Wounded

OWNER: Sir Tim Berners-Lee Sir Tim Berners-Lee, b. 1955 Source Code for the WWW 1990-1991 Work includes: Original archive of dated and time-stamped files containing the source code, written between 3 October 1990 and 24 August 1991. These files contain code with approximately 9,555 lines, the contents of which include implementations of the three languages and protocols invented by Sir Tim; HTML (Hypertext Markup Language); HTTP (Hyper Transfer Protocol); and URIs (Uniform Resource Identifiers), as well as the original HTML documents that instructed early web users on how to use the application Animated visualization of the code being written (Video, black & white, silent), lasting 30 minutes 25 seconds A Scalable Vector Graphics (SVG) representation of the full code (A0 841mm wide by 1189 mm high), created by Sir Tim from the original files using Python, with a graphic representation of his physical signature at lower right A letter written in the README.md file (in “markdown” format) by Sir Tim in June of 2021, reflecting upon the code and his process of creating it Non-fungible Token ERC-721 Minted on June 15, 2021, ed. 1/1 Smart Contract Address: 0x86ade256037d80d6d42df8df96d5be21cd25bd8f

Title: Nobody Likes Me - Glitch Original (animated) Artist: iHeart Edition: One of one, unique. Medium: mp4 This unique variation, "Nobody Likes Me - Glitch Original (animated)” is part of an exclusive NFT release on KnowOrigin. in collaboration with Art Rapture. This variation is part of the Genesis NFT Drop of iHeart's iconic work, "Nobody Likes Me." DETAILS: The iconic, "Nobody Likes Me" street art piece by urban legend, iHeart has garnered the hearts, eyes and minds of art fans since 2014. In collaboration with Art Rapture and KnownOrigin., iHeart is dropping his first ever NFT release of several variations of his tour de force image, "Nobody Likes Me." In 2014, this captivating stencil mural, created in Stanley Park, Vancouver, earned iHeart a massive following and ultimately took down the second place price for most popular street art piece in the world (Street Art News article below). To truly understand the scope and reach of this iconic art piece, that symbolizes the impact of social media on our lives every single day, all you need to do is Google, "Nobody Like Me iHeart street art" and see the results. This release of "Nobody Likes Me" NFTs has a variety of 2D still & 2D animated versions ready for collectors to consume all around the world! Happy collecting! iHeart instagram: www.instagram.com/ihatestencils Street Art News article: https://streetartnews.net/2014/12/the-25-most-popular-street-art-pieces.html Huffington Post article: https://www.huffingtonpost.ca/sunny-lenarduzzi/vancouver-street-artist-banksy-iheart_b_4953880.html #loveyourcollection #evolveyourcollection

Welcome to the ‘Beautiful worlds’ where nature and technology have merged into a single entity. These are Ai generated and hand finished visions of solarpunk future in which I would really like our future generations to live and prosper: the future we might have if we took the very “alternative route” which now lies before us: replacing states and corporations which free federations of communities and cooperatives, using decentralist and ecological technologies to create a world beyond economic scarcity and social hierarchy, defined by autonomy, mutual aid, diversity, and inclusiveness. The long-term goals of solarpunk are freedom and well-being for all by adopting and developing such ecological technologies as: solar, wind, wave and geothermal energy rather than oil or gas to generate electricity; a world of decentralized eco-cities, permaculture and vertical farming, free and open-source software, open-source hardware, small-scale fabrication laboratories, micro-manufacturing, 3D-printing, and countless examples of commons-based peer-production online: meeting the maximum amount of needs, in the shortest time, using the minimum possible amount of energy. It’s a world of decentralized and confederated eco-communities, using technology for human-centric and eco-centric ends rather than for accumulating power and profit – mending the metabolic rift between first nature (the natural world) and second nature (human culture) – and where social hierarchies of race, gender, sexuality, and disability are considered horror stories from the past “oil age”. Solarpunk desires societies of polycultural ethnic diversity and gender liberation, where each person is able to actualize themselves in societal environment of free experimentation and communal caring; This philosophy proposes that in order for the social and natural worlds to reconcile, humans must first transform their relations to each other – recreating society along egalitarian, cooperative, and democratic lines – and then transform their relations towards nature – adopting an attitude to cooperation, rather than domination, towards the planet and its nonhuman forms of life. Text by Connor Owens. This artwork took me a year to create and for you it will take a year to discover. Master autonomously updates once a day at 12am with one of 366 original artworks. Enjoy!

BDSIM | 02 is the second of 4 parts series exploring BDSM esthetics in a fun and unexpected way

José Delbo sent me his striking pencil sketch and powerful inked work, which I then interpreted in oil on canvas. I wanted to create a very painterly piece with obvious brush marks etc, but I was also aiming for a nostalgic feel, a kind of 1980’s superhero comic book look, the kind I grew up with. My goal with this animation was to try to recreate, in part, the creative process that both artists went through with the visual information I had. I was able to showcase my painting process more accurately as I could take photographs of my progress throughout. Consecutive images could then be layered like brush strokes over José’s drawing to create the impression that this was one continuous artwork from pencil, to ink, to completed painting. The representation of the line sketch at the beginning, then pencil/ink and lastly the paint layers being applied demonstrate both artists’ struggle for the right lines, tone, form, and colour until the work is finally completed. As the oil was still wet with each photograph the glare of my studio lights can be seen in the brush strokes. Eventually, the figure emerges and as it does, our hero comes to life, looking directly at the viewer -- but is he grimacing in approval or disgust? We will never know for sure as just before he can say anything, white paint is brushed across the canvas entirely and the process begins again. Only the bat is quick enough to escape.

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.