human spirit. 
The composition portrays a solitary figure in an atmosphere of both tranquility and anticipation. 
The artwork invites viewers to reflect on their own journeys, aspirations, and the courage required to take decisive steps forward.

Stride

KRANKARTA

Realm is an exploration of impossible, imaginary worlds inhabited by monstrous monolithic structures.

The piece is inspired by the vivid cover art of classic Sci-Fi novels produced by the likes of John Schoenherr and Richard M. Powers. They managed to capture the essence of complex universes and storylines in one image. If only we could turn the first page of this piece.

Through textures and 3D raymarching, unearthly landscapes are created. The interaction of colour blending emulates millennia of erosion by alien weather conditions to reveal vibrant strata. While contrasting geometric monoliths cast huge shadows across the land. Peculiarly, these are the only things that cast shadows in this strange place. Burnt into the rock by a lonely sun this planet orbits.


Press [S] to save.

Dreamscapes of unknown worlds hidden in an algorithm.

Realm

Kali

The inspiration for Enigmatik came from a recent trip I took with some friends to the southern region of Argentina, where we camped for a few days by a lake nestled among the mountains and near a couple of rivers. I found the atmosphere of those landscapes fascinating during the nights. One of those nights, a friend and I saw a strange light in the sky and joked about whether it was a UFO. That's when I imagined that light settling in the middle of the lake and how it would illuminate the surrounding landscape (Though if I’m honest, it was probably just an Iridium flare).

My work often explores the balance between the explicit and the hidden. The "world behind" represents what is concealed: underlying emotions and subtleties, perhaps influenced by deep memories or unrecognized realities. On the other hand, the "world ahead" portrays our immediate reality, illuminated and defined by the central figure. The shape acts as a bridge between these two realms, inviting the viewer to look beyond the obvious and delve into the depths of their own perception and understanding.

The central figure, ambiguous in nature—be it alien, supernatural, or a portal—serves as a symbol of the unknown and the latent spaces that reside within our reality. Its luminosity amidst the darkness embodies both disruption and enlightenment, challenging viewers to ponder on the hidden realms and untapped potentials that lie just beyond their perception.

It is a direct and visible representation of latent forces, but deeper within the artwork, I've embedded hidden intricacies. The "infinite portal" reflection is one such element, acting as a concealed loop of reality that might only be noticed upon close examination. The progressive rendering effects also hide meticulous details, which blur and sharpen the edges of perception. And while the central figure demands immediate attention, these concealed layers beckon viewers to revisit the scene, each time discovering something previously unnoticed, thus emulating the essence of what it means to uncover the "latent" in our surroundings.

I think that to look at this piece it's like that first time you step into an epic landscape at night — it just hits you in the gut. It reminds me of what I felt when I saw while camping at that incredible spot in Patagonia, feeling that mix of awe and "what am I doing here?". It's tough to put into words, but it's that feeling of being face-to-face with something huge and mysterious. I hope this artwork gives off that vibe, capturing those moments where you're left speechless, where visuals do the talking because words just can't.

-- 

I want to dedicate this piece to my friend Agus Pixel, who was one my guides during our camping adventure at Paimun Lake in Junín de los Andes, and also provided invaluable support on Discord during the long coding sessions for this piece.

Like something alien or supernatural, a mysterious and disruptive central figure has settled amidst the natural landscape, invading the night with its light. The true nature of this strange shape, be it omen or portal, is left to the viewer's perception of what’s real and true.

Enigmatik

Louis-André Labadie

Machine Mythology builds compositions with no regard for human representativity. The collection's aesthetic and figurative qualities depend entirely on the viewer.

Reacting to the symmetry and patterns that appear in an abstract canvas, we build up figures that do not exist. Confronted with chaos, we create meaning.

---

This collection's generator is entirely on-chain and has no external dependencies.

---

On a keyboard:

- `s` – Toggle slow drawing
- `k` or `spacebar` – Toggle kiosk mode (cycles to a new composition every X seconds)
- `↑` and `↓` – Adjust kiosk cycle time
- `c` – Manually cycle once
- `f` – Flat rendering (two colors)
- `g` – Grayscale rendering
- `o` – Outlines rendering
- `w` – Toggle surrounding writings
- `Esc` – Reset kiosk & draw settings


Shapes won't show, and glyphs won't say. A collection by Louis-André Labadie.

Machine Mythology

Lisa Orth

**LIMINAL ROOMS: AN INVITATION TO TRANSITORY SPACES**

*Perhaps this is a place for us. Observational glimpses within energetic pathways. Transitional states evoking home.*      

Press [s] in live view to save file as PNG.            

This original algorithmic art was created with code 
utilizing the p5.js library.             
© 2023 Lisa Orth - All Rights Reserved          

**Website:** [lisaorth.xyz](https://www.lisaorth.xyz)     
**Twitter:** [@lisaorthstudio](https://www.twitter.com/lisaorthstudio)     
**Instagram:** [@lisaorthstudio](https://www.instagram.com/lisaorthstudio)     
**Links:** [linktr.ee/lisaorthstudio](https://www.linktr.ee/lisaorthstudio)     

  

---

License: [CC BY-NC-ND 4.0](https://creativecommons.org/licenses/by-nc-nd/4.0/)  


‘Liminal Rooms’ by Lisa Orth is a 256 edition generative artwork that explores the concept of transitory energetic spaces.


Liminal Rooms

r0zk0

Your MOMENTA mint will never look the same twice.

What sets "Momenta" apart from other generative art collections is it's ever changing nature. Every time a token is loaded, a new and original starting point is created, taking the viewer on a unique journey only they will ever experience. 

The collection creates animations that evolve and transform in real-time, allowing viewers to witness the constant evolution of each piece.

MOMENTA is a deeply personal collection. The momentary quality of these works is intentional; I wanted to create a collection that captured the essence of daily experience, something that is always present but never fully seen. I believe this encapsulates the beauty of living in the present moment, where time stands still and each moment is a delicate dance of light and color.

Through MOMENTA, I want to remind us all of the beauty of our fleeting experiences the importance of living in the present moment.

INTERACTION:

* press 's' to save a low def image
* press 'h' to save a high def image
* press 'u' to save an ultra high def image (might not work on all browser/device combinations)
* press 't' to display the title and mint number
* press 'f' to freeze the animation
* press 'r' to resume the animation



MOMENTA is a generative collection exploring the ephemeral nature of our daily experiences.

MOMENTA

Orr Kislev

**1862** - Ernst Haeckel, a renowned German biologist, began drawing and illustrating organisms. His interest in illustrating organisms stemmed from his passion for the natural sciences and his desire to communicate his scientific findings to a wider audience.

Haeckel's illustrations were part of his broader work on the study of life forms and their classification. He sought to document and depict the immense diversity of organisms he encountered during his extensive research expeditions. Haeckel believed that visual representations were essential in conveying scientific knowledge and aiding in the understanding of complex biological concepts.

**1970** - Mathematician John Horton Conway devised the cellular automaton 'Game of Life'. This simple yet captivating simulation demonstrates how complex patterns and behaviors can emerge from a set of basic rules.

Conway's Game of Life consists of a grid of cells, each of which can be either alive or dead. Through the application of a few straightforward rules, such as birth, death, and survival, an intricate interplay unfolds. Cells interact with their neighbors, giving rise to cool patterns that evolve and transform over time.

**1986** - Computer scientist Craig Reynolds introduced Boids, a revolutionary simulation showcasing the emergence of collective behavior through the application of simple rules. Inspired by the flocking behavior of birds, Boids demonstrated that connected agents following three principles—separation, alignment, and cohesion—can exhibit remarkably realistic group dynamics. Boids paved the way for further research in artificial life and swarm intelligence, revealing how complex flocking patterns can arise from the interaction of individual agents adhering to these fundamental rules.

- - - - - - - - -

Morphling is the result of a development starting with a basic particle-based system, following many questions:

How can they grow? extend?

What kind of connections should they form? What is known and makes sense, and what would be a pleasant surprise?

Where is the line between some particles - to a network - to a moving organism?

How can time play a significant role here? both to bring joy and wonder to the viewer, and help grow a more interesting morphling?

When is it too much? what would their children look like? do they carry the same DNA? 

How is it in nature? 

This work was made to be mesmerizing, beautiful, funny and surprising.
It is comprised of particles that connect to some neighbors, and repel all others, building up limbs and networks of an organism.

its drawn with html SVG elements (no canvas, no js library) for speed and good looks. 

Happy Collecting :) 

"Morphling" is an exploration of possibilities where the essence of "what if" and "what is" converge. 
This mesmerizing simulation brings particles to life as they undergo a captivating process of mitosis. Extending, connecting, and intertwining, they weave intricate networks, giving birth to vibrant and dynamic organisms.

Morphling

Tendenzy

Please visit the link to learn more about the project and the creative process:
https://tendenzy.xyz/articles-water-lilies

This series by Monet has always been one of my favorite works, and in my opinion, one of the most beautiful in the entire history of art.
The way he captures the essence of his garden is phenomenal, not to mention the remarkable difference in the works over the years, getting better and better, even with his impaired vision due to cataracts.

In this generative work I had the difficult task of trying to bring out the powerful impact that Monet's oil works cause, giving the viewer a deep sense of immersion.


Features:

'Palette': 15 Palettes,
'Weeping Willow': True (40%) or False (60%),
'Day period': Sunrise, Morning, Noon, Afternoon, Sunset, Evening,
'Orientation': Square, Portrait, Landscape,
'Water Lilies': Many or Few,
'Detail': True (8%) or False (92%)


Controls in fullscreen:

On desktop: Press 's' or 'S' to save as PNG,
On mobile: Touch the screen to save as PNG

For higher resolution downloads just change the end of the URL in fullscreen mode (for example "res/2000" will download at 2000x2000 pixels if the output format is 'Square').

July, 2023


In this work I use my passion for the impressionist movement to unite the traditional and the modern, and represent one of the most beautiful series of impressionism!

Representing strong and precise brushstrokes and using the combination of different shades of color to give the desired appearance, I brought the water lilies to life, which have their reflection exposed in the lake next to the leaves of the famous Weeping Willow, bringing the viewer on a visit to Monet's Garden!

Water Lilies

nico23

Ancient cultures used a variety of artifacts to transmit their knowledge and wisdom to future generations. From Mesopotamian cuneiform tablets to Maya totems and enigmatic monolithic structures, these objects served as vessels of wisdom and guardians of history.

For instance, cuneiform tablets were widely utilized by ancient Mesopotamian civilizations such as the Sumerians, Akkadians, and Babylonians. Inscribed on wet clay using a stylus, these tablets were an effective means of recording and transmitting knowledge. They covered a wide range of subjects, from literature and poetry to accounting and laws. Through these tablets, the wisdom of the ancients was preserved and made accessible to future generations.

Maya totems are another fascinating example of knowledge transmission through artifacts. These stone sculptures depicting deities, animals, or ancestors were revered by the ancient Maya. They embodied spiritual teachings, mythological narratives, and deep cultural values. Maya totems also served as communal landmarks and visual elements for storytelling during ceremonies and rituals.

Monolithic structures, such as Egyptian pyramids or statues on Easter Island, were also impressive testaments to the transmission of knowledge in ancient cultures. These imposing monuments were often erected to celebrate rulers, historical events, or religious beliefs. They were designed to embody advanced architectural and technical knowledge, as well as complex cosmological conceptions. By contemplating these structures, future generations could grasp the monumental achievements of their ancestors and perceive the extent of their knowledge and expertise.

These ancient artifacts were much more than mere material objects. They served as gateways to a distant past, containing accumulated knowledge and experiences spanning centuries. Through them, ancient cultures were able to pass on their intellectual, artistic, religious, and technical heritage to future generations.

The preservation and study of these artifacts are essential for our understanding of human history and the evolution of thought. Archaeologists, art historians, and anthropologists tirelessly work to decipher the inscriptions on cuneiform tablets, interpret the symbols on Maya totems, and explore the mysteries of monolithic structures. Through these efforts, we can reconstruct significant portions of the past and gain access to a wealth of knowledge accumulated by our ancestors.

Ancient cultures utilized various artifacts such as cuneiform tablets, Maya totems, and monolithic structures to transmit their knowledge to future generations. These objects played a crucial role in preserving valuable knowledge, stories, beliefs, and technical skills. Through their study and preservation, we have the opportunity to learn more about the achievements and wisdom of civilizations that came before us.

Within this collection, you will discover easily achievable functions presented as exercises. It represents a journey of creativity and exploration. The code encompasses my initial line of code, infusing meaning into the entire Genesis collection. It harmoniously merges technology and artistic expression, showcasing lines, points, ellipses, and rectangles in a simplistic yet captivating manner.

Inspired by ancient civilizations, particularly by the notion of revered artifacts such as Mesopotamian cuneiform tablets and Mayan totems, this project was born. It serves as a repository of knowledge and a wellspring of inspiration.

Ancient Artifacts reflects my personal odyssey in the realm of generative art, fueled by a steadfast belief in the dissemination of knowledge. It stands as a long-form collection, meticulously stored on the Ethereum blockchain along with its dependencies, ensuring its eternal existence and unfettered accessibility.

For countless ages, the transmission of knowledge has been an art mastered by ancient cultures.

In our modern era, one might inquire: What has become of art as a wellspring of enlightenment?

Ancient Artifacts seeks to explore this profound inquiry through the medium of generative art.

Ancient Artifacts is a Genesis project sold at a fixed price of 0.01eth.

Since prehistoric period Humankind transmit their knowledge by an art understandable to all.
Ancient Artifacts collection is the Web3 representation of this concept.
Through this collection I deliver my study sketches and thus disseminate the graphic representation of the basics of generative art.
Nothing is hidden or subtle, everything remains visible and identifiable in order to include the viewer in the learning process, as would an ancient civilization that has now disappeared.

Ancient Artifacts

WootScoot

**Enforcement** is a play on constraints. It treats pixels on the screen as particles in a system. Constraining them to certain types of movement, whether that would reflect physics or something more abstract.

--

**Movement**:

There are 6 different "modes" of movement that I've programmed into the shader. Each with it's own distinctive feel.

1- *Liquid*; This movement mode treats the particles almost as fluid and lets them spread along the canvas in a movement resembling one as liquid.

2-*Centrifugal*; Almost like being inside a wind-tunnel of sorts, this movement mode takes the particles and blows them across this circular field of wind.

3-*Divisional*; Taking the canvas and dividing it into sections, that's what this mode is good at. It makes sure the particles get moved away from the center of the cells in the grid, which makes for a super rigid structure.

Occasionally, this mode includes a final "ringed" pass, which rotates sections of the canvas in the shape of rings around with increasing angles. These rings can be centred or rotating around the y-axis.

4-*Spacetime*; This movement mode makes me feel like I'm in a place between space and time. Tearing up the pure matter it's made up of into pieces.

5-*Spectrographic*; Always reminding me of spectrographs (hence the naming), this movement mode takes the canvas and does a similar thing as mode 3, but adds rotation and noise in the mix, making it feel like a graph of sorts.

6-*Turbulence*; Similar to mode 2, this movement mode takes the particles and makes them blow around a circular field of wind, yet this time distorting spacetime in such a way that the particles seem to be enveloped into a storm, resulting in a chaotic yet controlled environment.

--

**Controls**:

Scroll - zoom in and out by scrolling down and up the page, get pixel peeping! It's my proudest achievement in this collection :)

Spacebar - save the output in full resolution.

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**URL parameters**:

By adding a ? with either of these parameters after it, you can up the resolution and rendering time for the piece:

- amnt=(value between 100 and 1000 works best, 100 is default)
- res=(resolution width in pixels, default is 2000)

for example: https://alba.art/...?amnt=500&res=4000

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*Disclaimer*: the outputs can vary slightly between devices, this is because it runs almost exclusively on the GPU, which is not as accurate on some devices. I've decided on this option because of the power the GPU brings. The differences are often times not noticeable on similar resolutions.

The same device will always result in the same output.

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Made by WootScoot with p5.js and webgl.
June - 2023.


Enforcement is a play on constraints. It treats pixels on the screen as particles in a system. Constraining them to certain types of movement, whether that would reflect physics or something more abstract.

Enforcement

Paolo Curtoni

"96", you can turn it around and look at it upside down. 96 are also the unique editions of "Hintperflections", a generative artwork embodying a delicate dance of image and reflection, reality and illusion. In this collection, the viewer embarks on a nuanced journey akin to deciphering Rorschach inkblots, each piece sparking a dialogue with the internal realm of emotions and conflicts.  

Observers are encouraged to move beyond the conventional anchor of a vanishing point on a tilted horizon. The generated composition thus becomes a quiet space for introspection and imaginative exploration, an interactive dialogue with the artwork resembling the tranquility found in deep meditation.  

Every edition presents a unique blend of similarities and differences, reflections and distortions. As familiar shapes evolve and new forms surface, you navigate between recognition and creation. The image subtly blurs the line between the tangible and the ethereal, nudging you towards a deeper exploration of the subconscious.  

With its algorithms, "Hintperflections" is a reflection on the nuances of visual perception and personal interpretation. Each piece is a mirror, reflecting more than it conceals, instigating a dialogue about perception, reality, and introspection. Going beyond the mere role of observer, you become an integral part of the unfolding narrative, contributing to the dialogue between art and subjectivity.  

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Hintperflections is written in vanilla JS and GLSL
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Press [s] to save the image at higher resolution
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"Hintperflections" is a collection of 96 unique generative artworks by Paolo Curtoni, a visual experience blurring image and reflection, reality and illusion, acting as a mirror into personal emotions and conflicts. Through abstract forms and shifting perspectives, viewers are invited to navigate the space between recognition and imagination. A collection encouraging introspection, a meditative journey, leading observers to a higher role and making them an active part of the narrative.

Hintperflections

CyberSea

# **BANG! by CyberSea**
BANG! is an art project that transports you back to the enchanting world of comic books. Inspired by beloved Marvel, DC, and other iconic comics, this collection breathes life into nostalgic memories. Immerse yourself in the captivating color palettes associated with legendary heroes and villains. From the dark tones of Batman's Gotham to the vibrant blue, red, and yellow of Superman, the colors evoke a sense of familiarity and excitement.

The project channels the essence of pop art, paying homage to luminaries like Lichtenstein and Warhol. Dive into a visual feast of polka dots, distinctive dot shading, stripes, and other signature pop art elements. The canvas is ingeniously divided into cells, reminiscent of classic comic strips, creating a dynamic and authentic experience.

From a technical perspective, BANG! was created using p5.js and TypeScript. A polygon subdivision algorithm forms the foundation of the project, enabling the creation of mesmerizing comic strip compositions. Delve into the pages constructed with various initial composition setups, each one of them offering a unique artistic journey.

To elevate the aesthetic appeal, pop art textures are seamlessly integrated. Dot shading, chessboard patterns, and spirals adorn the cells, infusing the artwork with a captivating allure. Hand-drawn contours add a personal touch, instilling a sense of authenticity and artistry.

Embark on an extraordinary journey with BANG! as it merges the magic of comic books with contemporary artistry. Let the vibrant colors and pop art influences sweep you away into a realm of imagination and nostalgia. Prepare to be captivated by the explosive beauty of BANG!

Controls:
- Press 'd' to generate 6000x8000 image.
- Press 's' to save the PNG image of the current view.

BANG! is a vibrant art project inspired by the nostalgic hours spent immersed in old comic books. It evokes the iconic color palettes associated with beloved heroes & stories, while paying homage to pop art legends like Lichtenstein and Warhol. With a canvas divided into cells reminiscent of a comic strip, each piece captures the essence of classic comic art. The project combines colors, iconic elements, and hand-drawn contours to create an captivating experience for fans of the genre.

BANG!

Jess Hewitt

Boundary Issues is a representation of my fascination with polarities. I am drawn to the tension between order and chaos, flatness and depth, unity and freedom. Through this series, I aim to capture the essence of minimal maximalism, where simplicity and complexity combine in a visually interesting way.

The project has been in development for almost a year, and has undergone numerous transformations as I experimented with different design elements. The intuitive challenge was finding and staying true to its unique voice. What was I really trying to say, and how well did those elements support it?

The title of the series is both a reflection of my personal journey and a playful description of the project's design, including the outlines extending into the margin, the animation shifting between contraction and expansion, and the composition feeling sometimes awkward, off-balance, or overcrowded.

Boundary Issues is written in GLSL and vanilla JS. For more information about this series, see the [project writeup](https://jesshewitt.art/boundary-issues.html).

High-resolution images are available upon request.

**Traits**

**Palette** - One of 30 unique palettes  
**Dark Mode** - Swaps lightest and darkest colors  
**Large Shape** - Circle, Triangle, Square, or Hexagon  
**Medium Shape** - Circle, Triangle, Square, or Hexagon  
**Small Shape** - Circle, Triangle, Square, or Hexagon  
**Placement** - One of 14 offset patterns for the large shapes  

**Controls**

**R** - Reset animation  
**T** - Toggle paper texture  
**[Space]** - Pause/resume animation

**Attributions and Thanks**

Boundary Issues uses functions from [MIT-licensed](https://opensource.org/license/mit/) code:

[PCG prng](https://github.com/riccardoscalco/glsl-pcg-prng) by Riccardo Scalco  
[Smooth min function](https://iquilezles.org/articles/smin/) by Inigo Quilez  
[Cubic in-out easing function](https://github.com/glslify/glsl-easings) from glslify  

Thanks to the GenArtClub for invaluable support, feedback, and inspiration.  
Special thanks to Haiver for tireless efforts towards making the Flatlands show a reality.

Boundary Issues is an exploration of minimal maximalism and the tension between opposing forces, such as order and chaos, flatness and depth. The series title playfully references the overcrowded composition, outlines that extend into the margins, and movement of the shapes when animated.

Boundary Issues

Gorilla Sun

Ahmad Moussa is a Germany based generative artist and creative coder. On the internet he creates content under the alias Gorilla Sun. He enjoys exploring geometric patterns through code, and tries to find new algorithmic strategies for creating visually compelling compositions. Since 2021 he writes about creative coding on his blog, and tries to make artistic coding more accessible to a broader audience. Besides his ALBA release, he has also released several other blockchain based generative artworks.

Is our path in life predetermined or are we the masters of our own fate?

The great traversal combines point distributions and curved paths to bring to life interesting interwoven compositions. The traversers make their way through the canvas based on a simple principle - at every position the closest point is consumed and added to the traverser's path. Using Hobby curves to visualize these trails gives them an almost organic aesthetic.

The Great Traversal

Nadieh Bremer

**Step into a realm where thoughts take on vibrant and fluid forms, where the abstract domain of the mind comes alive in visual displays.** 'Fleeting Thoughts' is a generative art collection by Nadieh Bremer that invites you to explore the intricate world of our inner thinking. Each artwork in this collection serves as a window into our thought processes, offering glimpses of the dynamic nature of our ideas.

Capturing those moments when ideas coalesce, forming tangible concepts; when thoughts branch out in every direction, exploring the vastness of imagination; and when we sense contemplative unease and our thoughts convolve in tumultuous disorder.

Look into the enigmatic landscapes of the mind, where thoughts take on tangible form and dance in dazzling displays of creativity and introspection, embracing both the serene clarity and the disorienting chaos that resides within us all.

'Fleeting Thoughts' by Nadieh Bremer is a generative art collection that represents a visual manifestation of our inner thoughts. Delve into the mind's intricacies as ideas intertwine, fragment into chaos, or convergence towards a harmonious flow. A visual journey into the enigmatic realm of thought.

Fleeting Thoughts

Alessandro Fiore

**Spazio/Colore** is a code-based art project that draws inspiration from the visionary paintings of key figures of the Futurist movement, such as *Umberto Boccioni* and *Giacomo Balla*.

Through an interweaving of vibrant hues, bold shapes, and rhythmic patterns, the piece aims to express the strong dynamism inherent in Futurism's aesthetics.


*Spazio/Colore is part of the group exhibition ["Flatlands"](https://www.alba.art/exhibitions/flatlands).*

---
**Credits:**
- *p5.js*(GNU LGPL)
- *glsl-blend* (MIT) Copyright (c) 2015 Jamie Owen
- *glsl 2D simplex noise function* (MIT) 2011 Ashima Arts
 


“There is neither painting, nor sculpture, nor music, nor poetry. The only truth is creation.” (Umberto Boccioni)

Spazio/Colore

Torsten Sauer

**The Story:** \
\
Generative art is remarkable in provoking my mind to ponder ordinary impressions and phenomena, prompting an immediate question: "How can I translate this into code?"\
In these moments, I find myself contemplating how to capture the essence of a leaf, recreate the dazzling play of sunlight, and even encode the intangible emotions I've just experienced.\
Generative art provides a unique perspective that allows you to perceive the world through a different lens, and I derive immense pleasure from these endeavors. \
Occasionally I'll dive right into the work, sometimes mulling over ideas for months before finally starting with a blank script. Some pieces grow into something more meaningful, and some find their place in a folder on my laptop without ever making it public.\
This little project grew slowly over a long time, and I must admit that it almost ended up somewhere in my folder jungle. But thanks to the encouragement and feedback from friends and fellow artists, this project made it so far to be part of Alba's first curated series, "Flatlands."  \
\
I recall the beginning of this project. It happened on a Sunday morning in February while I mindlessly scrolled through my social media feeds. One video caught my attention: a guy printing a skull on a t-shirt using screen-printing. What fascinated me the most wasn't just the design itself but the charming little imperfections and slight irregularities that the method created.\
Once again, one of those moments struck me, and without hesitation, I began wondering how to recreate the screen-printing technique and its unique imperfections using my generative tool kit. I quickly build the fundamental algorithm, completing it on the very same day. However, it took me four more months to explore the patterns, features, and color palettes that truly resonated with my vision. \
\
The title "Entry Through the Print Shop" (ETTPS) pays homage to Banksy's renowned documentary "Exit Through the Gift Shop," a film that exposes the absurdities of the contemporary art scene (pre-NFT era). In addition, "Entry Through the Print Shop" holds great significance as it marks Alba's entry into the NFT realm with their first curated series, aptly named "Flatlands." With genuine excitement and anticipation, I look forward to having this project included in this exceptional series’ distinguished lineup of artists and artworks. \
\
\
\
**The Algorithm:** \
\
The algorithm employed in this project is entirely built using p5.js. \
Inspired by the optical art movement that emerged in the 1960s, the patterns generated exhibit a strong affinity with the concept of flatness that defines this genre.\
To create the images, multiple layers of single colors are meticulously stacked. The intentional offset between these layers often creates captivating moiré effects of varying dynamics and strengths. As different shades overlap, intriguing new colors emerge through their harmonious blending.\
Each layer is intentionally printed with slight inaccuracies to impart a sense of authenticity and tangibility. These imperfections, including missing and over-spilled "paint," contribute to the overall appearance of the works, imbuing them with a genuine and tactile aesthetic.\
The algorithm randomly selects one of fourteen ink combinations, each capable of evoking a distinct mood, feeling, and visual effect when seamlessly blending into one another. Furthermore, the background paper, available in nine tones ranging from Dutch to Floral White, plays a pivotal role in shaping the final image's overall perception, with each tone leaving a unique impact on its visual appearance. 

---
\
Press [h] to save the image 

A generative algorithm inspired by the screen printing technique and minimal op art.
Each image is created from multiple single-color layers. The overlapping colors blend and create new colors. The offset between the layers can produce moiré effects of varying strength and dynamics.

Entry Through the Print Shop

zolfaqqari

Structural unity and visual richness are two concepts where achieving one leads to the loss of the other. The meaning of structural unity is clear, but what I mean by visual richness is the multiplicity of visual elements in a work, which is related to the playful aspects of being human.

Focusing solely on structural unity often leads to the creation of a work that will last a long time and, in terms of the philosophy of art, will always win over other works — but like a story that ends too soon, structural unity alone can leave a core desire within us unsatisfied. 

On the other hand, if we, as artists, only pay attention to visual richness, our work will, in the best case scenario, only give instant and fleeting pleasure as a mere entertainment, and its use-by date will soon expire. So it will struggle to belong to the world of art.

Tajir was also created based on such an attitude towards art. And I have always tried to present these two artistic concepts simultaneously in my work to create a visual experience that will truly connect with viewers.

In terms of form, the lines in Tajir play the main role for me, and like the thread of a suture that connects a patient's skin, the lines also help integrate this structure and connect the different components of the artwork together. All the created formal elements are like rivers that have the same source, yet are different faces of the same visual idea.

Tajir means a thick curtain that is not hung. It's based on wooden columns, and used to divide the space of a house like a free-standing wall.

Tajir

Chris McCully

Combining a romanticized view of the local music scene I grew up in and my current appreciation for poster design, this project aims to capture a colorful abstraction of the promotional flyers you and your bandmates might xerox print by the hundreds and spread across the city.

Each flyer is printed from varying quality printers, sizing errors, and inking inconsistencies. For this project I've created a generative "dream font" system designed to appear legible at a glance.

Created with p5.js

Combining a romanticized view of the local music scene I grew up in and my current appreciation for poster design, this project aims to capture a colorful abstraction of the promotional flyers you and your bandmates might xerox print by the hundreds and spread across the city.

Zone Harmonics

Inspired by [Fallingwater](https://fallingwater.org/), the iconic house designed by Frank Lloyd Wright in 1935, The Designers Republic incorporated its unique design elements into the album artwork for Autechre's 'Chiastic Slide'.

Just as an artist distills scenes into abstract images, a designer reduces function to abstract graphical forms. The Flatlands show presented an opportunity to merge this deconstructive approach to graphic design with the spontaneity of generative art. It's a nod to the moment when rudimentary software propelled experimental typography from zines to glossy publications like The Face, but with a twist of coding magic.

This synthesis reflects the project's overarching goal: to reinterpret the futurism of the past through the lens of the present, creating a nostalgic yet forward-looking exploration of design and technology.

**PRINTS**

Prints will be available from the ALBA site when that functionality gets added. A limited number of "Out of Band" artist's proofs may be available from Daniel's shop: [**shop.revdancatt.com/collections/fallingwater**](https://shop.revdancatt.com/collections/fallingwater)

**MORE INFORMATION**

Daniel Catt, a pen plotter artist, fuses mathematics, technology, and design to generate captivating abstract art through code-driven algorithms and organic experimentation, challenging the boundaries of traditional artistic creation and contemporary print. You can find more information about FALLiNGWATER and other projects in the following places:

🔗 [**revdancatt.com**](https://revdancatt.com)  
🍿 [**YouTube**](https://youtube.com/revdancatt)  
📙 [**Newsletter**](https://newsletter.revdancatt.com)  
🐦 [**Twitter**](https://twitter.com/revdancatt)  
📸 [**Instagram**](https://instagram.com/revdancatt)  

Take the futurism of mid-1990s graphic design, merged with the fake-nostalgia vaporwave of a reimagining of Win95, channeled through the lens of modern generative art and you get FALLiNGWATER. Swapping Jolt Cola for Green Tea, Coral Draw and Photoshop 2.5 for code and a single poster design for an infinite number of variations, Daniel digs back into what made him love graphic design in the first place for his entry to the Flatlands group show.

FALLiNGWATER

MorphΞu5

A Moment in Line delves into the art of line, fusing traditional drawing techniques with modern digital tools to bring sketches to life. By utilising intersecting lines, shading, and texture, it replicates the look and feel of pencil, biro, and ballpoint, capturing the energy and imperfections of hand-drawn sketches and imbuing each piece with a raw and expressive quality.

The project explores the potential of digital tools to enhance and expand upon traditional techniques and pushes the boundaries of what can be achieved with line, creating pieces that pulse with energy and life. The use of familiar shapes like squares, rectangles, circles, and triangles adds to the artwork's organic feel and demonstrates the interplay of form and line. The colours, whether minimal or playful, serves to enhance the visual impact of each piece.

Minimal colour schemes emphasise the line work and create a sense of simplicity and elegance, while the use of playful colours add vibrancy and energy. Ultimately, both approaches work to elevate the hand-drawn feel and create a unique visual experience. In addition to colour and line, the project also utilises scale to create depth and dimension in each piece. By manipulating the size of elements, it creates a sense of spatial relationships and movement.

The result is a collection of pieces that celebrate the beauty, expressiveness and organic flow of hand-drawn lines.

A Moment in Line delves into the art of line, fusing traditional drawing techniques with modern digital tools to bring sketches to life. By utilising intersecting lines, shading, and texture, it replicates the look and feel of pencil, biro, and ballpoint, capturing the energy and imperfections of hand-drawn sketches and imbuing each piece with a raw and expressive quality.

A Moment in Line

3DManatee

Artwork by 3DManatee @3d_manatee. Made with p5js.

Generation can take longer on older or lower-performance machines.

Pressing [s] saves a png image. 
Add '&resolution=3' to the end of the live URL to render @3x (or enter 1-5 for other resolutions).



Elements pull harder the further they are apart. Decomposed and recomposed. Centered, inclined, declined and aligned. A beginning and an end. 

Separation Anxiety

Haiver

Twenty-six color palettes, a few hundred rotating lines, and a lot of subtle circles. That’s all this piece is. But what do you see in it? What does it make you feel? It started with waves, then lines windmilling over one another, later some tangles of webbing. The result? A lace-like homage to where I spent my fortieth birthday one year ago, almost to the week, exploring the island of Burano in the lagoon just north of Venice, Italy. Here we were wandering the shops of a multi-generational community of artisans dedicated to the craft of lace. And almost equally inspiring were the houses lining the small canals through town — bursting with breathtaking color that made you feel, know, that you are alive.

Later in the day we took the ferry to another nearby island to see the work of Vera Molnár, a true legend and inspiration in generative art, who at ninety-eight was exhibiting for the first time in the Venice Biennale. Being there at this important moment in her career came as a surprise to me, because although I’d enjoyed work like this in museums before, only eight months prior had I finally put the name generative to it. Once I understood what it was — once I could name it — a fork appeared in my path, and I knew there was no other way I could go. So like many recent algorithmic artists, I taught myself to code that winter mostly from YouTube videos by Daniel Shiffman, but it was one key video by Daniel Simu that I returned to again and again, and in the loop of those thirty short minutes he helped change my life.

Over the next fourteen months, I released a couple projects on fx(hash), collected compelling work, launched a curation publication called fxGems, and started getting inquiries to curate abroad. I was so busy, in fact, that I didn’t think I would have time to participate in Genuary 2023. But then January 2nd arrived, and the day’s prompt was "Made in 10 minutes.” I could do ten minutes, I thought. I’d already built a simple boilerplate template I could start with. I had a small idea in my head, about lines rotating from one side of the canvas to the other and leaving a trail in their wake. I had this.

I did not have this. At ten minutes, all I had in the middle of the canvas was a single unmoving line. I’d been so busy curating that I hadn’t coded much in the previous few months, and I had completely forgotten how rotate() and translate() worked. Thank goodness for the p5 reference page — and sure enough, little by little, line by line, the piece came together. At twenty-six minutes, the core essence of what would become *Lace Factory* was on the canvas, and I was captivated. It reminded me of walking along the canals of Burano, the lacemakers showing us around their shops, the old woman in the corner crafting an intricate piece by hand. The small lace-trimmed table runner we’d brought home with us to remember this magical place. It was all there on my screen, captured in this sketch seven months later, more or less to the day.

Oh, and the person who contributed that 10min Genuary prompt to the list? Daniel Simu.

I spent four more hours on my “quick” sketch that night. I found different ways to move the lines through the canvas, played with changes in angle and speed, dropped some light circles in for texture — but the key breakthrough, right at the end of the night as I was about to pack it in, came from adding a final layer of luminescent waves cresting across the canvas, and it glued it all together. The images that emerged then were far more compelling than my ability or original vision could execute or apprehend.

The final piece took many more months of work, including a complete refactor to introduce classes and objects and constructors so the resolution of the canvas could properly scale, thanks to some invaluable code snippets from Amy Goodchild and the GenArtClub. Thanks also goes out to Will Demaine for going above and beyond with the final Alba integration when I was short on time.

Please note that this work uses a couple p5.js blendModes. As a result, there is some slight tonal variation in the final pass of those luminescent lines between browsers. For the canonical view of the piece, one should rely on Google Chrome version 114.

* There are also a few handy keystrokes:
* Press [S] to Save
* Press [F] for Fullscreen

For a hi-res output, append ?width=W to the end of the URL, where W is the value in pixels for the width and height of the canvas. A 7200 pixel output should enable you to make a good 24” x 24” print at 300dpi, while entering 16200 pixels (nearing the top value most browsers and CPUs can currently handle) should empower you to go as large as 54” x 54” at 300dpi.

Spinning lines fan out in intricate patterns, layering contrapuntal colors in a filigree of fine threads. Inspired by Burano, a small island north of Venice renowned for its lacemakers and richly-painted houses, Lace Factory opens a dialogue with earlier generative works like j.tarbell’s Orbitals – Variation A (2004) to discover within their shared stochastic structures how tradition and modernity, algorithm and anthropology, can be woven together into a vibrant and holistic new tomorrow.

Lace Factory

Willyham

Turing Test was born out of two things; my love for simulations and the need to build a suitably complex project to put Alba through its paces. The project explores "Turing patterns", a concept proposed by Alan Turing in 1952 as a means to describe how beautiful patterns arise in nature (e.g. leopard spots). 

Turing Test makes extensive use of shaders which both compute the simulation and provide the visual rendering modes and effects. My first attempt at the project, built to run on the CPU was simple but had disastrously long rendering times. Learning to write GLSL for the project (under quite a lot of time pressure) was a strange mix of emotions, which only people who have written shaders before will understand 😅.

Keeping with the theme of the "Turing Test", my original plan was to use AI to co-create this project as much as possible. In fact, selecting Turing patterns as a subject was an idea originally prompted by GPT-4. However, as I progressed deeper into the project it was immediately clear that a lot of human input was needed. Not just on the artistic side, but also a lot of the programming work. It should be noted that GPT-4 was extremely helpful when creating some individual aspects of the shaders such as the distortion effects.

Editions of Turing Test will be given away free as a thank you to our early supporters and believers. We appreciate your excitement and trust in our platform, and hope to see you collect beautiful art from many other artists here in the future.

🙏 **Credits and thanks**

This project was put together in a relatively short amount of time (as most of the time was spent building the platform itself!). It would not have been possible without building on a lot of pre-existing work on reaction-diffusion algorithms from many others.

Specifically, the code took heavy inspiration (in technique and some helper functions from) **Jason Webb's** "[*Reaction Diffusion playground*](https://github.com/jasonwebb/reaction-diffusion-playground
)". As an engineer new to shaders, having this reference was invaluable, so thank you to Jason for open sourcing his work.

Secondly, the articles at [**Red Blob Games**](https://www.redblobgames.com/x/2202-turing-patterns/) were incredibly helpful in wrapping my head around the theories behind the algorithm, as well as providing inspiration for some of the art.

🌎 **Simulations**: ``Hedge Maze | Organic Maze | Petri Dish | Aztec | Atomic | U-Skate | Coral | Negatons | Alan | Turing | Bubble | Xeno``

🎨 **Palettes**: ``Black on White | White on Black | Hanabi | Sherbet | Neon Noise | I Love Hue Too | The Divide | Turtle Bay | Clay Court | Hot Lightning | Ethereal | Embers | Violet | Lava Lamp``

🌱 **Seed Modes**: ``Random | CentreSquare | CentreCircle | AlbaA | AlbaL | AlbaB | Spiral | Grid | Fill | Cross | Sunburst | Sierpinski | Hexagons``


**Disclaimer**

Editions of Turing Test are purely artistic and holds no value in the Alba ecosystem. There is no utility for holders. You should not mint an edition if you expect to sell the work for a profit.

As Alba’s genesis project, Turing Test is a playful exploration of reaction-diffusion equations and Turing patterns as a jumping off point for our first sprawling generative art collection. Created by Will Demaine, Alba’s co-founder and lead engineer.

Projects