Composition generated with the Mutant Garden algorithm.

Features

Comes with <a href='https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/4'  target='_blank'>Arweave SVG NFT</a>

Archive Static

Based on an output of my "Stained Unravel" algorithm. Comes with a source NFT.

Diagonal Fault

Created with the "Stained Unravel" algorithm, comes with source NFT.

Thresh

After Charlotte Posenenske. Comes with an Arweave source NFT.

Rasterbild

A protoseeder ie. created with the Mutant Garden algorithm. The original output was generated in 2023.

Soft Shield

Lacelove

Thursday, April 11 2019, 12:11:23

Thursday, April 11 2019, 13:40:18

Wednesday, April 2 2019, 14:12:13

Thursday, March 28 2019, 16:10:34

Wednesday, April 3 2019, 14:47:47 CEST

Wednesday, April 3 2019, 15:13:14

Friday, April 26 2019, 00:50:27

Thursday, April 25 2019, 23:40:34 CET

Wednesday, April 24 2019, 17:37:10 CET

Shy Overture (triplet)

This is a selection of newly processed early outputs of the Mutant Garden algorithm, based on Cartesian Genetic Programming.

Proto Seeders

A Vale of Tears

Swath

Pattern and Presence

Nested Exchange

Sensualist

Tract

Mutant Garden Autobreeder

Mutant Garden Seeder consists of 512+1 ever-evolving generative unique Ethereum NFTs by artist Harm van den Dorpel, released in collaboration with Folia in 2021.

Mutant Garden Seeder

The cutout design refers to a lithography by Hans Arp from 1962.

Bag (Skeleton and its entourage)

Bag (Pflanzenbild)

Spectre

Based on the work "Constellations" by Jean Arp from 1938


Another Bag

Hand- and CNC-cut brown paper bags; interpretations of lithographies by Hans Arp. 

Bags

Assemblage (new)

Assemblage (About)

Assemblage (chain)

Assemblage (canvas)

Assemblage (shell)

Assemblages dates to the time shortly after I graduated from art school. At that time my friends and I were often experiencing artworks through the images posted on sites like Contemporary Art Daily. The images we saw were of pristine spaces with perfectly realised works. I wondered how it would be if I rendered the exhibitions using 3-D software - programmes like Cinema 4-D were among the programmes I used for the works. Once I created these renders, I could post them and see if they would be featured on the blogs alongside the exhibition views on which they were based. 

The idea worked a little too well. A gallerist in London saw the images online and she liked them. Thinking they were IRL works, she asked if she could show them. It was a very generative dilemma. I could either admit they were digital works and had no physical dimension, or I could create the works IRL. I decided to accept the challenge, and it was challenging. The works are spheres, the easiest shapes to create digitally. It’s three clicks, assigning an image as a texture on a sphere and then making adjustments. To make the same shape in physical material is among the hardest things you can do.

For the surfaces, I printed some images from Google image searches - mostly textures from ready-made render kits. I chose mostly images that represented complex systems, network cables, intestines, whatever I could find that was interlocking and complex. The works became sculptures about the ways in which systems fit together, interpenetrate, and elude each other. The sphere is a kind of container, but also a fixed border, holding these complexities in tension and in place, not least the complexities behind their own creation. 

Assemblages

The vector source files behind my pen-plotted drawings. Each SVG is a score: instructions handed to a mechanical plotter, which interprets and performs them in ink on paper. What the machine produces might differ from what the file describes. Stored permanently on Arweave, bundled with the plotted drawing.

Sources

Typographic Trace

Light exposure on photographic aluminium paper, mounted behind acrylic glass, framed

Modular Mind

Blush Array III

Eventide Paramour

Wednesday, April 3 2019, 15:19:55 CEST (Pleasant  Modules)

Blush Array II

Blush Array

Pejorative Highlights

High resolution render of the Mutant Garden algorithm, manually calibrated. When this one was made the renderer did not use Gaussian blur yet. Its composition primarily benefits from the alternating AB/BA grid structures and its colours from a balanced pastel palette (HSL colour space).

12000×12000px

Alternate Ploy

Plural Shim

Grand Formation

Zwour

UltraChrome HD print on archival fine art paper

Decent Fabric

Moksi

Odd Motives

Mutant Garden Tracer

Generative animated artwork, based on evolutionary programming. Dimensions variable, duration infinite, silent.

Hissed Hyphen Flicks

Hazy Sparkle Boost

Poly Fill

Run Too

Early high resolution render of the Mutant Garden algorithm, manually retouched.

9331×9331px

By Harm van den Dorpel, 2020

(title by William Kherbek)

Neural Dust

Trivializer

Triddle

Source Unknown

Crystallophobia

Floppy Candour

Untitled Decompression

A website where users can live breed and mutate specimen.

Mutant .garden

Autobreeder (single screen)

Multi Dimensional Zoom

Crud

Untitled (pleasant modules II)

daisies

Decompression

Untitled (1554993052565)

Trebles

Field

SPARCStation

Rendered using Cartesian genetic programming

Friendly Conglomerate

1554994948963

This artwork uses an algorithm called 'Cartesian genetic programming', intented approximately twenty years ago by Julian F. Miller and Peter Thomson. It is called ‘Cartesian’ because it represents a computer program as a two-dimensional grid: nodes and layers. Althought the result of my specific use of this algorithm is also two-dimensional, the algorithm is versatile and can also generate completely different systems, such time based media, human language or three-dimensional structures.

As we also encounter in genetic encoding in "real nature", the genotype contains many redundant genes, which are well known to assist in effective evolutionary development.

In Mutant Garden, clicking one rectangular 'mutant' will cause its siblings to be replaced with newly mutated offspring. This breeding strategy requires only one parent to be selected because the algorithm utilizes mutation, rather than cross-over.

As many people nowadays tend to equate articial intelligence with neural networks, I wanted to highlight the evolutionary progress in this recent history of computation, approaching it as algorithmic archeology. Each new innovation in this lineage aimed to improve or declare its predecessor obsolete, yet would simultaneously stand on its shoulders.

Mutant Garden

Built from a highly granular grid of short connecting line segments. Its starting point is Vera Molnár's series <em>Interruptions</em> (begun in the late 1960s), one of the foundational works of generative art, in which a regular field of line segments is disturbed by controlled randomness so that order and disorder hold each other in tension. <em>Sediment</em> takes up Molnár's grid and adds one rule: when neighbouring segments touch, they form a group, and each group is assigned a shared colour from a predefined palette. These colour-bound groups are what the plotter draws, and they accumulate as strata, in the geological sense: one group laid down over another, so that the flat surface is in fact a sequence of layers. The plotter itself is an unpredictable mechanical device: as it draws, it introduces its own texture of aberrations such as slight slips, pressure variations, and pens wearing out, that no part of the algorithm specifies. This unpredictability returns an organic quality to the image, loosening the exactness of the grid into something closer to a natural surface.

Sediment

The title of this exhibition, Release early, release often, delegate everything you can, be open to the point of promiscuity, references a credo of computer programmers in the open source movement. The phrase describes a software development philosophy that encourages frequent release in order to keep a rapid, close feedback loop operating between the system user and developer. Blurring distinctions between the software's users and its creators, this strategy allows for transparency and heightened physical and conceptual accessibility, two concepts the artist values in his approach to artistic practice.

<a href='https://dissociations.com/wiki/summaries/release-early-release-often-2013' target='_blank'>More information...</a>

Activity

Features

Archive Static

Diagonal Fault

Thresh

Rasterbild

Proto Seeders

A Vale of Tears

Swath

Nested Exchange

Sensualist

Tract

Mutant Garden Seeder

Bags

Assemblages

Sources

Mutant Garden

Wednesday, April 3 2019, 15:13:14

Sediment

Hatched Lining

Sealed Solids

Stitched Gaze

Chroma Husk

Archive Static

Release Early, Release Often

Soft Shield