Exploring the visual effects of colors in sequence // 50% to Generative Art Foundation

Implosion (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Volume (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Stereo (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Inner (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

various corners 🌹 various colors 🌹 various directions

Fiber (2024) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Pages (2023) by Rafaël Rozendaal 🌹 The work is responsive, it adjusts to any screen size 🌹 Code by Reinier Feijen 🌹 The code of this work is stored on the Ethereum blockchain 🌹 License: CC BY-NC-ND 4.0

Web is a monument to the hyperlink, a poem dedicated to machine learning and a computer's dérive within itself.

The project is a fully on-chain generative cross-linked network of webpages released in partnership with Fingerprints DAO and is a coproduction with Superposition. Blockchain development by Jake Allen.

The mid grey chiseled computer interfaces of 1997 have always reminded me of sculptures created in bas-relief, a technique going back to the stone carved petroglyphs that is as ancient as humankind's first steps in making art. The combination of illusion and tactility found in these interfaces shows our longing to have the computer experience to be part of the material world. Therefore it comes as no surprise that the programming language of Ethereum is named 'Solidity'. The blockchain is software, yet it behaves and feels like hardware.

🪨

Window pays tribute to interface culture, and as such, the work is responsive and not scaling. When the work is viewed on a smaller scale, details will disappear, yet the composition stays recognisable. It is like stepping back to see a work from a distance. The work can also increasingly reveal more details when made larger. As a result Window will keep unfolding in the future as resolutions will grow.

The work follows standard window interactions. Double clicking or tapping the title bar will toggle between full browser and windowed view. On a laptop or desktop in windowed view, you can drag and resize your Window as you please. When made tiny, it makes for a nice profile pic. Clicking or tapping the background will cycle through three different background colours.

Window comes in seven latent colours and both in Windows Classic or Mac Classic style.
With the feature ‘Latent colour’ I look at the invisible steps within the procedure of a generative artwork. I love the idea that the script has chosen to feature a colour, but in a later step could fail to make it to the composition. By showing the colour as a feature, I try to extend the visual work with deeper invisible layers of the generative process.
Check the features to see what colour is seeded.

In honour of the blockchain and the web, the work is written in vanilla JavaScript, using no dependancies, and generates standard HTML DOM aiming for a closer feel of the user interface.

The button has been in a continuous state of shapeshifting over the expanding history of collective interface design. Endless webpages filled with designs, haptics, styles, expressions, subcultures, interactions, effects, all layered over this simple and elemental entity leaving in its wake a fundamental material presence within interface culture.

The internet is an unimaginably vast ecology of data and processes. Deeply stored data is immutable like buried granite, where other is constantly in flux like a rushing mountain stream. The whole system is in continuous evolution through endless processes reshaping the data interacting with each other and with ourselves. At the opaque surface of this churning ocean of bits is the exchange between both the realm of the computer and that of ourselves. The interface. And in the centre of this human machine culture lives the button. A binary entity reaching out from the very core of the machine's logic to touch, at the surface, our reaching finger, after which it dives back down in order to toggle some state from a zero to a one.

Compression has been the driving force behind the image-based internet since the early 90s. No compression, no Netscape, no social media, no NFTs. The JPEG compression has specifically enabled photography-based imagery on the net. It has always served that purpose and over time become the de facto default for showing high quality imagery online. But compression always leaves a trace, which has become the lens through which the network sees the world of uploaded images.

"A painting is not a picture of an experience, but is the experience." ― Mark Rothko

JPEG tries to create an image programatically fully expressing that signature compression. An image that is like empty made from barely nothing, yet fully present in its blazing appearance. A work deeply material, expressing itself through the language of code and codec only. This is not a JPEG depicting an image. The JPEG is the image itself.

Delving into the depths and peculiarities of the digital, tethered to art history, JPEG found its way to the surface. Generated color fields are utilised to trigger the compressing algorithm, resulting in a world of raw visual entities. Where the abstract expressionists cut out the depiction in painting, aiming to let the artist convey pure emotion, JPEG cuts out the artist's emotion and lets it emerge from within the algorithm. Carefully you could categorize the work as compressionism. An art form where the machine speaks in its own raw language, but nevertheless makes a direct touch to our human heart.

JPEG is a collection of generative images in the JPEG file format. The work tries to break with the idea of the fixed file format, therefor creating the JPEG entirely from code using no image material whatsoever. The individual JPEGs are generated responsively at the moment of viewing based on the token hash as a random seed. You can literally drag the JPEG out from the browser window.

JPEG pays tribute to interface culture, and as such the work is responsive and not scaling. When the work is resized, the work is again rendered and compressed. When viewed smaller, details will disappear, yet the composition stays recognisable. It’s like stepping back to see a work from further away. The choice of color wanders from monochromatic tones to the brutality of complete randomness and everything in between.

In honour of the blockchain and the web, the work is written in vanilla JavaScript, using no dependancies, and generates a standard JPEG. This way the file is downloadable, aiming for a materiality that comes as close as possible to the standard browser.

alignDRAW - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

Fellowship is pleased to present a special release of both print editions and fully on-chain NFTs of this historical artwork, containing all the original images created in 2015.

"alignDRAW images can be compared to the first fixed photographs taken by Niepce in 1826-1827."
Dr Lev Manovich

"These images represent the birth of text prompt AI generated imagery."
Darius Himes, Christie's

What 2015 provenance is there?

The 'Paper Prompts' can be found in the published academic paper, 'Generating Images from Captions with Attention', submitted in November 2015. You can view the paper here:

https://arxiv.org/abs/1511.02793

The lead author of the paper was Elman Mansimov and the co-authors were Emilio Parisotto, Jimmy Lei Ba, Ruslan Salakhutdinov.

The 'Process Prompts' can be found on the University of Toronto website. Using archive.org you can see also see these images displayed in November 2015:

https://bit.ly/aligndraw-toronto-edu

In Selection, the focus of the work is focus itself.

The project is a fully on-chain generated collection of selection areas, the familiar marching ants conceived by Bill Atkinson which have become such a ubiquitous part of interface culture.

Selection is released in partnership with Folia.

The mid-grey chiseled computer interfaces of the late nineties tend to evoke early sculptures created in bas-relief, a technique arcing all the way back to stone carved petroglyphs that is as ancient as humankind's first steps in making art.

By carving into a flat surface, the play of shadow and light holds strangely between drawing and sculpture. – Flat and three dimensional at the same time, the bas-relief is an art discipline on its own.

Skipping past the more elaborate reliefs found in classical traditions around the world, this discipline takes a wondrous turn with chiaroscuro grisailles. Painted using only grayscale tones, these faux three-dimensional surface sculptures are created by only using highlights and shadows in paint.

It is this bridge that leads to the early computer interface, like an expanded grisaille, hyper-charged with interactivity and live procedurality. A double flattening of perception, brimming with its own reality. Both practices wish to be in two places at the same time, making the bas-relief appear destined for the computer interface: existing in a space of illusion, but also right here at our fingertips.

Similar to the most ancient uses of bas-relief, communicating early language in stone walls and tablets, these Bas-relief works are also scribed with coded shapes. Their boxes represent the language of data behind their making – programmatic code that allows humans and machines to communicate. The concentric shapes, columnar and tabular layouts, and interactive boolean states are presented as artifacts of digital language in a form like ancient tablets. These works immortalize this era for cultures looking back thousands of years from now, curious about the computer age and basic units of communication during this time.

Bas-relief, by Jan Robert Leegte, is a dedication to this long history leading to the computer interface, and an offering for millennia to come.

—

Bas-relief, 2024
An engraving, a drawing and an interface.

These digital works are available directly from the Bas-relief algorithm, and are specifically chosen by initial collectors using the seed generator.

The <iframe> HTML element is an element that allows a web document to embed the contents of another web document within itself. iframes are at the core of fxhash. They are portals opening our view to rich content.

This work is a portal to itself. It loads itself within itself 20 times. It's not pretty, it reminds us of WordArt, it's a little bit hacky, it might break when our tools to display HTML will change. But it's a proof that the limits of our tools are only limits until creativity breaks them.

This work is not purely deterministic, because it simply cannot be. Slight timing differences due to loading times being different each time an <iframe> is loaded will make each visualization slightly unique.

If you view this token on mobile, the nesting limit was reduced to 4 to prevent performance issues.

This work is highly experimental. It leverages a "hack" to allow iframes to be nested.
Firefox max <iframe> nesting depth as of 28/12/2021 is capped at 9.
Works with chrome desktop 96.0.4664.110

Exploring the interaction of four parent colors.

Endless Nameless is an exploration of composition. We start with a square. The square is divided into sections. The sections are filled with color pairs. Sometimes all colors are used. Sometimes fewer colors are used.

monogrid is a collection of 256 real-time animations created by Kim Asendorf. 2021/10

https://monogrid.xyz

Mountains are grand natural statements of sculptural expression. They are birthplaces of sublime monumentality and romanticism. Their crumbs are the raw materials that provided us with a long tradition of sculpture.

In another realm there is the ambiguous materiality of the digital, the human-made bits and bytes, in constant flow through systems, from which a new order of materials emerge at the surface of the interface. Among them is the user interface phenomenon of the drop shadow. A material bereft of all our notions of materiality, it being nothing but the absence of light cast upon a surface due to an obstructing object. In the work the shadow has been severed from a non existent casting object making it less then nothing. But also the drop shadow being a digital simulacrum adds another step deeper into ethereality, making it almost a shadow of shadows. This places it in direct opposition to the most earthly rooted of them all, the mountain.

Mountains and Drop Shadows is a continuation of a line of work going back to 2013, with the net art piece https://www.mountainsanddropshadows.com in which a live script would continuously fetch images tagged ‘mountains’ from online databases. Because of this, the landscapes would become anonymised and delocalised, merely becoming an image, often ending as a humble desktop image.

For this most recent iteration of the work, querying databases felt like a thing of the past, as all those images have been added to the datasets of various image generating AI services. Mountains and Drop Shadows, 2023 uses AI generated mountain images, a mashup of all images of existing mountains, fully erasing the subjectivity of the photographer and a-localising the image.

The work is a sculptural desktop standoff between a mountain dreamt up by the internet and a drop shadow. Embodiment vertigo on the summits of the interface.

Jan Robert Leegte

The generative long form NFT collections introduced a highly successful format in showing the range of coded art as a series of instances. Yet, in its novelty also housed the centuries old model of the edition, a (limited) series of isolated outputs.

The Internet exists as a network of content which is built to be seen. And as Web2.0 emerged, each observer within this network also became content. In Walled Garden all collectors share the experience of the same central procedural artwork. Perspective creates the unique output rather than variation. And as perspective forces attendance, the observers are all present within the work, and they too become a part of the installation.

The architecture of the garden recalls herman de vries' Sanctuary, in which the GUI becomes the wall to an online peep show. This aspect also brings in Marcel Duchamp's Étant donnés, peeping at an online wild garden in all its beauty, only to be come aware of all the others looking back.

Walled Garden is a place we can look at and be looked at, but not touch. A sanctuary we own, but cannot enter.

Homage is a collection of 110 on-chain animations 🌹 project by Rafaël Rozendaal 2022 🌹 svg code by Reinier Feijen 🌹 smart contract by Alberto Granzotto 🌹 based on the work of Josef Albers 🌹 License: CC BY-NC-ND 4.0

The one thing we cannot buy on Black Friday is Black Friday itself...

But what if we could?

"Black Friday Sale" allows anyone to own Black Friday, or at least its image. It can be yours forever, secured on the blockchain as surely as if you had right-click-saved it.

K-353 is perhaps even less focused on engineering than almost all the tokens preceding its narrowest part.
It is less realistic than several tokens that inspired it.
Moreover it is even less focused on engineering than almost all the tokens that inspired it.
One might argue it appears to be even more annoying than all other tokens working through the same themes as its narrowest part.
In summation it is more serious than very few tokens working through the same themes as its narrowest part.

A 10K drop that you can own as an NFT. Locked until ETH hits 10KUSD.

Maya Man's unique contribution to Social Codes offers a new way to think about software and performance. Her deep explorations in art, dance, and code come together in "can I go where you go?" As a video clip of Maya dancing plays, her code analyzes the video frames one by one to generate a silhouette. This contour becomes an ever-changing shape the viewer can take charge of by drawing with it, or they can simply watch as the software performs itself.

FAKE IT TILL YOU MAKE IT borrows from the bubbly language and pastel aesthetics of text driven instagram graphics to scrutinize the promotion of wellness, self-care, and confidence on social media.

The piece concentrates on the rhetoric employed in these posts. Persuasive, upbeat, and relentlessly inspirational, there’s a sense of authority embedded in each one. By remixing words and phrases sourced from these types of existing instagram posts, the program generates combinations that mimic their cheerful tone, but range from feeling vaguely familiar to totally absurd.

Text is wrapped in the sugar cookie aesthetic world of “girl power positive vibes boss babe” kind of media, imitating the graphics designed to catch your eye as you’re scrolling through your feed. Visual variables include the output’s background style, color palette, and layout, as well as other decorative elements such as stars ✹, hearts ♡, flowers ✿, and sparkles ✧ :D

Online, these media objects survive on likes, comments, and shares. What do I believe? becomes What do I want to appear to believe? Fake it till you make it! Maybe your dream life lives here: In a digital, fantasy world where the algorithm plays god and loving yourself feels like looking into the light of your screen.

ଘ(੭ˊᵕˋ)੭* ੈ✩‧₊♡ ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ: *✧･ﾟ:*ﾟ✧･ﾟ

Envy

Maya Man is an artist focused on contemporary identity culture on the internet. Her work examines dominant narratives around femininity, authenticity, and the performance of self online. In Hard Copy she examines a lawsuit between influencers Sydney Nicole Gifford and Alyssa Sheil, colloquially known as the “Sad Beige Lawsuit,” in which Gifford accused Sheil of replicating her content—from decor, to clothes, to nearly every aspect of her online persona. Each artwork is a page from an official legal document, taken directly from court filings and electronically signed by the artist. Presented as side-by-side comparisons and complete with screenshots from various social media platforms, websites, and hyperlinks, the pages fit naturally within Man’s work, even though the artifacts themselves are, in effect, stolen.

Prints of Hard Copy are available the first month after release. Please contact hello@mayaontheinter.net to receive your print.

𝓤Ǥ𝕃¥ ᗷ✩𝓲tς𝐡є𝐒

☆ released on the occasion of the Tribute to Herbert W. Franke

☆ 50% of the primary sales will be donated to the Foundation Herbert W. Franke

☆ I hope you like it, thank you!

I’m Feeling Lucky focuses on the contemporary culture of astrology and how it prompts us to make sense of ourselves through its structures. Barthes calls astrology a “confirmation of the real.” There is comfort in the promise of realness over fantasy. Even if it's influenced by randomness, confirmation bias gives way to some kind of feeling of faith.

The title of the collection comes from Google’s “I’m Feeling Lucky” button which initially embodied the energy of software and chance, but has evolved over the years in a way that parallels the fast-paced commercialization of the internet.

I don’t feel lucky anymore, but I want to Feel Lucky again…

Mostly black on gray.

Keys
s : snapshot 2k PNG
S : snapshot 8k PNG

Memories of relationships and love reflected through color. Bright Moments NY, November 2021. 10% of sales proceeds will be directed to the Art for Good fund to provide support for working artists.

Traveling from dark to light, through the colors in between. Bright Moments CDMX, November 2022.

Points of change and new opportunities.

Three years of learning. Bright Moments Paris, February 2024.

"The rhythm of a design is characterized by the placement of its elements and the direction and speed of their visual movement." -Foundations of Design // 50% of artist proceeds from minting will be donated to No Kid Hungry.

Generative urban abstraction inspired by my early career in Chicago. 50% of minting proceeds will be directed to Habitat for Humanity.

Ornament is swapping the actors. The frame becoming the content. Ornament is an on-chain deterministically generated SVG.

Kim Asendorf wearing Google Chrome Glasses

JPEG, 640x480px, 2013

PXL DEX is a series of fully on-chain real time animations, where each pixel is a token in itself. PXL DEX is the first artwork within the PXL ecosystem, an ongoing work series to experiment with pixels as utility tokens. The collection consists of 256 NFTs that are deployed via a custom Smart Contract on the Ethereum Mainnet. Kim Asendorf, 2025.

Cargo is a series of abstract paintings created with animated pixels that are constantly moving without ever repeating. It is painting new patterns on the fly in between macro and micro compositions with a duality of different rhythms and continuous synchronicity. The focus is alternately drawn to detail, then distracted by movement elsewhere and caught up in the overall picture. This rhythm turns the visual complexity into an active experience.

ASDF: “My work should offer individual ways of interpretation, or even allow one to find some self in it. It wants to inspire some thoughts about dynamics and systemics and also just mesmerize the audience, capture them in a little fantasy, or just for a brief moment in a state of satisfaction.”

Cargo is the latest work in Kim Asendorf’s ongoing work series of pixel pattern animations. Starting with monogrid in 2021, and Sabotage in 2022, both highly conceptual series, therefore visually very raw and unimaginable. Asendorf discovered various interesting details in these works, which eventually became fundamental in his artistic expression.

Cargo is a real time WebGL software written in JavaScript and GLSL. At its core is a flip-flop render buffer, also known as feedback buffer. That means the animation is alternately rendered in two different frame buffers. This technique allows the usage of the previous frame of the animation as an asset in the current rendering, which allows for a series of reactive animation strategies.

An initial image with variable structures and patterns is rendered and subsequently loaded into the frame buffer. A fragment shader is used to apply a set of animation algorithms that make the pixel move and a set of reset algorithms that constantly try to recreate the initial image. The final animation happens in selected containers and is always a combination of two algorithms, one from each set. By regularly animating and partially resetting the pixels, a wide range of movement patterns appear.

Cargo is a responsive and pixel exact artwork and it will fill the screen on any display size, thus changing the total amount of used pixels accordingly. This results in the fact that the detail level in the artwork is changing depending on the dimensions. The overall structure is consistently stretching the x and y axis independently. Single containers scale along the dimensions and offer more pixels to render the patterns at a larger representation compared to a smaller representation. This behavior leads to a brilliance, perfect pixels, a crisp rendering with nothing like compression artifacts.

This software includes the simplex noise JavaScript implementation by Jonas Wagner and the cellular noise GLSL code by Stefan Gustavson.

SABOTAGE #1006 / This artwork is not just about the art, but also about an intimate personal experience. The collector is invited to the creation process, to be in dialog with the artist, while watching him creating the artwork in a video chat. The creation of the art will become a performance and eventually the collector will become a part of the artwork. / https://sabotage.kim

The formal structure of a book is beautiful by itself, but its aesthetic is the tacit atmosphere within which events take place in a story.

The WebGL real-time animation sets up an initial grid based on the fxhash. The grid cells get subdivided into another grid and the resulting cells become filled with pixels in color (33%) or black and white (66%).
The colored pixels come in 3 different coloring styles.

• Big Palette (~49%)
• Small Palette (~49%)
• Monochrome [b/w] (~2%)
  4 noise algorithms modify the pixels of selected grid cells while at the same time 4 reset algorithms reassemble the initial image. The selected cells switch over time.

I’ve learned over the years to look at computers in a very specific way. I believe that beyond being our companion tool for an easier everyday life, through art they can escape the utilitarian aspect that was attributed to them primarily. I type my code. I look at the screen. Something manifests. It’s light.

Not just some magical abstract movement of energy happening in the realms of a silicon world. There’s something in front of my eyes that leaves the surface of a rectangular device to inhabit the room in which I’m present.

The idea behind this collection is to manifest those experiences using code to shift and transport pixels in realtime. To use the computer as the light generator that it is. It’s something that I’ve been working now for several months and it feels like a genuine expression (or at least the attempt) of what I describe above.

“Squares” utilizes the shape of a square as a unit of construction, combining and overlapping them at various scales to create interplays of color, structure, and atmosphere. The overall effect is something along the lines of Bauhaus meets Blade Runner, as complex rectilinear forms float untethered through fields of light and texture.

A collaboration between the ATP Tour, Art Blocks Engine, and Martin Grasser, LOVE is a collection of unique digital artworks that uses in-match sports data to celebrate impactful moments from the 2022 Nitto ATP Finals in Turin, Italy.

Simple and easily identifiable, each squiggle embodies the soul of the Art Blocks platform. Consider each my personal signature as an artist, developer, and tinkerer. Public minting of the Chromie Squiggle is permanently paused. They are now reserved for manual distribution to collectors and community members over a longer period of time. Please visit OpenSea to explore Squiggles available on the secondary market.

Terraforms by Mathcastles. Onchain land art from a dynamically generated, onchain 3D world.

Level 6 at {12, 20}

A moment in time on the big screen. Bright Moments Tokyo, May 2023.

923 Empty Rooms is an artwork about simulation and the history of visual representation and abstraction. Each room is a space to explore.

Each of the 923 unique rooms contains a simulated still life, an arrangement of forms. There are six primary forms, each linked to a city: Sun (Tokyo), Shard (Berlin), Cargo (London), Hive (New York), Pyramid (CDMX), and Moon (Los Angeles). A series of rooms will be minted over the course of a simultaneous, six-day exhibition at galleries in each city.

There are 923 rooms in total to iterate through every possible combination of the six shapes:

1 form = 6 unique combinations
2 forms = 21 unique combinations
3 forms = 56 unique combinations
4 forms = 126 unique combinations
5 forms = 252 unique combinations
6 forms = 462 unique combinations

923 Empty Rooms is an evolution of An Empty Room, commissioned by the Los Angeles County Museum of Art (LACMA) for the Coded: Art Enters the Computer Age, 1952–1982 exhibition. An Empty Room was installed at LACMA from 9 April to 2 July 2023.

GIF file
2022

Standard Deck 001, 011.

Standard Deck 019, 060.

Standard Deck 065, 008.

Standard Deck 007, 073.

Standard Deck 026, 076.

Barre Plaque

Chan Deck 76, 77.

Animated Gif, 700 x 700, 70 frames, 10 fps, 2019, @lm_netwebs

Lorna Mills' artistic approach revolves around repurposing visual content she discovers on the internet. Her work serves as a commentary on the overwhelming abundance of images and videos readily available online. These creations possess a peculiar and often whimsical quality, highlighting the inherent absurdity within the digital imagery landscape.

What distinguishes Mills' art is its deliberate divergence from sexual themes. Although her pieces may bear the hallmarks of the traditional male perspective, they undergo a transformation through her unique female viewpoint. This inversion of the conventional male gaze narrative introduces a compelling layer of complexity, prompting viewers to reevaluate their assumptions about imagery, gender, and societal norms.

Animated Gif, 700x700, 20 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 15 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 15 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 34 wishful clicky click frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 85 oceanic frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 80 frames, 10fps, 2021, @lm_netwebs

Animated Gif, 700x700, 70 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 10 frames, 10fps, 2019, @lm_netwebs

Animated Gif, 700x700, 10 frames, 10fps, @lm_netwebs, final mint of 2022

Animated Gif, 1080x1080, 30 frames, 10fps, @lm_netwebs
'My Own Business' is Lorna Mills’ debut release on Solana with Exchange Art, and presented by Futura Drops — February, 2024.

Animated Gif, 700x700, 53 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 20 frames, 10fps, 2021, @lm_netwebs

Animated Gif, 700x700, 16 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 31 frames, 10fps, @lm_netwebs, first mint of 2023

Animated Gif, 700x700, 20 frames, 10fps, 2020, @lm_netwebs

Animated Gif, 700x700, 20 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 55 frames, 10fps, @lm_netwebs

Animated Gif collage, 800 x 600, 15 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 13 frames, 10fps, 2020, @lm_netwebs

Animated Gif, 700x700, 25 frames, 10fps, 2021, @lm_netwebs,

Animated Gif, 700x700, 21 frames, 10fps, @lm_netwebs

Animated Gif collage, 800 x 600, 21 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 51 filthy little frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 8 frames, 10fps, 2020, @lm_netwebs

Animated Gif, 700x700, 25 frames, 10fps, 2020, @lm_netwebs

Animated Gif Collage, 935 x 720 px, 70 Frames , 10fps

Animated Gif, 700x700, 15 frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 38 frames, 10fps, 2019, @lm_netwebs,

Animated Gif , 1050 x 720, 15 frames, 10fps, @lm_netwebs

Wrath

When it comes to her GIF artworks, Lorna Mills draws material from many different sources. It’s not uncommon to see pornography, animal videos, and all other manner of internet eye candy cut out and transposed in her work against a bright colored background. In Diatriber, source material comes from weapons demonstrations on ballistic gel dummies posted to YouTube. In these videos, a weapon—be it a sword, gun, axe, or otherwise—is used, typically by a man, with full force against a dummy. The dummies are made to mimic human flesh in order to accurately test the weapon, and for the sake of effect, they often spurt fake blood. When this concoction comes into contact with the right weapon at the right speed, the result is a flurry of particles of blood, gel, and fake bone, meticulously identified and sculpted frame by frame in Mills’ hand-crafted style. Mills has described Diatriber as a “giant temper tantrum,” and in viewing the carnage, the viewer can’t help but take part.

Wrath

When it comes to her GIF artworks, Lorna Mills draws material from many different sources. It’s not uncommon to see pornography, animal videos, and all other manner of internet eye candy cut out and transposed in her work against a bright colored background. In Diatriber, source material comes from weapons demonstrations on ballistic gel dummies posted to YouTube. In these videos, a weapon—be it a sword, gun, axe, or otherwise—is used, typically by a man, with full force against a dummy. The dummies are made to mimic human flesh in order to accurately test the weapon, and for the sake of effect, they often spurt fake blood. When this concoction comes into contact with the right weapon at the right speed, the result is a flurry of particles of blood, gel, and fake bone, meticulously identified and sculpted frame by frame in Mills’ hand-crafted style. Mills has described Diatriber as a “giant temper tantrum,” and in viewing the carnage, the viewer can’t help but take part.

Wrath

When it comes to her GIF artworks, Lorna Mills draws material from many different sources. It’s not uncommon to see pornography, animal videos, and all other manner of internet eye candy cut out and transposed in her work against a bright colored background. In Diatriber, source material comes from weapons demonstrations on ballistic gel dummies posted to YouTube. In these videos, a weapon—be it a sword, gun, axe, or otherwise—is used, typically by a man, with full force against a dummy. The dummies are made to mimic human flesh in order to accurately test the weapon, and for the sake of effect, they often spurt fake blood. When this concoction comes into contact with the right weapon at the right speed, the result is a flurry of particles of blood, gel, and fake bone, meticulously identified and sculpted frame by frame in Mills’ hand-crafted style. Mills has described Diatriber as a “giant temper tantrum,” and in viewing the carnage, the viewer can’t help but take part.

Animated Gif, 700 x 700, 45 frames, 10 fps, 2021, @lm_netwebs

Animated Gif, 700x700, 30 thrilling frames, 10fps, @lm_netwebs

Animated Gif, 700x700, 25 frames, 10fps, @lm_netwebs

Bitcoin Ordinal inscription #72029469.

Tara Donovan’s first-ever NFT project, titled QWERTY, comprises 500 unique, generative works that meditate on the ways that type can function as a building block for creating pattern. Donovan, whose practice spans sculpture, installation, drawing, and printmaking, often explores the talismanic qualities of everyday materials and objects. The artist’s new NFT series is deeply engaged with her screen drawings, in which she moves, pinches, and cuts the wires of woven aluminum insect screen to extract patterns from existing grids, using a mathematical methodology to draw out the phenomenological potential of the material.

Each NFT in Donovan’s QWERTY series depicts rhythmic, mesmeric arrangements of a single, repeating letter or symbol represented on computer keyboards. The 26 letters and 30 symbols that make up the layered, gridded compositions of the QWERTY NFTs are rendered in varying degrees of legibility, striking a balance between recognizability and obscurity. These screen-based images take on the qualities of woven textiles, and they are the result of the artist’s meticulous pattern development, organization, and refinement, which she executed through algorithmic processes.

The first 56 individuals to mint QWERTY NFTs will each receive an archival pigment print of their NFT from the artist and Pace Verso. These works will be signed by Donovan. Complete terms and conditions will be available on Pace’s website before the project’s release on October 10.

Donovan’s QWERTY NFT project can be understood as an extension of the eponymous book she published in 2018, which features patterns the artist forged using characters from a 1930s typewriter. Both the digital and physical iterations of QWERTY reflect Donovan’s interest in surface depth and perspectival mutability. Her QWERTY NFTs shapeshift and transform depending on viewers’ position relative to their screens, bringing ghostly shapes and figurative elements into relief in the compositions’ interstitial spaces. The wide range of patterns in the QWERTY NFTs includes subtle, minimalist grids; architectural forms; psychedelic motifs; and optical illusions.

Loie Hollowell’s first-ever NFT project, titled Contractions, comprises 280 unique, generative works that center on the artist’s embodied experiences with childbirth. Based on Hollowell’s Split Orb sculptural paintings, which she began creating following the birth of her second child, the Contractions NFTs feature two bifurcated orbs situated one on top of the other, with the top orb representing the artist’s brain and the lower orb signifying her pregnant belly and cervix. This new series brings Hollowell’s explorations of bodily landscapes—with a particular focus on sex, pregnancy, childbirth, and motherhood—to the digital realm. Contractions will be presented on Pace Gallery’s booth at West Bund Art & Design in Shanghai from November 10 to 13. As an extension of the project, Hollowell will create several new paintings of Contractions NFTs.

Hollowell, who has developed a distinctive iconography of geometric and organic forms as part of her painting and drawing practices, was the subject of a major solo exhibition at the Long Museum West Bund in Shanghai in 2021, and her solo show Loie Hollowell: Tick Tock Belly Clock continues through May 8, 2023 at the Manetti Shrem Museum of Art at the University of California, Davis. Her work can be found in the collections of the Los Angeles County Museum of Art; the Crystal Bridges Museum of American Art, Bentonville, Arkansas; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; the Long Museum, Shanghai; the Centre Pompidou, Paris; the Stedelijk Museum, Amsterdam; and other international institutions.

There will be 11 scenes in the Contractions NFT series: closed orbs signifying the final stage of pregnancy, just before childbirth, and orbs featuring one of ten set degrees of openings at their centers, representing each of the ten centimeters of cervix dilation required to begin the second “pushing” stage of labor. With variations in their hues, saturations, and textures, the orbs reflect, on a conceptual level, the artist’s shifting state of mind and body during childbirth, with each of the colors describing her ranging emotional states. 

The total NFTs in the Contractions series reflects the average number of days in a full-term pregnancy. The colors of these NFTs are drawn from a wide spectrum, from grayscale—which Hollowell has never previously incorporated in her work—to a vivid neon palette. The expansive possibilities of color in the NFTs situate Hollowell’s abstractions in a new light, influencing her approach to painting and drawing.

Individually, the mints of this token are very simple. Each mint generates half of two cube forms, and each half is assigned random hues (in multiples of 10, from 0 to 360). Collectively as a project, this token challenges the approach of looking for "rarities" in a new way. How the cubes are rendered leaves the possibility for multiple mints to potentially join up on the sides with colors that perfect match each other. Will you find your lost twin?

Made in p5js
Created November 2021
Artist: @Yazid

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.”

Producer: Werner Poetzelberger
Programmer: Helmut Bressler

196 nations and regions realised as gasoline spills on the world ocean.

Centering on a generative thin film refraction algorithm each country and region in Petro National reflects its per capita annual consumption of petroleum, with low-consumption countries and regions manifesting a very thin spill leaning towards the blue green spectrum to high-consumption countries and regions being thick, lustrous and highly iridescent forms. Society consumes 100 million barrels of oil every day with radically differing patterns between global north and south.

Each broad consumption category in the works encompasses different atmospheric, wave and sea colour traits which are further affected by the minting seed address.

Petro National is a first webgl piece both online and onchain which extends my sustained work over two decades in game engines. These respond to historic intersections of energy and power. See Western Flag (Spindletop, Texas) 2017 as an example or visit johngerrard.net

Each of the 196 generated worlds runs on local time as dictated by the time zone of its capital city. Night, day and seasonality will be experienced across the year in the work with long days in summer and short in winter. Countries and regions are openly allocated to collectors upon mint.

These are spatial worlds - click and drag on the scene to look around. Press R on a keyboard to slowly rotate the camera, O / P to zoom. G for full screen in generator mode.

For more information see : https://www.pacegallery.com/journal/john-gerrard-petro-national/

Production credits. Producer : Werner Poetzelberger, Programmer : Helmut Bressler.

Bone Work (Gulf of Mexico) 2022 centres on sixteen fragments of dead coral found by the artist on the shores of the Yucatán Peninsula on the Gulf Of Mexico. Collected and 3D scanned the titular ‘bones’ in the work consist of corals which have perished from exposure to ocean heating from climate change, agricultural nitrogen runoff from the American midwest or local pollution, or a combination of all three.

Floating above a virtual representation of the Gulf the bones are re-positioned in each edition using fxhash to generate different outputs. The public can rearrange the bones by clicking and dragging upon them on a desktop or hand held device. Dragging in the background allows one to look around the floating sculpture. On reload the new arrangement is lost and the original configuration returns. The work slowly turns in space however this can be switched off using the R command on a desktop device.

The work operates on local Yucatán time (GMT-5) and is an annual solar simulation. The sun rises on the world of the work simultaneously as in Mexico and sets accordingly to show dusk and night. Thus the work can look radically different from each hour to the next across the year. One will witness long days in the summer and short in winter - accurate across the solar year.

Bone Work (Gulf of Mexico) 2022 extends John Gerrard's twenty year engagement with simulation as a contemporary art form and further develops ecological themes as seen in Dust Storm (Dalhart, Texas) 2008, Western Flag (Spindletop, Texas) 2017 + more recently Flare (Oceania) 2022 - seen at the artist debut at Pace Gallery, New York in Summer 2022 and originally premiered by Art of Change 21 at the UN Climate Change Conference / COP26 Glasgow at the University of Glasgow / Hunterian Gallery.

Bone Work (Gulf of Mexico) 2022 is John Gerrard’s first work on the Tezos blockchain and his first project on fxhash.

20% of proceeds from this project are dedicated equally to support The Herbert Franke Archive at ZKM via https://www.tribute-hwf.com and to regenerate.farm, the artists fund to support creative regenerative agricultural projects globally.

Bone Work (Gulf of Mexico) 2022
Edition of 365 Unique Generative Worlds
(If not sold out one work to be burnt each day until the edition is closed out. Works are typically burnt once a week by the artist on a Monday x 7 works)

Credits
Producer : Werner Poetzelberger
Programmer : Helmut Bressler
Engine : WebGL

1000x780p /// 250f /// 25fps /// 3c /// 2021

810 x 900 pixels, 288 frames, 256 colors, 25 fps, 2021

780x780 pixels, 24 frames, 5 colors, 25fps, Nicolas Sassoon 2011-2021

🔥 🤑 🔥 🤑 🔥 🤑 🔥 🤑 🔥 🤑 🔥 🤑 🔥
WOW! TOP ART CRITICS AGREE: "DOPAMINE MACHINES" IS THE HOTTEST GENERATIVE ART PROJECT OF THE DECADE! HERE'S WHAT THEY'RE SAYING:
→ "EXCITING!!!" ←
→ "AN ABSOLUTE MASTER CLASS IN HTML & CSS" ←
→ "I COULDN'T BELIEVE MY EYES... OR EARS!" ←
→ "THEY'RE EVEN BETTER FULL-SCREEN!" ←
→ "🤯 MIND BLOWING 🤯" ←
→ "SO COOL" ←
→ "EXCITING!" ←
→ "AN OVERWHELMING SENSATION" ←
→ "I COULDN'T LOOK AWAY!" ←
→ "IT WORKS ON ALL MY DEVICES! 🤳" ←
→ "THESE NFTs ARE GOING STRAIGHT TO THE MOON!" ←
→ "I'VE NEVER SEEN ANYTHING QUITE LIKE IT" ←

YOU DON'T WANT TO MISS THIS! THINGS ARE MOVING FAST, SO ACT NOW BEFORE IT'S TOO LATE!
🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀 💸 🚀

WARNING: Dopamine Machines contain visual effects that may induce seizures in individuals with photosensitive epilepsy. In addition, frequent use of Dopamine Machines may lead to anxiety, psychosis, manic behavior, addiction, aggression, insomnia, and restlessness in otherwise healthy individuals. Dopamine Machines may also inhibit future dopamine transmission for some users, which may lead to depression, apathy, and/or anhedonia.

None of the emojis or text contained within a Dopamine Machine constitutes financial advice. If you suspect you may have a gambling problem, please contact the National Problem Gambling Helpline Network at 1-800-522-4700. By using Dopamine Machines, you acknowledge and accept these potential risks and agree that the Artist shall not be held liable for any damages or injuries resulting from such use.

All Dopamine Machines are presented "AS IS" without any warranty whatsoever, either express or implied. While each resultant HTML Document is intended to work on all devices, sizes, and aspect ratios, the Artist makes no guarantees related to the consistency of appearance and functionality in obsolete and future web browsers.

Controls:
[D] ⬇️ Download HTML
[O] ⚠️ Overdrive
[P] ✋ Pause
[A] 😐 Anti-Anxiety Mode
[M] 🐁 Mouse Hide
[I] ↔️ Invert
[N] 🙈 No Distraction Mode (live-view only)
[E] 🙃 Emoji Polyfill Toggle (with global twemoji injection)

[⬅️/⬆️/➡️] 🗣 Change Voice

URL COMMANDS: `${url}?text=${encodeURI('FIRST OVERRIDE,SECOND OVERRIDE')}&emojis=${encodeURI('🦞,🐙')}&keys=a,i&voice=daniel `

June 7, 2023: Mood inflation
June 9, 2023: Keep your head up

.glb by john karel

https://internet.flowers is a digital garden made from flowers taken directly from the artist's personal browsing history. Using a Chrome extension she built, every website she visits is scanned and an AI model she trained searches through all the images on those pages to find flowers. When a flower is detected, it is cropped and saved. Over time, all the collected flowers are added to the "garden."

Each flower is quite literally a piece of the artist’s own personal data and, by selling these flowers as bouquets, Mika intentionally leaks and trades her private browsing data.

This project is part of Mika’s ongoing interest in digital footprints, data as currency, and the hidden systems behind personalized advertising. It offers a quiet but direct look at how online behavior is constantly tracked, collected, and monetized, often without our full awareness. https://internet.flowers makes this process visible by turning private data into something beautiful, publicly exposed and openly traded.
(◕‿◕✿)

Ad Space is a collection of 111 found compositions using a chrome extension Mika built, which removes all the content of a website leaving only the ads.

As part of her ongoing exploration of the systems behind personalized ads, Mika uses her chrome extension to unlock a browser experience that is 100% personalized for the user.

Each composition reveals the infrastructure we rarely see.
Behind every personalized ad placement, AI systems and targeting algorithms process our browsing patterns, search history and online behaviors to build profiles and predict our interests.

By removing everything else, the work reveals what sustains the "free and open" internet.
Our private lives are converted into data, bought and sold for access to our attention.

BODIES OF WORK is a twelve-video cycle by Bengt Tibert exploring the intersection of spectacle, irony, and perception within the neutral field of AI. Monumental figures move through landscapes suspended between the sublime and the surreal, where gesture replaces language and the voice collapses into rhythm. Through generative systems and synthetic sound, Tibert constructs a theatre of dissonance that exposes the fragility of meaning and the persistence of human presence within algorithmic space.

Created using Midjourney, Magnific, Krea, Gemini, Google VEO3, Kling 2.5, OpenAI Sora
Sound made with Elevenlabs
Music produced by Bengt Tibert
Duration: 0:38 sec
Aspect ratio: 16:9

BODIES OF WORK is a twelve-video cycle by Bengt Tibert exploring the intersection of spectacle, irony, and perception within the neutral field of AI. Monumental figures move through landscapes suspended between the sublime and the surreal, where gesture replaces language and the voice collapses into rhythm. Through generative systems and synthetic sound, Tibert constructs a theatre of dissonance that exposes the fragility of meaning and the persistence of human presence within algorithmic space.

Created using Midjourney, Magnific, Krea, Gemini, Google VEO3, OpenAI Sora
Sound made with Elevenlabs
Music produced by Bengt Tibert
Duration: 0:40 sec
Aspect ratio: 16:9

The image holds weight.
Code drifts, elusive, unseen...
modern alchemy.

A field without form,
suspended in transition,
dissolved sensation.

Presence without need,
inviting yet unpossessed,
a soft continuum.

————-

Each artwork has a second layer running simultaneously, that switches automatically every 20 mins, also can be switched manually by pressing left/right.

Endless, dimensionally responsive, Animated artwork created with GLSL, JavaScript, PNG/JPEG.

MCHX, 2025

Les rêves artificiels 08A
MP4 / 2048px / 30fps / 60s

I used to live in an apartment building in the Yucca Corridor of Hollywood—a tall structure on the
corner of Whitley and Franklin. Kenneth Anger lived there for most of the time I was there, until
he was eventually kicked out. I’d see him now and then in the elevator or lobby. We barely
interacted, but once he told me, “No one pays for your dinners when you’re old.” He was cranky.
My girlfriend at the time wanted to befriend him, but I was wary—I’d heard stories about him
hexing people. At one point he tried to buy her socks and claimed he had a wife and child living
in Hawaii.
That apartment was the center of my creative world for years. I made a number of paintings
there, most notably a series of still lifes featuring my dining room table with the Capitol Records
Building in the background. Over time, construction projects transformed the skyline entirely.
Views like that are rare in LA unless you're in the Hills.
One large painting I made during that time was titled P, based on Albrecht Dürer’s engraving St.
Eustace. In my version, I’m the central figure, walking through a reimagined Hollywood
landscape. That painting—and a black-and-white companion—would be shown at the
Hollywood Roosevelt a couple years later. P was originally intended as part of a larger series
inspired by Dürer’s masterworks: St. Jerome in His Study, Melencolia I, and Knight, Death, and
the Devil. I had also read about an unfinished engraving attributed to Dürer called Crucifixion in
Outline— I wanted to finish it, to make it mine.
When Leyla asked me to propose a project for Verse, two ideas came to mind. One was to do
my own crucifixion NFT, based on the unfinished Dürer piece. The other was to build a work
around the couch in my old apartment. I had already painted two versions of myself sitting on
that couch—those were the only works I made that looked into the apartment rather than out. In
those paintings I’m sitting on the couch looking into a mirror, inspired by a Balthus painting with
a young girl in the same pose. Each of my versions would include one of my cats: Chelsea,
Marshmallow, Rascal, Carrot Cake (Cakey), Babs, Chicklet, Puttanesca, Cheeto, and Angel
Wing Begonia. I only completed paintings of Carrot Cake and Puttanesca.
It’s been about a year since I released ParkerIto.net, my first NFT project on Ethereum. Since
then, I’ve launched three collections on Solana: Collection 2 for Solana, a shadow version of my
first ETH project; Horses?2, a rapid-fire homage to the Horses? Solana collection; and Drilady, a
PFP collection inspired by Drifella, which itself was inspired by Mifella, which was inspired by
Milady.
Before ParkerIto.net, I had never used tools like HashLips and had barely experimented with AI
in my work. HashLips was originally built to pump out clean, normie-ready PFPs—but the
Solana avant-garde (aka Gay NFT) hijacked it, pushing it toward traitmaxxing: chaotic,
over-layered, Dada-by-default collages. This approach has been completely inspiring to me.
Over the past year, I’ve developed a kind of mastery with these Hashlips—not technical
mastery, but something more intuitive. A workflow that matches the way my brain works. I guess
you could call that a voice, an aesthetic language.

Now that language is more ripened, it brings me to this new project with Verse: The Pilgrim’s
Living Room Crucifixion; Mona Lisa Hyper-Gamble. It’s really an amalgamation of everything
I’ve done so far. A crucifixion scene with my couch. I’d still call it “traitmaxxed,” but it’s very
specific, more refined and distilled. This time, I’m trying to create a clean 3D space, as opposed
to the flat, jagged, spaces typical of the traitmaxxed aesthetic. The entire image is in one-point
perspective. I’ve had to draw shadows to unify the lighting—it actually feels like painting, like
learning about light in real time.
This isn’t a PFP collection. But there’s a PFP collection embedded inside it. The collection has
horses, it has knights, it has Drilady,—like Russian dolls stacked within each other. It’s a nested
system. An NFT inside an NFT. A Gesamtkunstwerk for the blockchain.
As I sit here writing this, I discover that Crucifixion in Outline wasn’t actually by Dürer. It was a
pastiche, collaged together from his drawings by someone working in his style. That feels right.

Parker Ito

Gerhard is a collaboration of Richard Nadler and Leander Herzog on fxhash. A generative animation based on multiple layers of color and data, mixed, moved and painted over in realtime. Some fragments stick to the canvas while others get discarded to leave the existing layers visible, allowing a complex surface to emerge and build up over time.
Richard Nadler created the textures to control composition and color. Leander Herzog created the code for the interplay between the layers, motion and interactions. Both artists use different tools and are not aware of the details of each others process, meeting through the interface of pixels. This collaboration is enabled by twitter and fxhash, as the generative art community continues to explore abstraction in summer 2022 – while extreme temperatures, wildfires, ongoing conflicts and volatile markets continue to escalate.

• Click to start a new layer of motion and color.
• Doubleclick to enter fullscreen mode.
• Press “s” to save the current canvas.
• Append ?dpr=4 to the url to increase the resolution.

https://leanderherzog.ch/2022/gerhard/

The Hero 25FPS [ 1177 - 1179 ]

For her first performance on the blockchain, Marina Abramović revisits one of her most personal and autobiographical works ‘The Hero (2001)’ to present in collaboration with CIRCA this digital exploration of time, immateriality and audience participation. Filmed at 25 frames per second, never before seen footage has been separated into 6,500 unique frames to create The Hero 25FPS.

Math Art is the first NFT drop by Herbert W. Franke, forefather of media art. This 100 piece-collection is drawn from his iconic 80s series Math Art where mathematical investigation is translated into visual art, with a stunning variety of forms that is strikingly reminiscent of Pop Art.

License: https://quantum.mypinata.cloud/ipfs/QmUnSepLccUajd2kJi3hX7bFvzUuFHr39UUP1TTk9yHaaq