We're thrilled to announce two exceptional generative art projects launching this week as long-form releases: . ➤ 𝗘𝗫𝗣𝗟𝗢𝗗𝗘𝗥 by @mariuswatz .➤ 𝗥𝗘𝗧𝗨𝗥𝗡𝗦 by @alexis_o_O . Thursday, September 04, 6pm CET / 12pm EST.

We are happy to announce that 'Exploder' sales have been restarted! . You have 7 days to mint @mariuswatz 's project 🔥. ➤

The minting of ‘Exploder’ has been paused. Please refer to @mariuswatz post below for a more detailed explanation . We will keep you informed as the artist decides when/how to proceed.

“I developed 'Exploder' as a signature piece for solo shows in Oslo and San Francisco (2010-2011), and it hits some important conceptual notes for me. A relatively simple (but expressive) geometric abstraction that makes no attempt at representing anything outside itself, I.

This evolution returns the piece to the digital, as a long-form generative work that adds aspects of color and animation not possible in the wall drawings. But the mechanism for the drawings is still there in the software, available as a DIY drawing mode. 'Exploder' remains a

'Exploder' is an experiment in non-Cartesian coordinate systems like spherical coordinates. It explores a geometric transformation where an ellipsoid form is cut into into spherical quadrangles, animated along a vector from the world origin. The resulting composition appears

Reveling ➤➤ 𝗘𝗫𝗣𝗟𝗢𝗗𝗘𝗥 by @mariuswatz. ➤ Use refresh button to explore the possible outputs of the project. Learn more ↓

‘Returns’ was first exhibited in March 2025 as part of ‘Compositions in Code: The Art of Processing and p5.js’, curated by @ReginaHarsanyi , fourth series of media art installations for MoMI’s Schlosser Media Wall presented in partnership with the @TezosFoundation and in

‘Returns’ depicts an ongoing exploration of human psychology, algorithms, data visualizations, and the tendency to create connections and discern meaningful patterns in otherwise unrelated or seemingly random elements. In this work, a sequence of bands emerges, “walking”

Reveling: 𝗥𝗘𝗧𝗨𝗥𝗡𝗦 by @alexis_o_O . ➢ Use refresh button to explore the possible outputs of the project. 💎

"We have grown accustomed to trust more visuals containing scientific notifications, figures, or other graphics often associated with data visualizations. Therefore, many of my pieces are part of an ongoing exploration of the human tendency to create connections and to.

"For the MoMI installation of 'Returns', I prepared infinite generative animation that changes variables after each path is drawn and erased. Outputs were consistent, but I hope it still contained enough surprise elements, and unexpected outputs, present in every generative.

"To put it simply, a programmer's future appeared to be a more realistic option with a foreseeable future, compared to arts. I can also say that this was just a dilemma in choosing my educational path; otherwise, I continued to explore various art mediums on my own until I had.

𝗥𝗘𝗧𝗨𝗥𝗡𝗦 by @alexis_o_O .September 04 on objktone. Enjoy some quotes from our conversation with this remarkable Serbian artist and academic ↓

We're very excited to chat with @alexis_o_O and @mariuswatz tomorrow about their long form gen art projects being released on objktone this week 🔥. Set your reminder ↓

Marius Watz (NO) is an artist working with visual abstraction through generative software processes. His work focuses on the synthesis of form as the product of parametric behaviors. He is known for hard-edged geometrical forms and vivid colors, with outputs ranging from pure.

"Now, long-form is a logical match to the inherent nature of generative systems - why make one image when your work is an image machine? Larger editions of 1/1 is conceptually elegant and clearly attractive to audiences, a perfect storm when combined with blockchain. There is.

"As you know, Exploder is my first “proper” (i.e. mintable) long-form project. But my practice has always been based on software that can produce infinite variations, with projects from 15+ years ago that fit the basic format. Most of my works (Neon Organic, Illuminations,.

"In terms of pure aesthetics, I’d say that the early 2000’s generative art scene I came up with had a more minimalist or glitchy aesthetic, with less ornamentation and visual finish than is common now. This is in part due to advances in tech, computers keep getting more powerful.