Generative Art

Real-time visual systems written as code, producing images that never repeat identically.

Generative art is not a style, it is a production method. Instead of making images, you make the system that makes them, then you steer it. For Les 100 Violons at the National Museum of Carthage, a single GLSL shader fed sixteen LED surfaces through TouchDesigner for nearly fifty minutes with no video editing at all. The two faces of each pillar ran warm toward the musicians and cold toward the audience, because that is a parameter rather than a second export. For Between Frequencies at B7L9, data-driven particle systems were composed against Tunisian television archives, so the piece did not illustrate information saturation, it produced it. The commercial consequence matters as much as the artistic one. A system can be re-run, re-scaled and re-pointed at another venue or another dataset. A video file can only be played again.

• ▸One system instead of one export per surface
• ▸Output that adapts to the room, the music or the data
• ▸Assets that survive the event and seed the next edition
• ▸Coherence held across long sets without manual editing