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30 years ago the World Wide Web was invented by Tim Berners Lee at CERN with the sole purpose of enabling access to information over the Internet.
Yes, the Internet and the World Wide Web are different things, in simple words, the Internet is the technical infrastructure and the world wide web are the services on top of that infrastructure. At the beginning, the World Wide Web was quite limited to websites, but now new protocols and the unstoppable progress of evolution makes websites a tiny part of the global picture.
Since then we have lived many eras: Web 1.0 in 1990 (the read-only web), Web 2.0 (the social read-write web) and now the booming Web 3.0, a new iteration of the evolution of web technologies with a strong emphasis on decentralized applications that make extensive use of blockchain-based technologies.
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Blockchain technology has taken the world by storm in recent years, revolutionizing the way we think about and interact with digital assets. It has also given rise to a new era for art, giving an unparalleled ability for it to be created, stored, and sold securely using blockchain technology.
This makes it easy for artists to sell their work to collectors around the world without having to worry about the logistics of shipping or the risk of fraud. Digital assets can be easily replicated (editions), which allows artists to reach a wider audience and potentially make a living from their work.
This shift is so deep that we still barely comprehend what lays ahead in the near future. Overall, the blockchain is redefining the way that we engage with culture, and it is likely to have a significant impact on the creative industries in the years to
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come. Whether it is through the democratization of content creation or the empowerment of artists, the blockchain is paving the way for a new era of cultural expression and interaction. As the technology continues to grow and evolve, the blockchain will continue to shape and influence culture in the future.
One of the key ways in which this new technology is changing the cultural landscape is through the creation of decentralized platforms for the distribution of creative works.
In the past, the distribution of cultural content has been controlled by a small group of gatekeepers, such as record labels, publishing houses, and film studios. These gatekeepers have held a monopoly on the distribution of cultural content, and as a result, artists and creators have often struggled to get their work seen and heard.
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The Artists
Zancan
Michaël Zancan is a generative artist from Bordeaux, France. He has been both a painter and a programmer for four decades.
By synergizing his former practice as a traditional artist working with oil paint with the computer code medium, he enlightened the graphical possibilities of a “figurative-generative” art genre.
His digital artworks and resulting pen-plotter drawings, which rely on technology both to exist and to be traded,
are his inspiration to remind us of the necessary bond between man and nature, raising attention through visual symbolism about environmental and social matters
Michaël is currently the top-selling artist on the Tezos blockchain with his series “Garden, Monoliths”, and “The Lushtemples”, which focus on rendering natural shapes with mathematical equations and programming code. has also been a dedicated collector and patron of other artists on the blockchain.
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Lars Wander
is a computer artist, born in Germany, and living in NYC. His visual artwork follows his interests in perception, generative patterns, and computational systems.
He’s been writing programs to explore complexity for well over a decade, and began publishing his generative artwork in 2020.
During the day, Lars works at Google writing visualizationsoftware to understand the dynamics of global-scale storage systems, his scientific research was published in IEEE, and at night he makes generative art.
“I think there’s a lot to be explored using a computer to push the creative boundaries in ways that you can’t when you’re not working with fantastical machines. So as much as possible, I try to bring the computer and the machinery to the forefront.”
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Zach Lieberman
is an artist, designer, computer programmer, and educator living in New York City. He creates artwork with code and experimental animation tools with a single goal: he wants you surprised.
In his work, Zach creates performances and installations that take human gesture as input and amplify them in different ways — making drawings come to life, imagining what the voice might look like if we could see it, transforming people’s silhouettes into music.
He’s the co-founder of YesYesNo, a new interactive collective that specializes in the creation of engaging, magical installations that combine creativity, artistic vision and cutting edge R&D.
He’s been listed as one of Fast Company’s Most Creative People and his projects have won the Golden Nica from Ars Electronica, Interactive Design of the Year from Design Museum London as well as being listed in Time Magazine’s Best Inventions of the Year among others.
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Light StudyOverlapped pills w/ stripes
About the TGAM
Welcome to The Generative Art Museum. TGAM is a space in the metaverse dedicated to celebrate and promulgate art made by autonomous systems (non-human) that can independently create artwork.
TGAM is an evolving idea that will challenge our preconception of experiencing, collecting and sharing art. Our goal is to participate in this new era by supporting generative artists in every sense. We will schedule four exhibitions a year: Spring, Summer, Autumn and Winter.
Our goal is simple: to spread the word about generative art in all shapes and forms. We embrace any piece where humans interact with automated tools to create unique pieces.
Blockchain has created the perfect playground for a digital renaissance: affordable computers and easy-to-use scripting tools are the icing on the cake for a revolution in the generative art like the world has never seen before. And we are here to talk about it and share this exciting journey.
