- Colour Time https://colourtime.jonathanchomko.com/
- Duncan Cooper on Proof of Work for Outland
- Proof of Work Red Blue Random Pressure
- Shadowing Carlisle, Feb 16-20 2022
- Shadowing Gloucester, Oct 25 2021 - Jan 7 2022
- Token Hash
- A Heart from Space for Yo-Yo Ma
- Shadowing Southwark (near Tate Modern), London UK
Dec 2020 - Jan 2022
www.grindruberairbnb.exposed (video), Networked Bodies, supernormal.space, Singapore
Jan 21 - Feb 7 2021
Relative Clocks, We The Curious, Bristol (UK)
Nov 5 2020 - 2028
Relative Clocks, CUBE Design Museum, Kerkrade (NL)
Jun 5 2020 - Oct 5 2020
Shadowing, Theatre du Chatelet, Paris (FR)
Nov 28 2019 - Feb 1 2020
generated images, 2021
Proof of Work is a series of manually generated images where physical gesture is directly correlated with visual density. Sold as non-fungible tokens, the series is both an enactment of the experience of being an artist in NFTism, as well as a challenge to the metrics NFT markets use to determine the value of an artwork.
“Art is proof of work, whether Whistler's "Nocturne" or an Abstract Expressionist act of heroism. There must be something to own, a parsable product of labour that represents the potential to exponentially multiply the value of an investment of time by the artist and cryptocurrency of the collector.” - Rhea Myers
Beeple’s ‘The First 5000 Days’ sold for $69,346,250 on March 12, 2021. Buyer MetaKovan explained his rationale behind the purchase as such:
When you think of high-valued NFTs, this one is going to be pretty hard to beat. And here’s why — it represents 13 years of everyday work. Techniques are replicable and skill is surpassable, but the only thing you can’t hack digitally is time. — MetaKovan, Christies Press Release
MetaKovan identifies effort over time as the key indicator of value for a NFT. Dominant NFT aesthetics also reflect this understanding; intricate 3D scenes signal that creative and computational effort was expended to create and render a scene.
In Proof of Work I probe this understanding of art, creating images where the effort required to produce a work is directly correlated with visual density. Each series begins with a 1x1px canvas, which doubles each day of production. This doubling allows the series to reflect distinguishably different degrees of effort, and provides a mechanism which ensures scarcity; each series ends when one image cannot be completed in one day.
The images are generated in a custom application, wherein one keystroke or tap produces one graphic pixel. Each gesture requires a physiologically bounded amount of time, and so the visual density of pixels in the image correlates directly to a fixed amount of expended effort. As the scale of the task increases, the challenge of consistency becomes overwhelming, patterns and flaws appearing in the generated images.
Research in keystroke dynamics demonstrates that the rhythm and pattern of keypresses can be used as a biometric identifier. The images in Proof of Work are not just documents of effort, but are unique records of the artist’s hand, the patterns arising the digital equivalent of that essential element in a physical artwork; the signature.
Read more: Proof of Work Origins
Buy tokens: https://proofofwork.jonathanchomko.com/
View secondary: https://opensea.io/collection/proof-of-work-v1
manually generated images, 2021
Human / Computer is a series of manually generated portraits. Each sitter enters 10,000 digits between 0 and 9 into a custom software, each keypress setting the gray value of an single pixel in a 100x100 grid.
The sitter is given the aim of entering random values, but inevitably fails to enter true random values, resulting in visible and unique patterns in each image; a record of their labor and affective state during the process of production.
participative performance, 2020
website, phone, GPS
A Heart from Space is a website that enables a group of people to draw shapes together using their GPS positions.
Performing the work requires the participants to negotiate the dynamics of group collaboration through the website, adjusting their position in response to the movements of the group to collectively create a heart.
The project originated from a conversation with Yo-Yo Ma around a performance of a previous work, www.grindruberairbnb.exposed (GUA). GUA explores the topic of networked action by providing each participant specific gestural instructions, which create synchronized movement in the group. Upon learning about the functions of GUA, Mr. Ma asked if the system might be used to arrange hundreds of thousands of people across the midwestern United States, to form a heart that would be visible from space.
This project grew from that optimistic vision, but places a focus on emergent collaboration, rather than coordinating movements at scale. In doing so, the project raises a question of how the affordances of a platform shape what is possible; how design decisions necessarily exclude certain possibilities while making others readily accessible.
The ‘space’ of the title speaks both of the physical ground participants cover in engaging with the work, as well as the top-down shared perspective that allows them to see the product of their efforts. These dual meanings point toward the key message of the work; that the ways we see ourselves online can shape what is possible in the physical world.
Visit the website here: www.a-heart-from-space.com
Inspiration: Yo-Yo Ma
Video: Isaac Vallentin
networked movement instructions, 2020
www.left-right-left-right.com presents the user with an alternating text; left, right, left, right. The words are synchronized across all browsers, ensuring that each visitor sees the same text at the same time.
The text can be used as a script for movement, left foot right foot left foot right foot. Following these instructions, online visitors walk in sync with each other, echoing the synchronization that occurs when friends and lovers walk together side-by-side.
Visit the website here: https://www.left-right-left-right.com/