attentive_manitoba retweeted
Fiducial Markers is generative art determined at the time of mint, but it is more than that. It’s animated. It’s interactive. It changes over time and has fun surprises. And it even has a piece of the blockchain displayed in the visual itself, not just the metadata- the minter’s ptic signature of the ETH address that minted which becomes part of the work. And I think it also looks good as a still work framed on the wall too. Artwork can be all of these things at the same time in a complementary way.
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attentive_manitoba retweeted
Kristopher Shinn finds inspiration on the water... so did we.
What else will we find? 👀
What else will we find? 👀
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attentive_manitoba retweeted
Fiducial Markets are starting to awaken. The Orionid meteor shower is also coincidentally starting to peak tonight, ahead of the original schedule. To celebrate, the meteors are shared across the collection: the same one appears on every awake plate at the same instant. Over the ake marker should catch about one every 30 seconds, all from the same dust from Halley's comet. It's the same comet that crosses every fiducial marker in 2061 💫
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attentive_manitoba retweeted
Fiducial Markers 500
The collection is minted out! Thank you to all the collectors for your support and excitement over the past few months.
The Emergence is coming 👀
The collection is minted out! Thank you to all the collectors for your support and excitement over the past few months.
The Emergence is coming 👀
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attentive_manitoba retweeted
Fiducial Markers
3D textured prints built from JavaScript + UV inks, will be available to collectors soon ✅
3D textured prints built from JavaScript + UV inks, will be available to collectors soon ✅
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attentive_manitoba retweeted
THE MUSEUM OF MODERN ART TO PRESENT MAJOR NEW COMMISSION
BY HOLLY HERNDON AND MAT DRYHURST
NEW YORK, October 9, 2026 — @MuseumModernArt will present a newly commissioned audio, visual, and performance-based work by renowned artists and musicians @hollyherndon and @matdryhurst, dio, visual, and performance-based work by renowned artists and musicians Holly Herndon and Mat Dryhurst, marking the duo’s first solo presentation in New York. The commission will be staged jointly in the Museum’s Marie-Josée and Henry Kravis Studio (March 27–June 13, 2027) and on the Hyundai Card Digital Wall (March 27–September 6, 2027), marking the first time MoMA has presented an exhibition across both spaces simultaneously. In the Kravis Studio, Herndon and Dryhurst will create an immersive audio environment for musician-led live choral performances, which will be open to audience participation. The artists will use the collective sound from these events to train AI models and, in turn, generate a new audiovisual work-in-process that will be displayed concurrently on the Hyundai Card Digital Wall. Holly Herndon and Mat Dryhurst is organized by Michelle Kuo, Chief Curator at Large and Publisher, with Helena Klevorn, Curatorial Assistant, Department of the Chief Curator at Large, and Ho Won Kim, Hyundai Card Exchange Visitor.
Together, the two installations will turn the Museum into a laboratory for exploring the future of performance, technology, and human experience and the ways music, art, and machines can inspire collective emotion. Presenting new models for machine learning and human feeling, the exhibition will suggest how we might find ways to live with AI.
Herndon and Dryhurst train their AI models in public: Their spaces record the people who perform inside them and hold a memory of everything that happens there. New to this work is a focus on open-endedness, a branch of AI research built on the idea that the most important discoveries cannot be planned in advance and that rewards exploration over fixed goals.
Through participatory singing, the artists draw parallels between older musical forms and the call-and-response training of AI models and AI agents. They have also incorporated their own subjective associations, the sounds, images, and feelings to which they are drawn, to better understand their own minds and network them with others. In open-ended experiments with AI models, they investigate how human knowledge and AI might grow together, each pushing the other into new territory. The artists ask: Do machines not only learn, but feel? How has AI begun to shape not just our thoughts, but our deepest and most personal emotions and memories? How might humans shape this new world, in turn?
BY HOLLY HERNDON AND MAT DRYHURST
NEW YORK, October 9, 2026 — @MuseumModernArt will present a newly commissioned audio, visual, and performance-based work by renowned artists and musicians @hollyherndon and @matdryhurst, dio, visual, and performance-based work by renowned artists and musicians Holly Herndon and Mat Dryhurst, marking the duo’s first solo presentation in New York. The commission will be staged jointly in the Museum’s Marie-Josée and Henry Kravis Studio (March 27–June 13, 2027) and on the Hyundai Card Digital Wall (March 27–September 6, 2027), marking the first time MoMA has presented an exhibition across both spaces simultaneously. In the Kravis Studio, Herndon and Dryhurst will create an immersive audio environment for musician-led live choral performances, which will be open to audience participation. The artists will use the collective sound from these events to train AI models and, in turn, generate a new audiovisual work-in-process that will be displayed concurrently on the Hyundai Card Digital Wall. Holly Herndon and Mat Dryhurst is organized by Michelle Kuo, Chief Curator at Large and Publisher, with Helena Klevorn, Curatorial Assistant, Department of the Chief Curator at Large, and Ho Won Kim, Hyundai Card Exchange Visitor.
Together, the two installations will turn the Museum into a laboratory for exploring the future of performance, technology, and human experience and the ways music, art, and machines can inspire collective emotion. Presenting new models for machine learning and human feeling, the exhibition will suggest how we might find ways to live with AI.
Herndon and Dryhurst train their AI models in public: Their spaces record the people who perform inside them and hold a memory of everything that happens there. New to this work is a focus on open-endedness, a branch of AI research built on the idea that the most important discoveries cannot be planned in advance and that rewards exploration over fixed goals.
Through participatory singing, the artists draw parallels between older musical forms and the call-and-response training of AI models and AI agents. They have also incorporated their own subjective associations, the sounds, images, and feelings to which they are drawn, to better understand their own minds and network them with others. In open-ended experiments with AI models, they investigate how human knowledge and AI might grow together, each pushing the other into new territory. The artists ask: Do machines not only learn, but feel? How has AI begun to shape not just our thoughts, but our deepest and most personal emotions and memories? How might humans shape this new world, in turn?
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attentive_manitoba retweeted
3 new Fiducial Markers minted. Thanks to @GuyNorcal, who is now up to 10 🙏
He always sees something in work that others don’t see at first 👀🧐
He always sees something in work that others don’t see at first 👀🧐
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attentive_manitoba retweeted
Happy to announce I am showing some Sky Meadow in the 4096 digital gallery next week.
As well, I am raffling off two Sky Meadow to the visitors of the show.
This gallery was developed by @Tenfin9erz. Love to see development in the space that creates new ways to experience art.
As well, I am raffling off two Sky Meadow to the visitors of the show.
This gallery was developed by @Tenfin9erz. Love to see development in the space that creates new ways to experience art.
System Obeyed vs System Broken
ARTIST SPOTLIGHT III
Andrew Mitchell (@4ndrew_mitchell) closes the show on the system obeyed side.
Here the machine is never broken. IT BUILDS ITSELF ALL THE WAY TO ITS FINAL STATE.
His work, his words, and how to get one below ↓
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attentive_manitoba retweeted
Auction alert 🚨
I'm proud to announce "Kilim", my first auction of its kind. - True on-chain generative art.
It's built from the carpet patterns of my homeland, patterns I've known since childhood. 812 of them, in one living artwork.
How it works:
• The 1/1 interactive hest bidder.
• Every bidder gets free symbols, one for every dollar they bid.
• Win or lose, the symbols are yours to keep.
• Later, you can burn your symbols to make one artwork of your own, minted to your wallet free.
Date to be announced.
Check project, play with it at orkhan.art/kilim
Thank you, as always.
I'm proud to announce "Kilim", my first auction of its kind. - True on-chain generative art.
It's built from the carpet patterns of my homeland, patterns I've known since childhood. 812 of them, in one living artwork.
How it works:
• The 1/1 interactive hest bidder.
• Every bidder gets free symbols, one for every dollar they bid.
• Win or lose, the symbols are yours to keep.
• Later, you can burn your symbols to make one artwork of your own, minted to your wallet free.
Date to be announced.
Check project, play with it at orkhan.art/kilim
Thank you, as always.
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Gazers and Fiducial Markers share an obvious starting point: the moon. But they use it to ask very different questions.
Gazers made the moon a way of making **time** intrinsic to the artwork. The work changes with the lunar cycle, so experiencing it means experiencing its Fiducial takes the moon in another direction. The moon becomes a shared external reference, continuously registering the same sky across all 500 plates, while the algorithm is simultaneously dealing with the internal state of each composition.
That gets to what I find most interesting about @wetpotatobrain system. Fiducial isn’t simply asking what an algorithm can generate. It is asking how an algorithm can **compose** — how density, weight, color and existing structure should influence what happens next.
#166 is a good example.
A Zen layout and Zen density establish a restrained framework. Then triple ropes, a weave and palimpsest introduce additional layers of structure, while the duotone treatment compresses the color field and the red rings and ticks create points of registration.
The interesting part isn't any trait in isolation. It’s the fact that these elements have to coexist within the same compositional system.
That’s what makes Fiducial interesting to me: the algorithm isn't just generating a collection of elements. It is continually negotiating between them.
And as a collector, there’s another interesting consequence: the composition you acquire is fixed, but the moon remains **alive**. The plate has a permanent generative identity, while one layer continues to update with the real lunar cycle.
Gazers made **time** part of the generative experience. Fiducial makes the **state of the composition** part of the generative decision — and then leaves the composition with a small window onto time that keeps moving.
Links below to explore the Fiducial Markers series 👇🏾
Gazers made the moon a way of making **time** intrinsic to the artwork. The work changes with the lunar cycle, so experiencing it means experiencing its Fiducial takes the moon in another direction. The moon becomes a shared external reference, continuously registering the same sky across all 500 plates, while the algorithm is simultaneously dealing with the internal state of each composition.
That gets to what I find most interesting about @wetpotatobrain system. Fiducial isn’t simply asking what an algorithm can generate. It is asking how an algorithm can **compose** — how density, weight, color and existing structure should influence what happens next.
#166 is a good example.
A Zen layout and Zen density establish a restrained framework. Then triple ropes, a weave and palimpsest introduce additional layers of structure, while the duotone treatment compresses the color field and the red rings and ticks create points of registration.
The interesting part isn't any trait in isolation. It’s the fact that these elements have to coexist within the same compositional system.
That’s what makes Fiducial interesting to me: the algorithm isn't just generating a collection of elements. It is continually negotiating between them.
And as a collector, there’s another interesting consequence: the composition you acquire is fixed, but the moon remains **alive**. The plate has a permanent generative identity, while one layer continues to update with the real lunar cycle.
Gazers made **time** part of the generative experience. Fiducial makes the **state of the composition** part of the generative decision — and then leaves the composition with a small window onto time that keeps moving.
Links below to explore the Fiducial Markers series 👇🏾
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