The Open Hand #71/82

In this psychologically bed-headed portrait, a creature sets in a trance; his eyes devolved and vestigal, his third eye open but hardened and in a form resembling a Sharingan. The imagery therefore expresses an awareness existing in corporeal introspection. The creature’s mind sprouts, on the left side, an emerging face, grinning. To the right side of the head, red tentacles and fingers intertwine–a collaboration of invertebrate and vertebrate consciousness cooperatively handling paint brushes of the sort used to build an oil painting. The neck and throat bristle with random thorns, as from a rose or the upper portions of a beak sprouting from its flesh. The neck itself disassociates into layers of membranous material, terminating upon an abstracted base of convoluted forms composing its body. The nose is virtually non existent, more a sinus reiterative of the shape of the third eye. Set against the exposed teeth peering out of thick, meaty cheeks, a skeleton-like impression results. That impression sets behind a visceral set of lips and tongue, which is the creature’s prime seat of awareness. Sensual, organic, the tongue organ hangs, meaty, and with consciousness of a sea cucumber. It illuminates at the tip, drawing the attraction of a nearby moth–with mystery of purpose.

The #PendingGerbil drew his breath nervously. Fail Dropped Dropped and Replaced There were nothing in this world he feared more. He looked at the chords that crossed the abyss in front of him. They were loaded with pending gerbils, clinging for their life. No open space to be seen. The world machine creaked under the load. As the wheel turned and settled on a new block with a load bang, the chords vibrated, and short shrieks were heard as tired paws lost their grip and the gerbils fell into oblivion. #PendingGerbil closed his eyes, sent a short prayer to @VitalikButerin, and took the leap. Written by: @Werekitty1 Pending Gerbil is a very special collaboration with NonFunGerbils (https://nonfungerbils.com/pendinggerbil)

Today we are the ones our parents warned us about in the past. Do you remember the colourful PEZ dispensers with the different faces? When we were kids we used to stack candy, and today we stack satoshis because we have a plan B. We stick to this plan because Mahatma Gandhi has already said, "First they ignore you, then they laugh at you, then they fight you, then you win. That is why we are giving the middle finger to the existing system.

In this image, a giant sphinx spoons itself in erotic play within an aquatic styled environment littered by various denizens. These creatures include symbols and archetypes both current and nostalgic–each inhabiting a rootedness within mass cultural adolescence. Among the roster are Servbots, video game inspired mushrooms, a Pacman-like creature, a distant sea faring rubber duck, creatures sporting the symbols reminiscent of popular anime, and a Pokemon-like rabbit (a novel incarnation of Ganesha indicated by the Shiva trident on its nose). In addition, a few sea creatures partly inspired by sea monsters of western antiquity conglomerate along the mid left side of the composition. The Sphinx itself is an amalgam of aquatic, fetishist, ancient Egyptian, and 80’s style adornments, both living, as in a clown fish, or material, such as a cassette tape. Nautically colored antennae receive somatic signals from the atmosphere, perhaps from the 8 Ball moon or giant ringed planet beyond.

Back into the void

Continuing the exploration of well known algorithms, this work delves into pixel sorting. The works of several cubists were first averaged with custom averaging software and then sorted with a bespoke pixel sorting algorithm. All tools were written in javascript, for masochistic reasons.