Artist: THE BOYS OF SUMMER Winslow Homer's Croquet Challenge Digital Zones of Immaterial Pictorial Sensibility
Toronto
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I have just released my final artwork in The Zantar Triptych.
Zantar is my best work and – for now – I can do no better.
zantar.chan.gallery
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Andrew is a real one.
Really well said.
Maybe now is a good time to say that for me emphasizing code itself never resonated with my own practice because code was one of several ways I could express my real interest in systems, and to exercise a rare and elusive relationship with underlying technology.
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SOLD! Thank you @0xassembly !!
Anyway, rant aside... just like the past 19 (!) weeks, this sketch is minted as a 1/1 here: opensea.io/item/ethereum/0x4…
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This week's sketch:
More level design sketches from my upcoming exhibition at DE SARTHE in Hong Kong.
These are getting close to done.
It's been really fun making this game, as it's my very first game without any figurative representation in it, and my first (major) game that is purely ludic wihout narrative. And then I noticed for the first time how almost all of the artist-made games that the art world is currently glazing use figurative representation pretty heavily.
they're like: hey, this DIGITAL AVATAR (that conveniently has no hair) represents, like, my JOURNEY.
And even if this game ends up sucking, I will be happy that at least I did the opposite of that.
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Anyway, rant aside... just like the past 19 (!) weeks, this sketch is minted as a 1/1 here: opensea.io/item/ethereum/0x4…
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God help me I was trying to make an art game but it ended up being actually fun by accident and now nobody will ever take me seriously as a ThoughtLeaderTM ever again
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I need one of those Accountability Buddy apps that texts my pastor every time I look up Max Dowman highlights online.
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I'm starting to think so, too.
The physical pieces I've been working on for the past year each depict a different form of labour (factory work, agricultural work, sex work).
The electromechanical layers (pinball playfields!) over top of the images are another form of representation of that labour: a system-as-metaphor.
And finally, the interactive elements introduce the idea of agency to that system (what effect do I really have in this work?)
I spent the last year making electromechanical sculptures because I really, *really* didn't want to be the 7,293,922nd artist to be making the specious claim that I have something important to say about AI, and conveniently am saying it using that same tool which just happens to increase my productive output. So I looked at labour, which is both upstream and downstream of AI, as a concept. And of course resolved to work in a medium where AI couldn't help my output too much. When everyone (and holy fuck is it EVERYONE) zigs, you zag.
Now that these physical objects are done, I'm making the video game, and it seems like a good place to really dig into ideas/representations of automation. So yes, that has led to these digital pieces seem to be more obliquely about AI, without being over-the-top explicit about it.
I can’t help but think that these zero player games have many parallels to AI taking over virtually all white collar jobs. Talk about what’s current.
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SOLD! Thank you @maxkarlan! Snagging the first video in this sketch series
This Week's Sketch.
Footage from a series of virtual automated pinball simulations I'm working on.
Thinking about automation, interactivity, illusion of agency.
Trying to create a new category of art: "Interactive, But What's The Point."
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This Week's Sketch.
Footage from a series of virtual automated pinball simulations I'm working on.
Thinking about automation, interactivity, illusion of agency.
Trying to create a new category of art: "Interactive, But What's The Point."
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Minted and available here:
opensea.io/item/ethereum/0x4…
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This Week's Sketch:
A lighting study for my upcoming artwork "Girl Talk"
(full image + detail)
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Each week I've been minting one of these sketches from my upcoming exhibition. They've been sold on a bonding curve, with the price increasing 20% each week, if the previous week's sketch was purchased, and decreasing 50% if not. They started at 0.04 eth 18 weeks ago.
This week's is at:
opensea.io/item/ethereum/0x4…
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DONE.
500 lbs of art crated and now in transit to almost the exact other side of the world.
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This week's sketch: a little something special for the 9 year anniversary of Digital Zones of Immaterial Pictorial Sensibility.
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Sketch is minted here: opensea.io/item/ethereum/0x4…
Price is, as always +20% of last week's. If no buyers, next week is -50% and bonding curve resets from there.
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Holy crap! Every year I’m shocked when someone reminds me the anniversary of this piece. Next year, for the 10 year anniversary, I should set a reminder and do something fun. For now, a few thoughts off the cuff…
Imaculate timing - 9 years ago today @mitchellfchan launched Digital Zone of Immaterial Pictorial Sensibility, possibly the first conceptual art NFT on Ethereum.
The collection encouraged collectors to burn the NFT, fully incorporating it into their "sensibility."
Afaik only one collector burned the NFT, and one collector (me) sent his ETH straight into the river.
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1. I can’t believe it’s been 9 years since the public release of the artwork that would eventually change my life. My first thought is: I must be old.
2. I am incredibly humbled that for the past 4 years, there has without fail been someone on the timeline to remind me of this anniversary when I forget about it.
3. Just last night, I was having a conversation about the ideas in this work. I still believe that the ideas in this piece—about the ways that “value” finds a way to permeate the border between the virtual/immaterial/spiritual and the “real”/physical/profane—are among the most interesting and important ideas shaping our society today. I still work in this idea set, though I attack it from different angles these days.
I have more to say about all this but I’m hungry right now.
This artwork has now been “famous”-ish for about the same amount of time that it was ignored, sitting unminted, and irrelevant. Thank you to all the people who paid attention, supported the project, and make it relevant. Belief is a currency that can only be held, transferred, and spent by human beings, and it is the currency that gives this project value.
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