{"title":"Ana María Caballero, Brendan Dawes, Ira Greenberg, \u0026 Michael Takeo Magruder","description":"","products":[{"product_id":"you-me-and-the-machine","title":"You, Me and the Machine","description":"\u003cstyle data-mce-fragment=\"1\" type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" data-sheets-userformat='{\"2\":6915,\"3\":{\"1\":0},\"4\":{\"1\":2,\"2\":14281427},\"11\":4,\"12\":0,\"14\":{\"1\":2,\"2\":2236962},\"15\":\"Arial\"}' data-sheets-value='{\"1\":2,\"2\":\"Created for the Herbert Franke Tribute, You, Me and the Machine creates typographic compositions using the underlying code which drives the work, reacting to the physical distance of the viewer to the work itself. The further the viewer is from the work, the more obfuscated and larger the text. As the viewer approaches nearer,  the composition becomes clearer and longer parts of the underlying source code are revealed. This piece is a physical work with a digital component, minted as an NFT with its own custom smart contract. The built in distance sensor compels the need for a physical viewer in order for the machine to continue creating real-time generative images.\"}'\u003eCreated for the Herbert W. Franke Tribute, \u003cem\u003eYou, Me and the Machine\u003c\/em\u003e creates typographic compositions using the underlying code which drives the work, reacting to the physical distance of the viewer to the work itself. The further the viewer is from the work, the more obfuscated and larger the text. As the viewer approaches nearer, the composition becomes clearer and longer parts of the underlying source code are revealed. This piece is a physical work with a digital component, minted as an ERC-721 token with its own custom smart contract. The built in distance sensor compels the need for a physical viewer in order for the machine to continue creating real-time generative images.\u003c\/span\u003e\u003c\/p\u003e","brand":"Brendan Dawes","offers":[{"title":"Default Title","offer_id":44085298921771,"sku":"BD0028","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/BD0028-1.jpg?v=1734614038"},{"product_id":"cinema-redux-metropolis","title":"Cinema Redux: Metropolis","description":"\u003cp\u003eOriginally created in 2004 and acquired for the MoMA permanent collection in 2008, \u003cem\u003eCinema Redux\u003c\/em\u003e* series creates a single visual distillation of an entire movie; each row represents one minute of film time, comprised of 60 frames, each taken at one second intervals. The result is a unique fingerprint of an entire movie, born from taking many moments spread across time and bringing all of them together in one single moment to create something new.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Film students, academics and obsessives with time on their hands may use Dawes’s grids to postulate new theories about the language of film.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e— John Walters, The Guardian —\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e*Cinema Redux\u003c\/em\u003e is a registered trademark of Brendan Dawes\u003c\/p\u003e","brand":"Brendan Dawes","offers":[{"title":"Default Title","offer_id":46406873612587,"sku":"BD0037","price":13000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/BD0037-1.jpg?v=1694684742"},{"product_id":"waiting-room","title":"Waiting Room","description":"\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003eAna María Caballero delivers a multifaceted rendition of self in the performative poem \u003ci data-mce-fragment=\"1\"\u003eWaiting Room\u003c\/i\u003e (2024). Tying into her own strong spoken-word history and poetry’s tradition of orality, Caballero performs her verse on screen, using her own body to speak the language of the poem, exploring how her physicality ties to her verse in this form for the first time. Her text’s narrative twists with the vicissitudes of caretaking. The intersecting Spanish, translating to “You, Me, Ours”, is a play on words that shifts the speaker’s intent. The formal division in \u003ci data-mce-fragment=\"1\"\u003eWaiting Room\u003c\/i\u003e prompts us to question the permeable boundaries between caring for ourselves and caring for others. \u003ci data-mce-fragment=\"1\"\u003eWaiting Room\u003c\/i\u003e is from Caballero’s prize-winning, forthcoming book \u003cem\u003eMammal\u003c\/em\u003e. The collector will receive a signed print of the poem.\u003cspan data-mce-fragment=\"1\" class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003ePhotography by Luis Gaspar.\u003c\/p\u003e","brand":"Ana María Caballero","offers":[{"title":"Default Title","offer_id":47921403724075,"sku":"AMC0009","price":10000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/AMC-38_1.jpg?v=1707153377"},{"product_id":"cyberstructures_12-png","title":"CyberStructures_12.png","description":"\u003cp\u003e\u003ci\u003e\"\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCan a process be generatively generative?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e I ponder this as I reflect on ‘\u003c\/span\u003e\u003cb\u003e\u003ci\u003eCyberStructures’\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. The germ of this exploration began with ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMappings’, BrainDrops, August 30, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. In that collection I explored distant, aerial views across a series of topographical and constructed landscapes. Exploring a \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003edistant view\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e motif in ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMappings’ \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003efelt like the beginning of an inquiry, not a resolution. I knew I would return to the subject. Around this body of work there were numerous projects that examined themes connected to my past as painter and coder, usually connected through an emergent generative aesthetic, now front and center in the web3 space, but for me a through line to a creative coding practice of nearly 30 years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs a painter, the residue of the medium and process is an inherent characteristic to the physical material. As one advances in the craft, one learns to appreciate, even cherish, these procedural artifacts that take on a life of their own, manifestations of less conscious impulses. These material gems often carry a special weight and resonance in the work; think of the scumbling on the face of a Rembrandt self-portrait, or the peripatetic tracings in a Giacometti painting. For a long time, I’ve thought about how physical artifacts manifest in the digital, often jocularly referring to such phenomena as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ecode drippings. \u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI began prompting, for what would become \u003c\/span\u003e\u003cb\u003e‘\u003c\/b\u003e\u003cb\u003e\u003ci\u003eCyberStructures\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, thinking about computer architectures as vast landscapes: circuitry, roadways, components, building and structures. There were whimsical explorations as well that became past projects: ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAncient Automata’, Bright Moments, Venice CA, July 22, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMachinations:CandyPuter.OE’, Objkt.com, July 5, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. My original name for this collection was ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCyberCities’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, with my initial impulse to generate as much scale and complexity as I could conjure out of the AI. This exploration went on for months, through thousands of iterations.\u003c\/span\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThough I liked many of the outputs from this initial development, something still remained unresolved for me, so I continued prompting and iterating. It wasn’t until I eventually let go of the name and radically shifted the prompt structure that I began to glimpse where this project could evolve to. In that sense, the process (as it’s really always been for me), is purely generative, even when prompting against a discrete generative system. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThousands of ‘\u003c\/span\u003e\u003cb\u003eCyberStructures\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e’\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e were generated to create this extremely focused collection. Often, images with good beginnings would be discarded as repetitive remixing and radical image expansion destroyed them. However, this rigorous and relentless process ultimately led to a body of work I am extremely proud and excited to release.\" \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e- Ira Greenberg\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePlease note\u003c\/strong\u003e: Collectors have the option to purchase this work with a physical print for an additional cost. Once purchased, the buyer will be contacted and asked if they would like to also purchase a print, which can be shipped internationally. \u003c\/span\u003e\u003c\/p\u003e","brand":"Ira Greenberg","offers":[{"title":"Default Title","offer_id":48244918518059,"sku":"IR0010","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/CyberStructures_12.jpg?v=1710864607"},{"product_id":"cyberstructures_13-png","title":"CyberStructures_13.png","description":"\u003cp\u003e\u003ci\u003e\"\u003c\/i\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCan a process be generatively generative?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e I ponder this as I reflect on ‘\u003c\/span\u003e\u003cb\u003e\u003ci\u003eCyberStructures’\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. The germ of this exploration began with ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMappings’, BrainDrops, August 30, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. In that collection I explored distant, aerial views across a series of topographical and constructed landscapes. Exploring a \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003edistant view\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e motif in ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMappings’ \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003efelt like the beginning of an inquiry, not a resolution. I knew I would return to the subject. Around this body of work there were numerous projects that examined themes connected to my past as painter and coder, usually connected through an emergent generative aesthetic, now front and center in the web3 space, but for me a through line to a creative coding practice of nearly 30 years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs a painter, the residue of the medium and process is an inherent characteristic to the physical material. As one advances in the craft, one learns to appreciate, even cherish, these procedural artifacts that take on a life of their own, manifestations of less conscious impulses. These material gems often carry a special weight and resonance in the work; think of the scumbling on the face of a Rembrandt self-portrait, or the peripatetic tracings in a Giacometti painting. For a long time, I’ve thought about how physical artifacts manifest in the digital, often jocularly referring to such phenomena as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ecode drippings. \u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI began prompting, for what would become \u003c\/span\u003e\u003cb\u003e‘\u003c\/b\u003e\u003cb\u003e\u003ci\u003eCyberStructures\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, thinking about computer architectures as vast landscapes: circuitry, roadways, components, building and structures. There were whimsical explorations as well that became past projects: ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAncient Automata’, Bright Moments, Venice CA, July 22, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMachinations:CandyPuter.OE’, Objkt.com, July 5, 2023\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. My original name for this collection was ‘\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCyberCities’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, with my initial impulse to generate as much scale and complexity as I could conjure out of the AI. This exploration went on for months, through thousands of iterations.\u003c\/span\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThough I liked many of the outputs from this initial development, something still remained unresolved for me, so I continued prompting and iterating. It wasn’t until I eventually let go of the name and radically shifted the prompt structure that I began to glimpse where this project could evolve to. In that sense, the process (as it’s really always been for me), is purely generative, even when prompting against a discrete generative system. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThousands of ‘\u003c\/span\u003e\u003cb\u003eCyberStructures\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e’\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e were generated to create this extremely focused collection. Often, images with good beginnings would be discarded as repetitive remixing and radical image expansion destroyed them. However, this rigorous and relentless process ultimately led to a body of work I am extremely proud and excited to release.\" \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e- Ira Greenberg\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePlease note\u003c\/strong\u003e: Collectors have the option to purchase this work with a physical print for an additional cost. Once purchased, the buyer will be contacted and asked if they would like to also purchase a print, which can be shipped internationally. \u003c\/span\u003e\u003c\/p\u003e","brand":"Ira Greenberg","offers":[{"title":"Default Title","offer_id":48244931428651,"sku":"IR0008","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/CyberStructures_13.jpg?v=1710864660"},{"product_id":"imaginary-cities-paris-11097701034-01-01-2018","title":"Imaginary Cities — Paris (11097701034) - 01\/01\/2018","description":"\u003cp\u003eThis sequence of four monoprints has been created through combining leading-edge digital technologies and processes with precious fine art materials and historic craft techniques. The project’s underlying custom server application has algorithmically generated the image data for each print from a single 19th-century map of Paris found in the British Library’s One Million Images from Scanned Books collection on Flickr Commons. Each piece represents a unique moment from the work’s continuously running computational framework. The final objects are fabricated using direct-to-media digital printing onto 24ct gold-gilded cotton boards that have been traditionally produced and hand finished by the artist.\u003cbr\u003eSource data timepoints (90-day intervals): 01\/01\/2018, 02\/04\/2018, 02\/07\/2018, 01\/10\/2018\u003cbr\u003eSource Map: ‘Paris’ by Malby \u0026amp; Sons in D Appleton, Appleton’s European Guide Book illustrated.\u003cbr\u003eLondon, 1872. 10107.bb.20\u003cbr\u003ewww.flickr.com\/photos\/britishlibrary\/11097701034\u003c\/p\u003e","brand":"Michael Takeo Magruder","offers":[{"title":"Default Title","offer_id":53642195665281,"sku":"MTK0006","price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/0230341cc249b303cfd311965a962a3bj_c628747c-c8ea-4c43-b9a8-b3bb89fb4294.jpg?v=1730773152"},{"product_id":"imaginary-cities-paris-11097701034-02-04-2018","title":"Imaginary Cities — Paris (11097701034) - 02\/04\/2018","description":"\u003cp\u003eThis sequence of four monoprints has been created through combining leading-edge digital technologies and processes with precious fine art materials and historic craft techniques. The project’s underlying custom server application has algorithmically generated the image data for each print from a single 19th-century map of Paris found in the British Library’s One Million Images from Scanned Books collection on Flickr Commons. Each piece represents a unique moment from the work’s continuously running computational framework. The final objects are fabricated using direct-to-media digital printing onto 24ct gold-gilded cotton boards that have been traditionally produced and hand finished by the artist.\u003cbr\u003eSource data timepoints (90-day intervals): 01\/01\/2018, 02\/04\/2018, 02\/07\/2018, 01\/10\/2018\u003cbr\u003eSource Map: ‘Paris’ by Malby \u0026amp; Sons in D Appleton, Appleton’s European Guide Book illustrated.\u003cbr\u003eLondon, 1872. 10107.bb.20\u003cbr\u003ewww.flickr.com\/photos\/britishlibrary\/11097701034\u003c\/p\u003e\n\u003ch3\u003eExhibitions\u003c\/h3\u003e\n\u003cp\u003e\u003ci\u003eImaginary Cities: Michael Takeo Magruder,\u003c\/i\u003e\u003cspan\u003e The British Library, London, UK (2019)\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Takeo Magruder","offers":[{"title":"Default Title","offer_id":53642196025729,"sku":"MTK0005","price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/c24c5d946ea67d39f7feed6a135547dcj_b840a418-2c75-4db6-a7fa-fa40b294107e.jpg?v=1730773154"},{"product_id":"imaginary-cities-paris-11097701034-02-07-2018","title":"Imaginary Cities — Paris (11097701034) - 02\/07\/2018","description":"\u003cp\u003eThis sequence of four monoprints has been created through combining leading-edge digital technologies and processes with precious fine art materials and historic craft techniques. The project’s underlying custom server application has algorithmically generated the image data for each print from a single 19th-century map of Paris found in the British Library’s One Million Images from Scanned Books collection on Flickr Commons. Each piece represents a unique moment from the work’s continuously running computational framework. The final objects are fabricated using direct-to-media digital printing onto 24ct gold-gilded cotton boards that have been traditionally produced and hand finished by the artist.\u003cbr\u003eSource data timepoints (90-day intervals): 01\/01\/2018, 02\/04\/2018, 02\/07\/2018, 01\/10\/2018\u003cbr\u003eSource Map: ‘Paris’ by Malby \u0026amp; Sons in D Appleton, Appleton’s European Guide Book illustrated.\u003cbr\u003eLondon, 1872. 10107.bb.20\u003cbr\u003ewww.flickr.com\/photos\/britishlibrary\/11097701034\u003c\/p\u003e\n\u003ch3\u003eExhibitions\u003c\/h3\u003e\n\u003cp\u003e\u003ci\u003eEnter Through The Headset 4,\u003c\/i\u003e\u003cspan\u003e Gazelli Art House, London, UK (2019)\u003c\/span\u003e\u003cbr\u003e\u003ci\u003eImaginary Cities: Michael Takeo Magruder,\u003c\/i\u003e\u003cspan\u003e The British Library, London, UK (2019)\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Takeo Magruder","offers":[{"title":"Default Title","offer_id":53642196058497,"sku":"MTK0004","price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/files\/a4cca31ff93df769df74aadef1b187adj_c92f49e2-1028-4315-a0d4-a50f3005d1b3.jpg?v=1730773155"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0681\/4489\/0155\/collections\/MTK0003_high_res.png?v=1737457884","url":"https:\/\/gazell.io\/collections\/ana-maria-caballero-brendan-dawes-ira-greenberg-michael-takeo-magruder.oembed","provider":"GAZELL.iO","version":"1.0","type":"link"}