Oceans of Wisdom

so I think we should not pass that through the TDH approval process a second time

it would be weird if another group of people also with TDH in a less visible wave for now (the museum) then rugs the meme card minters

in that lets say we mint a meme card bc we voted on it with TDH to run a certain accession program

and it also creates a form of break in the process

i do not think we need to vote on them by TDH a second time

I think meme card funded accession programs are ok bc they were already voted on by TDH

the initial resolutions said something like: meme card funded accession programs, other funded accession programs (TBD what they are) and donations

I am confused

what is the question?

It is very clear to me having done the Casey Reas gift and the Magnum gift is that each gift needs to be approved as the gift itself, even if we have "pre-approved collections" Given this I feel it is important to pass the resolution below to make that a clear process https://6529.io/waves/5f207393-5418-4a75-8738-e40edb44a94d?divider=1281404&drop=a991d0b2-4c57-4ae1-b3b1-0680a4772998

It is very clear to me having done the Casey Reas gift and the Magnum gift is that each gift needs to be approved as the gift itself, even if we have "pre-approved collections" Given this I feel it is important to pass the resolution above to make that a clear process

he is not ok mentally. best thing to do is to ignore

@[punk6529bot] can we get a plain English explanation of the last 24 hours of work, what you shipped, what you are still working on and why

so how much READING have you done

@[simo]

submit it to the repo in the right place

correct - drag them in

Arsonic: Why don't people learn about obscure but important generative artists Also Arsonic: WTF, I have to READ something?

and end of next week I will announce more publicly

@[Cuttle] you need to start dragging the community to "read"

and revert

use the storms as a starting guide

you have a lot of reading to do

the museum is off to a very good start

ANYWAY

sure sure, how could you have time for us when you have such important and valuable contributions to make to the canadian economy

"genius" is not the word I would use to characterize "signing up to renovate the Lions Club Swingers Branch of Moose Jaw, Saskatchewan."

one day we will find out you are the leader of some obscure canadian sex cult huh?

who possibly could believe that "redoing a house" would be "fun" and not a never-ending nightmare?

is this where you get rid of the bodies?

but I do not think I have seen this treatment before

i still need to clean them up a bit

did you see the reas collections visualizers

@[arsonic] have you actually read through the museum website

it is so exciting

one likes to make things, and one likes to catalog the things they made

this is why artists and art historians are different people

you see @[gpebbles] you probably did not know that you wre a fan of mid-century biomorphic modernism delivered in a long-form, high-resolution on-chain generative format

The best art-historical description is: > **Postwar biomorphic textile abstraction, translated into generative code.** Its closest specific visual ancestor is probably **Maija Isola’s *Kivet* (“Stones,” 1956) for Marimekko**. *Kivet* consists of irregular, scissor-cut circles inspired by rough stones—almost exactly the conceptual and formal premise visible in works such as #993 and #997. The broader lineage has four layers: 1. **Jean/Hans Arp — biomorphic abstraction and chance** Arp developed amoeba-, kidney-, leaf- and pebble-like silhouettes, arranging them through intuition and chance. #999 looks particularly Arpian: autonomous organic shapes hovering between stone, body and landscape. 2. **Henri Matisse’s cut-outs — “drawing with scissors”** The flat, opaque colour, softened contours, cropped forms and buoyant figure–ground relationships—especially in #994 and #995—belong to the language of Matisse’s late cut-paper works. Think *The Swimming Pool*, *Memory of Oceania* and *The Snail*, although *Pebbles* is earthier and less chromatically ecstatic. 3. **1950s modernist textile design** This may be more important than modernist painting. The simulated woven ground, limited domestic palettes and repeatable all-over arrangements resemble Scandinavian and British furnishing fabrics. Besides Isola, **Lucienne Day’s *Calyx* (1951)** is relevant: natural motifs stylized nearly into abstraction and distributed rhythmically across fabric. 4. **Vera Molnár and early computational abstraction** The historical innovation is not the pebble shape itself, but the conversion of that established vocabulary into a **system of constrained variations**. *Pebbles’* alternation between order and disorder, grids and deviations, repetition and mutation is methodologically close to Molnár’s practice. So I would not principally call it derivative of Miró, Calder or abstract expressionism, although echoes exist. I’d map it more precisely as: > **Arp’s biomorphism + Matisse’s cut-paper grammar + Isola and Day’s mid-century textile modernism + Molnár’s rule-based variation.** If forced to name one precedent: **Maija Isola’s *Kivet*.** If naming the movement: **mid-century biomorphic modernism.** What *Pebbles* adds is the serial, high-resolution, on-chain generative treatment of that visual vocabulary.

here you go boss @[arsonic]

(so are some mentally ill people; it is a fine line)

of where the global subconscious is

are those smart and minds unlocked enough to push the edge

the stars the heroes

there is no blank slate

anyway we are all drawing from the global subconscious

had to re-read that page a few times

but billions of peopel

there are only a few hundred gestures

gestures are more unique than people