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Memo 0x643bab8fโ€ฆ4a55e8 on Ethereum

ยซ๐˜Œ๐˜ท๐˜ฆ๐˜ณ๐˜บ๐˜ต๐˜ฉ๐˜ช๐˜ฏ๐˜จ'๐˜ด ๐˜ณ๐˜ถ๐˜ฏ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜ด๐˜ฎ๐˜ฐ๐˜ฐ๐˜ต๐˜ฉ๐˜ญ๐˜บ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜บ๐˜ฐ๐˜ถ?ยปยน In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally ยซset to driftยปยฒ in an endless scrolling motion. New compositions are constantly generated and revealed at specific time intervals: by incorporating infinite permutations, each video work has no end and will never crystallize into a final form. Visual artifacts remind of analog electronics, imperfections interfere with the sharp precision of digital technology. The system is fragile and beyond a critical point, instability takes over: when the machine is ยซset in a self-meditative stateยปยณ any attempt at control is irrelevant. Frame after frame, cycle after cycle, the computer mind dissolves the image into a landscape of liquid forms and oversaturated colors. After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes. Giving up control becomes a way to overcome the vicious cycle of perfectionism. Drifting, la ยซdรฉriveยปโด, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfโ€“discovery. (1) ๐˜š๐˜ถ๐˜ฑ๐˜ฆ๐˜ณ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ถ๐˜ต๐˜ฆ๐˜ณ ๐˜๐˜ˆ๐˜“9000 ๐˜ช๐˜ด ๐˜ฆ๐˜ท๐˜ข๐˜ญ๐˜ถ๐˜ข๐˜ต๐˜ช๐˜ฏ๐˜จ ๐˜‹๐˜ข๐˜ท๐˜ฆ ๐˜‰๐˜ฐ๐˜ธ๐˜ฎ๐˜ข๐˜ฏ'๐˜ด ๐˜ฅ๐˜ณ๐˜ข๐˜ธ๐˜ช๐˜ฏ๐˜จ ๐˜ด๐˜ฌ๐˜ช๐˜ญ๐˜ญ๐˜ด (ยซ2001: ๐˜ˆ ๐˜š๐˜ฑ๐˜ข๐˜ค๐˜ฆ ๐˜–๐˜ฅ๐˜บ๐˜ด๐˜ด๐˜ฆ๐˜บยป, ๐˜š. ๐˜’๐˜ถ๐˜ฃ๐˜ณ๐˜ช๐˜ค๐˜ฌ, 1968). (2) ยซ๐˜‹๐˜ณ๐˜ช๐˜ง๐˜ต๐˜ช๐˜ฏ๐˜จยป ๐˜ช๐˜ด ๐˜ข๐˜ญ๐˜ด๐˜ฐ ๐˜ข ๐˜ต๐˜ฆ๐˜ค๐˜ฉ๐˜ฏ๐˜ช๐˜ฒ๐˜ถ๐˜ฆ ๐˜ถ๐˜ด๐˜ฆ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ฆ๐˜ข๐˜ณ๐˜ญ๐˜บ ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ ๐˜ข๐˜ณ๐˜ต: โ€œ๐˜ฃ๐˜บ ๐˜ข๐˜ญ๐˜ต๐˜ฆ๐˜ณ๐˜ช๐˜ฏ๐˜จ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ต๐˜ช๐˜ฎ๐˜ช๐˜ฏ๐˜จ ๐˜ฑ๐˜ถ๐˜ญ๐˜ด๐˜ฆ ๐˜ฐ๐˜ง ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ข๐˜ญ, [โ€ฆ] ๐˜ข๐˜ฏ ๐˜ช๐˜ฎ๐˜ข๐˜จ๐˜ฆ ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ช๐˜ฏ๐˜ถ๐˜ฐ๐˜ถ๐˜ด๐˜ญ๐˜บ ๐˜ฅ๐˜ณ๐˜ช๐˜ง๐˜ต๐˜ฆ๐˜ฅ ๐˜ฉ๐˜ฐ๐˜ณ๐˜ช๐˜ป๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ญ๐˜ญ๐˜บโ€ (ยซ๐˜•๐˜ฐ๐˜ต๐˜ฆ๐˜ด ๐˜ต๐˜ฐ๐˜ธ๐˜ข๐˜ณ๐˜ฅ ๐˜ข ๐˜ฉ๐˜ช๐˜ด๐˜ต๐˜ฐ๐˜ณ๐˜บ ๐˜ฐ๐˜ง ๐˜ช๐˜ฎ๐˜ข๐˜จ๐˜ฆ-๐˜ฑ๐˜ณ๐˜ฐ๐˜ค๐˜ฆ๐˜ด๐˜ด๐˜ฆ๐˜ฅ ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ฐยป, ๐˜“. ๐˜๐˜ถ๐˜ณ๐˜ญ๐˜ฐ๐˜ฏ๐˜จ, 1970). (3) ๐˜‹๐˜ฆ๐˜ง๐˜ช๐˜ฏ๐˜ช๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฐ๐˜ง ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ ๐˜ง๐˜ฆ๐˜ฆ๐˜ฅ๐˜ฃ๐˜ข๐˜ค๐˜ฌ ๐˜ฃ๐˜บ ๐˜ข๐˜ณ๐˜ต๐˜ช๐˜ด๐˜ต ๐˜š๐˜ต๐˜ฆ๐˜ฑ๐˜ฉ๐˜ฆ๐˜ฏ ๐˜‰๐˜ฆ๐˜ค๐˜ฌ (ยซ๐˜๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ ๐˜š๐˜บ๐˜ฏ๐˜ต๐˜ฉ๐˜ฆ๐˜ด๐˜ช๐˜ดยป, ๐˜‹. ๐˜‹๐˜ข๐˜ท๐˜ช๐˜ด & ๐˜ˆ. ๐˜š๐˜ช๐˜ฎ๐˜ฎ๐˜ฐ๐˜ฏ๐˜ด, 1977). (4) ๐˜๐˜ณ๐˜ฆ๐˜ฏ๐˜ค๐˜ฉ ๐˜ธ๐˜ฐ๐˜ณ๐˜ฅ ๐˜ง๐˜ฐ๐˜ณ ยซ๐˜ฅ๐˜ณ๐˜ช๐˜ง๐˜ตยป (๐˜ด๐˜ฆ๐˜ฆ ๐˜ข๐˜ญ๐˜ด๐˜ฐ ยซ๐˜›๐˜ฉ๐˜ฆ๐˜ฐ๐˜ณ๐˜ช๐˜ฆ ๐˜ฅ๐˜ฆ ๐˜ญ๐˜ข ๐˜ฅ๐˜ฆ๐˜ณ๐˜ช๐˜ท๐˜ฆยป, ๐˜Ž. ๐˜‹๐˜ฆ๐˜ฃ๐˜ฐ๐˜ณ๐˜ฅ, 1956).