This epoch is mainly conditioned by my previous years of Buddhist studies [1999-2003], a new vision (AIproof art - the art that resist the current state of Machine Learning algorithms by avoiding patterns and embracing the perfect chaos)
where true random numbers embody a particular extra-reality sense and my aspiration to act both as a sheer transmitter of numbers,
a Machine Whisperer and a digital Tertön (a hunter of latent space treasures of human and machine mind).
Publication of the AIproof Art (Machineproof Art) Thesis V1. 2004, Cardiff.
Here everything becomes a ceremony.
2004 - works based on random quantum numbers from the Group of Applied Physics and the Computer Science Department of the University of Geneva,
powered by Quantis QRNG - a photon detection system based on an elementary quantum optics process.
[ Quantis QRNG chips © ID Quantique (IDQ) ]
The next Quantum Totems are a continuation of my both previous Random Totems and Pure Fields series (Epoch 1).
Here the sequential linear gradients are derived from quantum true random numbers and the lengths and heights of Totems' blocks are purely random as well.
[ Quantum Totem 6. 2004 ]
[ Quantum Totem 12. 2004 ]
The next Pure X series are a made in two steps: firstly by generating a text-canvas with quantum random numbers,
then manually demolishing the initial pure chaos with hand-made stretch art.
Making order with disorder.
[ Pure X mn4. 2004 ]
[ Pure X mn3-1. 2004 ]
2005 - some works based on the first available data samples from QRBG121 (Quantum Random Bit Generator - the non-deterministic, stand-alone hardware number generator relying on temporal intervals of photonic emission in semiconductors developed at Laboratory for Stochastic Signals and Process Research of Rudjer Boskovic Institute in Croatia).
Provided less bias than solid state photon detectors.
Later since 2007 I also sometimes used the data from the online QRBG Service.
[ QRBG121 © Rudjer Boskovic Institute ]
The next works are Pure NamKhas.
A continuation of both Quantum Totems and Pure Fields series.
Based on a mix of true random data sets from quantum qubit states and atmospheric noise observation (similarly to my previous Radio Lava series) and on cryptographically hashed data of the same origin (SHA-256 function).
What is NamKha
ནམ་མཁའ་ ?
It is a Tibetan Buddhist sacred multi-purpose ritual object inherited from the Bön shamanic tradition. It is used in diverse ceremonies, divinations, healing practices and may also serve as a meditation support.
It is made of threads of coloured wool on crossed wooden sticks. Every colour symbolise different energy or element.
Generally it is a flat structure, but there are also very complex 3D NamKhas made for particular events or celebrations.
I was incredibly blessed to be a disciple of N.N.R. - one of the most prominent Dzogchen Bön teachers of our times who happened also to be the only NamKha Tertön
(the one who discovers Termas hidden gems, e.g. lost scriptures, in his own mind during the lucid dream state) and who re-explained and renewed this practice.
[ A NamKha by N.N.R. ]
In its traditional form a NamKha represents sets of colours in a specific order, sometimes based on astrological calculations, defined by a deep symbolic meaning that corresponds to a person, place, divinity or practice.
Its purpose is to embody a particular energy, to serve as a temporary deity abode, to structure the environment, to appease sentient beings' minds, to harmonise space and time and to protect against demons as a dream catcher or to serve as a ransom to evil spirits (Dö function).
The weavings of similar appearance can be found in ancient Slavic, American Indian and Latin American traditions (Ojo de Dios).
In the next Pure NamKhas works there are also several integrations of the spontaneously arising elementary visions from my
མུན་མཚམས་ Dark Retreat practice
- a part of Dzogchen Himalayan Tögal
ཐོད་རྒལ་
yoga - consisting in a lengthy isolation inside a specially conceived Dark Dungeon
མུན་ཁང་ .
This kind of visions are believed to be produced both by the practitioner's mind and by entoptic effects.
Traditional Tibetan NamKha is about code, order and precision.
Antithetically, Pure NamKhas are objects of pure chaos. Their colour gradients are derivatives of true random numbers therefore they don't follow any particular order.
They are not replicable or interpretable by a human or by a machine (perhaps only by a divinity).
This is a message directly from above. A discovery of Termas in the midst of micro and macro chaos, on quantum and thunderstorms levels.
They are a non-deterministic manifestation of the ultimate nothingness, of all the possibilities in the same time.
Voided of any order and sense Pure NamKha is a portrait of emptiness.
[ Quantum Air NamKha 3 / The Machine Exorcist. 2005 - based on quantum and atmospheric true random numbers ]
[ Quantum Air NamKha 7 / The Machine Whisperer. 2005 ]
[ Big Blue NamKha. 2005 - wave art over a field of stochastic gradient descent over a mix of quantum true random numbers ]
Most of the next works are a part of the series Wrathful Lumberjacks' Enlightened Songs, Simple-minded Songs and Human Songs.
They use previously made true random pure fields as canvasses and made with wave art and stretch art techniques by hand.
[ Boarding (the Wrathful Lumberjack's dream). 2006 ]
[ Train Beaune-Toulouse. 2006 ]
[ Postman. 2006 ]
[ Terminal. 2006 ]
[ Flight of the Bumblebee. 2006 ]
[ Fire run with me. 2006 ]
[ Der blaue Reiter. 2006 ]
[ Magic Mongol Motors. 2008 ]
[ My fear is beautiful. 2008 ]
[ Nocturne (the night flight AF1744). 2010 ]
[ White smoke. 2010 ]
[ Photography. 2010 ]