TENDER Insights #12

Letter from the Editor

Generative art is all about experimentation, and we love the rapid pace at which it continues in both artworks and platforms.

Take fx(params). When fxhash rolled out its new “adjust your own mint” feature, no one really knew how it would go. Since then, we’ve seen thousands of unique mints. Artists, collectors, and the platform team have rallied together to improve the new feature on-the-fly, tightening up the user experience and continuing to refine a tool that will now be a cornerstone of new generative art projects in the months to come.

As fxhash has always reminded us, art is evolving. Having a front-row seat to that process is not something to take lightly. So get out there, try what’s new, share your thoughts, and repeat. That’s how evolution happens.

All the best, Stephen Stanwood (sandcat)

Movements

Minting a new generative art piece can be absolutely magical.

As collectors, we’ve all learned to appreciate that moment: you click the button, wait for the piece to come into view, and finally there it is! A unique new work is pulled from a generative range of near-infinite possibilities. This one is yours, and you love it.

The randomness that comes with the decision to mint a new work is part of what makes generative art great – the excitement of the reveal, the thrill of a great roll, and even the compulsion to keep minting whether initial mints are inspiring or suboptimal. The potential for dissatisfaction has always come with the process of randomized minting, yet many still relish in this process of minting – not only in those ecstatic moments of a great pull against the odds, but also when using their less desirable mints to build broader collections that suppress supply, or to sell those pieces for a potential profit or break-even.

Still, many recent discussions have evolved from collectors questioning the benefits of randomized minting, with many of them preferring to find pre-selected outputs of artwork to keep, such as with QQL and Cosmic Rays. In this category of generative projects, collectors can now pick what they want ahead of time, and don’t leave anything to chance on mint day.

Now, we have a middle ground. fx(params), fxhash’s brand new feature, lets artists select which traits can be chosen by collectors so that they can focus on the qualities in a generative project that most appeal to them – similar to how many c-verso projects functioned during its time last year. This system typically grants only incomplete control. While a collector can narrow the range of outputs with this system, the mint is still random – unlike with a pre-selected project, you don’t know exactly what you’re going to get.

Dan Catt’s pioneering YYYSEED project combined all three approaches. By pairing fx(params) and something he called a DANGER SEED, Catt’s project allowed users to exercise no control (get a random mint), incomplete control (get a params-specified mint), or complete control (get a mint I know I like).

This has spurred a new lively debate: do we know exactly what we want? The quick consensus is “no!” 😂

Some of us loved the commitment to the principle of randomness, while others reflected that after spending hours adjusting parameters and watching many potential pieces that we loved go by (only to never be seen again!), rolling a random mint sometimes felt like a letdown – perhaps more-so than ever exactly because of the potential of control that we saw, but could not have:

Is, then, having an option for perfect control the way forward here? Not entirely – certainly there is still much magic to be experienced from the now-classic fully random long-form mint. We expect these types of projects to remain the de facto release style for code based generative art – including when mixed with AI systems, such as Emergent Properties is doing on their platform.

Projects where the pieces are fully pre-selected (typically by the artist) are also a great option when serving an important purpose – supporting artworks that aren’t yet capable of in-browser rendering: certain AI works, code in non-supported languages, generative 3D art, etc. We would much rather see extraordinary artworks in these media than exclude them because they don’t adhere to a certain technical standard.

Then, for the hybrid model of projects that allow collector influence over the minting outcome, we believe that additional controls may help in cases where some refinement of the output is already invited by the artist and platform. It seems that this is an area where collector psychology plays a larger role in satisfaction than the finely tuned features available – the addition of pseudo-control suddenly adds a feeling of ‘not enough control,’ that wasn’t as apparent with randomized minting.

But, as randomness is removed from more projects, the long-term impact on secondary activity remains to be seen. As we know, the ever-evolving market dynamics of generative art NFTs relies on various constituents and their different approaches and motivations. For instance, resellers take their chances of striking gold, in order to serve collectors looking for a specific output that they didn’t get. This market activity drives visibility and desire, and perpetuates the perception of quality and opportunity that then attracts more collectors. We all know the benefit of more collectors.

While it’s tempting as collectors to yearn for the perfect mint each time, the impact of that approach on this micro-economy’s growth cannot be overlooked. The excitement and potential for gains are qualities that have driven much activity and new adoption, and without fervent secondary activity the trickle-down effects come right back to the collectors who cannot remain active and funded without reselling, and the artists who rely on funded collectors to mint.

There’s no magic formula for balancing the need for market activity and collector’s desires for great art pieces, but it’s also nothing to ignore.

We remain excited to see where artists and the various platforms take us next on this evolutionary journey. As always, let’s be here to explore and share critical, considerate conversation that may even help shape the directions we all take.

Project Love

YYYSEED by Dan Catt (fxhash)

Some artists are understandably taking the next few weeks or months to wrap their heads around fx(params) and what they might want to do with it. Dan Catt, though, came ready to play. Within an hour after the new feature launched on fxhash, he unveiled YYYSEED: a brand new params project that launched us all head-first into this wild new world.

Catt initially framed his project as "a FIVE DAY 'open edition' to celebrate the launch of fx(params)." Setting the supply at 1000 total works seemed sensible enough: after the market minted however many it wanted, Catt could burn the rest. But these entrancing pieces quickly caught on, and in a few days, there were none left available. The algorithm and market easily supported all 1000 outputs with room left to spare.

With YYYSEED, Catt successfully created exactly what he set out to do: "an aesthetic that works across digital, print and pen plotting mediums." To get there, collectors could take the typical params approach get a random output within certain constraints they specified. Or they could use a "DANGER SEED": a single input that would trump all others and produce a definite "what you see is what you get" output at mint time. The results ranged from monochromatic minimalism to wild overlapping mazes of color, plus hundreds of experiments and unique approaches somewhere in-between.

On top of the massive variety that collectors have chosen, is the fact that each piece is plottable, lending a sense of longing for the physical with each output. Given the different line widths and densities, one can anticipate the myriad wonderful ways any one piece could render using different writing implements. We expect to see many plotting experiments shared in discord and on twitter over the coming months – please share yours!

Klangteppich by Andreas Rau (fxhash)

It's safe to say that Andreas Rau really knows how to craft artwork that evolves with time. Like Toccata – his landmark collaboration with Marcelo Soria-Rodriguez – Rau's latest work evolves slowly as the viewer watches, extending an invitation for us "to slow down and feel a sense of home."

Klangteppich, which is German for "carpet of sound," blankets us with not only its hypnotic wavy visuals but also with a calming and contemplative soundscape that plays in the background. And if we listen closely, we can hear an unexpected sound running through the music: that of a physical loom.

Looms – which helped usher in modern computer programming – are a consistent motif in Rau's work, dating back at least to his debut fxhash project of that name.

This time, he pushed the relationship between analog and digital even further, not only by incorporating the musical sounds of the machine, but also by offering collectors the chance to own a physical tapestry matching their favorite frame from the digital work. Rau will weave all of the physical pieces over the course of the coming months, each of which can take full advantage of the many controls offered over the visual variation to find the perfect composition for taking advantage of the rich woven medium.

Demons of the Night by Ivona Tau (Foundation)

Ivona Tau's Demons of the Night is, at first glance, what you might expect based on the collection’s title: a tribute to movement, dance, and that particular type of magic that takes over once the rest of the world goes to sleep. But this new sixty-six-piece project doesn't stop there.

Post-photography is so mesmerizing because it invites second, third, and fourth looks that challenge what we thought we saw the first time.

“Wait, why are her feet pointed that way?”

“I thought I saw a woman standing inside as I passed by. But did I?”

“And what’s going on here? Did someone lose a hand?”

Tau’s pieces are individually stunning: many of her figures pulse with light or literally catch on fire. Even for the uninitiated, it’s impossible to ignore an epic but expansive Burning Man-like vibe to the entire series that seems to undulate in the undefinable moments between night and day. Viewed together, they take on new meaning as they whisk us away on a whirlwind journey through the night’s celebrations – or at least, through the fog of what we think we remember of it afterwards.

THE MUSES by Danielle King (EmProps)

The Muses – Danielle King's debut long-form examination of "the portrayal of women in art history and fashion" – draws on King's deep knowledge of art history to create something entirely new.

There are five hundred Muses in all, each of whom has her own name, own distinct fashion, and own artistic style. As we gaze at them, some look off to the side, while others gaze straight back.

The aesthetic diversity of these outputs spans hundreds of years of history and blends the skills of artists who could have never had the chance to meet because of the historical accidentals of when and where they happened to live. The result of this ambitious endeavor is a stunning set of powerful, diverse women who challenge our assumptions about what could be possible.

The Muses is also a snapshot of AI technology at this specific moment in history. King readily admits that she is a "lifelong control freak" who has trouble leaving anything to chance, and the new Emergent Properties is built upon systems that embrace just that unknown element. This mint-time randomized output system uses novel coordinations of AI and javascript together to create an entirely new artistic took that brings together much of what makes generative art so special.

Here, one unexpected output shows not one figure, but two: one an artist, and second in her painting. Another, despite King's best efforts, is nude. And fear not: because this is an AI project in 2023, some of the outputs have interesting hands! Many collectors have flocked specifically to these “accidental” outputs, and that acceptance challenges us to reconsider what that word even means. Yet, at a higher level, it’s the questioning of gender roles in art and the history of woman as muses that make this a seminal work within the medium, sure to build in appreciation in the larger context of art today, and years to come. Read Anika Meier’s Meditation on The Muses for more.

Tender’s community-based editorials on iconic generative art projects add rich context to those incredible works. If you’d like to write about a Tender Icon that doesn’t have an editorial yet, DM Adam (@ajberni) or Stephen (@sandcathype) on Twitter or Discord and we'll make it happen. 🙌

Don’t Miss This

• Mar 7: Territory B by Louis-André Labadie (fxhash; 15 ꜩ)

• Mar 20: launch of fx(params), fxhash’s highly anticipated “new module enabling artists to define parameters that collectors explore, adjust, and toggle to find a favorite output before minting” (full details from the initial announcement)

• Mar 20: The Passage by HERE & NOW (full details from initial announcement), a new experimental journey using fx(params)

  • To participate, mint a HERE & NOW: Edition 5 coin (48 ꜩ)

• Mar 20: Agave & Patchwork by Tyler Boswell (fxhash; floor: 14 ꜩ)

• Mar 24: Zug by Richard Boeser (fxhash; floor: 16 ꜩ)

• Mar 24: Schwere See by flockaroo (fxhash; floor: 119 ꜩ)

• Mar 24: Arbitrarily Deterministic #29: Ken interviews WTBS hosts Will & Trinity, who kick back and discuss podcasting, friendship, and art

• Mar 26: Waiting To Be Signed #64: Trinity is back, and she Will break down fx(params) – and the long-awaited return of flockaroo

• Mar 27: Hyper Drive: B-Side by Ryan Bell (fxhash; dutch auction)

• Mar 28: Hello Modulo by Nat Sarkissian (Verse; $70)

• Mar 29: Cargo by Kim Asendorf (Art Blocks)

• Mar 30: The Cantera by Jacek Markusiewicz (Bright Moments, mint pass)

• Apr 12-14: NFTNYC & Proof of People in New York City

  • TENDERs are planning to meet up for several of the events in NYC; join our event channel in Discord to learn more!

• Soon: Ganchitecture x Tender Collab 👀

• Friendly reminder to use your fx(params) mint tickets before they expire – or learn more about how the mint ticket system works if you’re just getting started!

Collector Spotlight: mitchell!

What’s your current state of mind? I'm feeling tired, anxious, hopeful, and grateful. While the overall crypto space has been volatile, the NFT side of things continues to feel like we're just getting started. The generative art space continues to be an easy case study on how NFTs are actively changing the lives of artists, collectors, and everyone in between.

What is your most treasured piece in your collection? RGB Elementary Cellular Automaton by ciphrd – the creator of fxhash – is what started my journey into generative art. I’m not exaggerating when I say that these neatly arranged pixels changed my life. I didn’t really know know what generative art was prior to fxhash, and RGBs represent my entry into this beautiful world.

RGB Elementary Cellular Automaton #903 is my favorite in terms of aesthetics due to its clear sections of red, green, and blue:

The indiscernible pixels of this piece force the viewer’s focus onto the color-blocking and composition - which are perfect to me. Some of the RGBs with larger Cell Size traits can feel harsh and aggressive. #903 represents balance, which is the exact feeling I’m striving to maintain in such a fast-evolving environment.

Since minting RGBs, I’m so appreciative for the opportunity to help push this space forward both inside my career and outside of it. I’m deep down the generative art rabbit hole now and I refuse to find my way out of it. I’m just having way too much fun.

If you could own any artwork, which would it be?

Keeping things in the generative art world, I’d love to own an Incomplete Control by Tyler Hobbs. The concept of letting go of control deeply resonates with me: it’s a lesson I’m learning every day and one that I will live by for the rest of my life. Philosophy aside, the artworks are absolutely engrossing to take in. Also, seeing a large print of one at Deca’s NFT.NYC event convinced me that physical prints not only complete, but also elevate the collector experience.

What is your idea of the perfect drop? Drop mechanics (price, quantity, reserve lists, etc.) are important to an extent, but the art will always be the most important factor for me. The art has to resonate with collectors on some level for that collection to see sustained growth in a world of infinite supply of beautiful art. Artists face an unfair task of navigating collector expectations with each drop - failing to meet those expectations too often results in a very short-term market for the collection.

My favorite minting experiences so far have been with emerging artists I’m not as familiar with because of the unknown expectations and the slower pace of that type of mint. There’s a magical feeling when you see your first mint and immediately think, “I need another one!” Being able to share that experience with other like-minded collectors feels like discovering buried treasure.

As a collector, what has been your greatest success? I was lucky to discover fxhash on the first day of the beta and I was able to mint 32 RGBs – 27 of which i still hold. I wasn’t really thinking about collecting at that point: it was more about how I was helping stress-test the platform. Now, I’m so grateful I kept clicking the “Mint” button.

What about your greatest regret? My biggest regret is not waking up to mint collections like Loom by Andreas Rau, Waiting in Afton or Lepidoptera by mjlindow, and other early beta projects. Early on, fxhash had closed windows that were not friendly to North America. There were also less collectors at that point, so collections that we now consider grails would last for several days before minting out. Overall, I try not to have any regrets, as there will always be another collection that I need to have.

What three artists, dead or alive, would you most want to have dinner with?

1. Mark Rothko to get a better understanding of his grasp of colors.

2. Hayao Miyazaki, as his ability to bring complex stories to life for such a wide audience has amazed me since I was a kid.

3. Marcelo Soria-Rodriguez, as the concepts behind each of his collections have embodied how I strive to live my life.

What's the most important quality in an artwork to you? The biggest quality that I look for is a deep emotional connection to the piece, which will vary from piece to piece. It could remind me of an impactful experience from my past that I want to keep close to me. It could visually represent a specific philosophy or mindset that I want to live by. Or it could represent an inflection point of an artist’s growth, which is so fun to watch unfold as a collector. These connections need to be personal to me, which might mean that I miss out on collections that are big successes from a market perspective. And I’m ok with that for my own longevity as a collector.

How do you like to relax? Aside from spending time with family and friends, I find the art curation process incredibly challenging, rewarding, fun, and therapeutic. Platforms like Tender’s Grail Grids, Deca, or GALLERY are essential for collectors to really appreciate the collections we spend so many waking hours acquiring. My galleries are constantly evolving, and by understanding my changing preferences, I’m able to become aware of my collecting strategy and react accordingly.

Thanks for chatting with us! Which two collectors should we talk to next? Deegy and Patchitchat

Hot Picks of the Week

The Piece: Fontana #333 by Harvey Rayner
The Price: 4 eth (a balanced full piece slightly above floor)

The Piece: Dragons #33 by William Mapan
The Price: 3900 tez (both sharp and whispy at floor; 500 tez below next)

The Piece: entretiempos #613 by Marcelo Soria-Rodríguez
The Price: 0.5 eth (a classic Marcelo palette & minimal output, slightly above floor)

The Piece: tr4ns4ctions #152 by Kim Asendorf
The Price: 675 tez (at floor; 75 tez below next; thin floor)

The Piece: Ancient Courses of Fictional Rivers #380 by Robert Hodgin
The Price: 0.325 eth (near floor)

The Piece: Cosmic Rays #291 by Melissa Wiederrecht
The Price: 0.177 eth (at floor)

The Piece: Step by Step #47 by Yazid
The Price: 215 tez (at floor)

The Piece: Collapsed Sequence #243 by toiminto
The Price: 0.1 eth (near floor)

The Piece: The Muses #396 (Felicity) by Danielle King
The Price: 110 tez (near floor)

The Piece: seekers #49 by ECKER_O_
The Price: 90 tez (at floor)

The Piece: A Center Near the Edges #162 by Lisa Orth
The Price: 39 tez (at floor; substantially below next)

TTFN 👋

We’ll see you out there on Discord & Twitter and will be back in two weeks with another issue of our TENDER Insights Newsletter. Feel free to reach out anytime with comments or suggestions. 🙂

— Adam, Stephen, and the whole TENDER family