# eternity stirs
my finger stirred the pool. 
iridescent specks at this distance. 
molecules separated by infinities, 
attracted by a gentle gesture. 
matter built on reducible complexity. 
remarkable what emerges from the soup.

the specks of light flash for a moment, 
then flame out. 
the arc of their burning wick 
painting pictures. 
 heating arguments
bleeding in the darkness. 

helpless to start or stop anything, 
bodies in motion, 
tending to stay in motion 
until the fuel runs out.

# can there be beauty in pain?
Flora, Fauna, False gods & Floods continues a theme I began in Beauty in the Hurting. When turbulent acts of god subvert best-laid plans, is there beauty in the broken images of life we leave behind?

Left alone, these images would resolve to nearly symmetrical dreamlike ink blots of meaning:  a flower, a feathered creature, or a figure of worship. In fact, what is most beautiful in their image may lay outside the frame. 

The final resting frame in each composition does not paint the whole picture. You must go looking for it. Interact with each composition by following the controls below.

# **saving**
* **a key** - download transparent uncropped print
* **s key** - download print

# **controls**
* **f key** - toggle speed up / slow down at 5x speed
* **h key** - toggle speed up / slow down at 20x speed
* **r key** - reset the camera view
* **click/touch** - while rendering, toggles between full view and follow view, when finished, cycles through zoom levels
* **click/touch and drag** - change the cropping of the image
* **click/touch again after dragging** - restore the default image crop for the current zoom level

flora, fauna, false gods & floods

***Ingress*** is an immersive, interactive virtual space filled with color and lights. A visitor stands in the middle of the synthetic space with nothing to define their orientation or the interior scale. Sight direction might be an initial clue to the positioning, but as it turns out, it would be misleading. Floating, pulsating, and blending lights either close the surroundings or open it to infinity. Even though there are no restrictions in viewing direction, the visitor's position is bonded to the center. 

The feeling might be calming, or disturbing. One might find it a beautiful and peaceful surrounding for contemplation, while others will recognize reminiscences of dark video games. Some spaces might be perceived as energetic music clubs, while others will resemble temples' interiors.

Mobile rendering brings an even more powerful experience. When the device is moved, the visuals change accordingly. A small screen held in the viewer's hand turns into a discrete window allowing for some augmented voyeurism. The urge to see the hidden space makes the visitor move around, reach out and discover the ambiance. It's an opportunity of experiencing the second world, located in an unknown dimension.

Mobile devices are recommended for the most augmented and immersive experience. 
*Use a chromium-based browser for the best experience (e.g. Chrome, Opera). iOS devices need orientation data permission.*

On desktop devices, a fullscreen display is suggested.

***navigation:***
mouse: `LMB + drag, scroll`
keyboard: `arrows, +, -`
mobile: `interactive, pinch`
view presets: `[1]` – still camera, `[2]` – predefined camera movement
save image: `[s]`

[Sample Outputs] Ingress

_Act of Emotion_ investigates digitally-facilitated abstract expressionism: the act of painting itself as a means of expression, extended into mechanical reach.
A reflection upon the future of automation, machine consciousness, creativity, and humankind’s inevitable consequences. As we await the next leap, we cling desperately to our belief that emotive art is an exclusively human experience. 
Inspired by those that came before—pioneering expressionists and contemporaries alike—the system engages in new methods of painting, free from traditionally accepted physical boundaries and artistic expectations. Action painting for the Connected Age; the system is in perpetual concert, recited in real-time and on-demand. 

Questioned by Colin McCahon, and recontextualised here through a generative lens: 
_How to make a painting beat like, and with, a human heart._
The machine’s movements are precise by default, grounded in mathematics. Organic expression must be introduced by twisting and destabilising; a process of broadening bounds that probes the subconscious of both artist and audience. 

Confrontingly minimal abstract compositions highlight the tension between rigid mechanical precision and fluid human intuition. Striping and stippling, swooping and darting; noisy automatism contrasted with coded instinct. 
Gestural abstraction applied with simulation of brush and emulation of media. Presence discovered through colour, texture, light and space; the works emerge as physically-manifested in digital form. 

Are these painted works analogous to physical counterparts? 
Can a machine successfully emotionally connect through this practice?
Let us consider both the intent and the act that realise a painted artwork.

_“Painting is a state of being. Painting is self-discovery.”_ — Jackson Pollock

# Controls:
- **[spacebar]** Pause/resume exhibit
- **[escape]** Reset exhibit
- **[S]** Export a still image at the current render size
- **_Double Click/Tap_** to provide a human touch

# Automatic:
- Render resolution upscales with viewport dimensions. Future exhibits will enhance alongside hardware advance. 
- Playback cadence is hardware-dependent and downscales when limited by hardware. 
- "**Perpetual**" tokens continue their performance indefinitely

# Printing:

Generatively signed giclée print renditions available up to 36x48" / A0.

[Sample Outputs] Act of Emotion

click and drag (dont forget realease) to find new combinations. Go to the center to close the interference. Go to the edges to open it.
Double click change the mode (Auto - Tactil )

INTERFERENCES is about reordering the elements, altering the parts that make up the shapes and identifying the possibilities of color ordering.
Affected by the variable essence of permutations between the elements, each Interference is generated from a hash number that originates a particular visual situation. Here, the variability is found in the subtle, seeking to challenge the sensitive vision of the viewer, generating displacement effects or illusory colors, or simply proposing a minimal visual design.

Interferences is an excuse to return to color theories from the Bauhaus and Latin American cinetics artist, that made up the artistic avant-garde of the 1950s. From there, the project seeks to continue developing on the relative characteristics of color: those situations in which our experience of the color changes according to the context. How to use color? It's not what colors, but how colors are used that define artists.

The instability appears as a game in the work on the form, breaking out the circle as a standard of harmony and perfection. How far can you continue to recognize a shape? It is this instability that suggests movement, like a photograph of a moment in the sequence, waiting to be completed.

What characteristics does the work of art of web3.0 must to have? That was one of the questions that motivated this work. There could be several answers, but I think one of them would definitely have to do with the possibility of change: is not a jpg, is not a .mov: it is a piece of software that you can touch and modify, find new possible outputs and play with variability.


Interferences is a project of #purevisibility: there is no message. There is experience.  

Don’t look for rarities. Look for singularity.

upcoming curated release

[Sample Outputs] Act of Emotion
Kelly Milligan

upcoming project releases