🔥The 9th Round of Easy Loan, Earn $40 Reward is in progress❗️ ⏰ Promotion Period: January 15th - Feburary 15th, 2025 👉 Register now and check more details at gate.io/campaigns/358

This is Dissonance #2, owned by @ImpossibleNFT. This variation of the algorithm has large grids with only circles, and the rotation of the grids ended up blending the colors in a way that this edition looks like a photo of an LED display.

This is Dissonance #3. What's interesting here is that two of the grids align perfectly, while the third is at an almost 45 degree angle. All three grids are made of squares with variable sizes, creating a pattern with negative spaces that gives the impression of depth.

This is Dissonance #4, owned by aaanon. A light shifted grid rotation initially at the top left accumulates into a large shift at the bottom right. If you look at it long enough, you will start seeing the lines and column bending as an optical illusion.

This is Dissonance #5. This time, the grids are made of messy overlapped gray-scaled circles, and there is one large circle at the center filled with a single primary color that's giving an anchor to the entire piece.

This is Dissonance #8, owned by Zeneca.xyz 🔮. This one is sort of a naked version of the algorithm. It uses grayscales instead of the three primary colors like the other editions do, and by doing so, it reveals the grid structure of repeating patterns underneath.

This is Dissonance #9, owned by abstractment. I like the chaotic nature of this edition. The grids are made of many small objects, and the central pattern looks like it could have been generated with Perlin noise, but it's made only of angle rotations and size variations.

This is Dissonance #10. Reminiscent of screenprinting, this edition features overexposed layers resulting in darker areas. This makes for a strong contrast with the bright pink circle and the white background.

I have written an article about Dissonance, the collection I created for the generative advent calendar organized by Cyphr / Ross. It also includes a brief interview with him, discussing his philosophy on curating generative art. Read it here 👇 medium.com/@MrMallory/the…

Hey everyone! January and February have been crazy busy with IRL stuff on my side. I've made good progress on my next generative art project, Propaganda, and I will share some stuff with you later this week or next week.

I've been working on Propaganda in stealth mode over the past months. It taken me a ton of time as I'm creating a whole set of characters entirely vectorized so I can swap their color palettes programmatically from within an algorithm. Here is what it looks like to work on it.

A big step for Propaganda has been figuring out how to apply a paper texture that's scalable when an edition gets resized. Yes, it's skeuomorphism, and it's critical for turning the algorithm's outputs into believable retro posters. See what it looks like below.

Introducing the "cybernaut" who is another character I've been developing for Propaganda. It's all vectorized and will be embedded as an asset with the code for the collection.

Working on background and text arrangements for Propaganda. This is close to the final rendering with the poster creasing effect.

Getting closer and closer to the final rendering for Propaganda.

It just occurred to me that with generative art collections, a single piece isn't really the art. Instead, the art is the collection as a whole, which nobody can own entirely (in theory) and which can only be owned collectively.

Computer art by Hiroshi Kawano, created in 1964 on a OKITAC 5090A using the OKISIP programming langauge. The piece is called "Design 3-1. Data 4, 5, 6, 6, 6 [Design 1-4. Data 1, 2, 3, 3, 3]"