The Instruction Set @InstrSet

Most websites are treated as containers for art. WEBSITES WEBSITES WEBSITES! installs the sites themselves in the gallery, live and online. The browser isn't just how you reach the work here. It's part of the medium.

Rhizome @rhizome

3 weeks ago

We’re excited to be partnering with @artxcode_io on WEBSITES WEBSITES WEBSITES! Curated by @sofiagarcia_io @bennavkim & @benoit_tokyo_ ! visit websiteswebsiteswebsites.net to see the full list of participating artists :)

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Vera Molnár's Interruptions begins with an even field of lines. She programmed randomness to leave holes in it, creating what she called a "disturbed equilibrium." Disorder was one of the rules. themorgan.org/morganmobile/o…

Rho Jae Oon's Bite the Bullet stopped working in modern browsers after Flash support ended. Conservators rebuilt it in HTML5/JavaScript and preserved a Flash environment in a virtual machine. They hashed the files and annotated every code change. nature.com/articles/s4049…

Sol LeWitt’s Wall Drawing 289 fixes where lines begin but leaves their endpoints to the draftsmen. Before drawing, they stretch red string across the wall so they can move each line around. The instruction doesn't eliminate decisions. It relocates them. massmoca.org/event/walldraw…

In 2019, Larva Labs put the Autoglyphs generator inside an Ethereum smart contract. Each glyph was created when the contract ran during minting. After 512, generation stopped for good. The generator isn't linked from Ethereum. Ethereum executes it. larvalabs.com/autoglyphs

Sturtevant didn't reproduce Warhol's Flowers from a photograph. Warhol lent her the actual silkscreen she used to make her own versions. When people later asked him how the Flowers were made, he reportedly said: "I don't know. Ask Elaine." moma.org/calendar/exhib…

@nonperformant's KAKAKOMPYUTER MO YAN! turns a net-art anthology into karaoke. Games, essays and browser works become songs you choose together. Instead of browsing an archive alone, you gather around it. kakakompyutermoyan.com/info/

@ArtRalgo Keeping the generator, seed and output may still not be enough. Tate preserves disk images of entire systems and builds emulated machines from them. Sometimes preserving software art means preserving a way to run it.

@noragibson0 lets the dancers generate their own movement phrases through an app. She then captures those phrases again, in video and 3D, and feeds them through another set of transformations. The choreography keeps changing hands.

generativemedia.club @genmediaclub

2 weeks ago

[Artist of the Week #41] @noragibson0 Nora merges movement, digital choreography, and physiological data to capture the spirit of motion without a body. Read our full interview about her work with TouchDesigner, sensors, and generative art 👇 generativemedia.club/blog/nora-gibs…

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A normal scanner assumes its subject stays still. @luke_shannon_ scaled one up to the size of a body. The scan takes minutes, so movement, hesitation and discomfort enter the image. The machine's limitation becomes part of the portrait.

Fellowship @fellowshiptrust

a week ago

3. Replacement Character (2025) → heftgallery.com 4. His solo show at HEFT, built around the plotter-scanner: a machine he designed and built that fuses a document scanner with a 4'×6' plotter into a life-sized scanner bed. It's a tool of surveillance and witness at

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Peggy Weil’s 88 Cores descends through two miles of Greenland ice and 110,000 years of climate history. The work doesn't simulate an archive. The archive is already there, trapped in layers of ice, air and gas. The screen just makes it legible. newyorker.com/tech/annals-of…

@tezos Putting an artwork onchain can preserve its record without preserving the artwork. A browser update, dead dependency or obsolete language can still make the work impossible to experience. Sometimes conservation means preserving the environment a work needs to run.

Putting an artwork onchain can preserve its record without preserving the artwork. A browser update, dead dependency or obsolete language can still make the work impossible to experience. Sometimes conservation means preserving the environment a work needs to run.

Tezos @tezos

2 weeks ago

Digital art isn't just about what gets created today. It's also about what survives tomorrow. 🎨 Behind the scenes of HEK + Tezos Foundation exploring the future of digital art through exhibitions, education and preservation. Read more ↓ spotlight.tezos.com/inside-the-hek…

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Yes, taste still matters. But that cuts both ways. AI doesn't make a work illegitimate. It also doesn't make every choice meaningful. What matters is whether those choices add up to something only this artist would have made.

PAPADU PAPADU @papadupapadu

2 weeks ago

YOU ARE NOT JUST A REAL ARTIST IF YOU USE AI. YOU ARE NOT JUST A REAL MUSICIAN. YOU ARE NOT JUST A REAL WRITER. You are still the one making the choices. What stays. What goes. What gets distorted. What gets rebuilt. What deserves another hour. What needs to be thrown away

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Takako Saito kept the rules of chess, but made the pieces impossible to read by sight alone. In Spice Chess, smell identifies them. In Sound Chess, sound does. The game stays familiar. The way you have to perceive it changes.

NEORT @neort_io

a month ago

TAKAKO SAITO (1929–2025) Takako Saito was born in 1929 in Sabae, Fukui. She moved to the United States in the 1960s and joined the Fluxus community in New York, working as an assistant to Fluxus founder George Maciunas on production, editing and event organisation. Alongside

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Weathering, reflections, shadows and accidental symbols found in Marfa become inputs to this generative system. The code doesn't invent the whole visual language. The place supplies part of it.

Travis LeRoy Southworth @travisleroy

4 weeks ago

Can’t believe it is my last week in Marfa! I’ve spent three weeks photographing signs, but increasingly I’m drawn to everything I wasn’t looking for. Those details are now finding their way back into There Will Be Signs: weathering, layering, reflection, obstruction,

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@Gossip_Goblin The signature may be the funniest piece of technology in the film.

In 1968, S.M.S. sent six portfolios of work by 73 artists directly to subscribers. The interesting part is not just what was inside. Distribution itself became part of how the exhibition existed.

Holly Blake @hollycurates

4 weeks ago

one format i desperately want to see more of, not only within the art world but far beyond it, is what S.M.S. (Shit Must Stop) did in 1968. the idea was to cut out the traditional gallery system and bring art directly from artists to people, hence the name. every two months,

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@liasomething's little boxes on the hillsides, mother deliberately keeps its bugs. They remain alongside chosen angles, transparencies and line weights. Generative art gets interesting when the artist designs the rules and decides which mistakes deserve to survive.

Fellowship @fellowshiptrust

2 weeks ago

3. little boxes on the hillsides, mother (2021) → liaworks.com/software-art/l… A monochrome, silent generative artwork that grew from a Processing sketch through her careful selection of angles, transparencies and line weights, and her deliberate retention of accidents and bugs. A

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Generative art does not have to produce an object. KANKYO DOT's Resonant Fields unfolds as a 31-hour sound environment across eight changing states. Here the system composes a situation, not a standalone image or artifact.

Yoshio Ojima (尾島由郎) @YoshioOjima

2 weeks ago

KANKYO DOTの新しいプロジェクト「KANKYO DOT - Resonant Fields」を公開しました。 今回、EACH STORYの会場である長野県八ケ岳高原 五光牧場での31時間にわたる音の環境をつくるにあたり、あらためてKANKYO DOTとは何だろう、というところから考え始めました。 そこで辿り着いたのが、 「KANKYO

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