HARMOZO

CONCEPT // ONTOLOGY / AESTHETICS
Harmozo is a generative project in which each individual artwork is deterministically produced by an algorithm (stored on the blockchain) through a random seed. The project constitutes a testimony to the inner concord of the human being as a fundamental and necessary principle of its ontological constitution, articulated through an exploration of the harmonization of variable visual elements and sound within each generated work.
The project’s title, Harmozo, refers to the process of attunement as a category unfolding in duration, wherein final harmony emerges from the alignment of the human being with the ontological constitution of reality.
ONTOLOGY
Each artwork in the series depicts a vintage television set, unique in its form, color, and all other attributes, including the sound it emits. Within the series, the television serves as a metaphor for the human being, while the specificity of each generated device stands in analogy to the uniqueness of each individual personality.
The television receives a signal and emits both image and sound. In artwork’s initially generated state, both are distorted and disharmonious. The image appears as a sequence of broken or warped lines that flicker and continuously shift, resembling the screens of analog televisions with poor reception. Through interaction, this initial state is gradually brought to a stable signal: visual noise gives way to clear lines arranged in an articulated order. In this way, it becomes evident that the internal system of the television is functioning - the signal is present and the apparatus is operational, yet it is not properly tuned to receive the signal clearly. Once properly adjusted, the device displays a harmonized image and emits a clear, consonant chord.
Thus, the initially generated state is only seemingly chaotic: it appears within a system that ensures its stabilization and harmonization. Through interaction, the user can guide the artwork toward a harmonious state, while also varying certain aspects - such as screen brightness or sound intensity. Interactivity is therefore a constitutive element of the project: the artwork attains its fully formed meaning only through the user’s participation in its organization, as governed by internal rules.
The initial state of the television corresponds to the human condition - that is, to the way in which a person finds themselves in the world: unaligned with reality, marked by disharmonious internal responses arising from such a state. Nevertheless, the same holds true for every individual: their internal structure is stable and properly constituted, capable of right action. This internal structure is revealed through the adjustment of the system so that it becomes aligned with the signal it receives - through the harmonization of human being with reality as it is.
Accordingly, the initial state of the human being is complete, yet unaligned and out of tune; when attuned, it becomes harmonious. The interactive components of the artwork symbolize the inner effort required to achieve such attunement. The range of adjustable parameters - from the quality of lines to the intensity and pitch of sound - indicates the necessity of carefully tuning the human being to a precisely determined frequency.
Ultimately, when all parameters are properly aligned, the system generates a unique harmonized image and a corresponding consonant sound. The system also allows for another mode of achieving harmony: by shaking the entire television - that is, by a “strike” to its casing - which instantly produces a harmonized image and sound. For the human being, this signifies an admonition: an inner call to move from disharmony into concord. When harmonized, the human being begins to resonate in a divine manner.

Interactivity is fundamental to Logoria. Rather than treating interactivity as a supplemental feature, Logoria embeds it into the ontological fabric of the artwork. Each interaction alters the visual composition but never breaks its logic. The interactions invite continuous engagement, where viewer actions catalyze compositional and visual transformations within a carefully constructed system. Generated artwork thus mirrors the generative code that produces it. Just as the code generates a large number of structurally related but visually distinct pieces, each individual artwork can generate an infinite number of unique internal compositions through viewer interaction.

The entire composition can be rotated 360°, offering continuously shifting perspectives on the same world. Also, entities can be selected and repositioned, each time creating new but equally harmonious arrangements. Such interactivity adds a secondary behavioral layer: an entity can be moved so to touch with another entity, and upon contact, the active entity transforms the passive one which adopts its visual form. Transformed entities retain their original color, signifying their categorical identity within the system. However, the highest-ranking entity — the triangle representing the logos — cannot be transformed. The lower-ranking entities transformed by the logos into triangles cannot impose triangular form upon other entities, but can be further transformed by the entities of different forms.

Each artwork features two lists. On the left, a list of being categories with the number of entities per category and a total count. On the right, a real-time updating list of colored visual elements (triangles, rectangles, etc.) with the corresponding number of entities represented by each is given. Since entities can change visual forms through interaction, the right-side list reflects the real-time state of the composition. Size of the visual elements in both lists is hash-dependant.

      • Polygonal Nodes: Each node is an irregular polygon with organic, hand-drawn appearance
      • Hierarchical Levels: Nodes are organized in 9 levels, each with distinct colors and sizes
      • Root Node: Always triangular (3 sides), serves as the central anchor point
      • Animated Centers: Each node contains a pulsing dot that orbits within the polygon
      • Flowing Ribbons: Animated signals travel along curved connections between nodes
      • Breathing Animation: Subtle pulsation creates organic, living feel
      • Signal Glow: Nodes illuminate when signals pass through them
      • Speed Variations: Different rhythm patterns from steady to burst storms
      • Root Waves: Concentric circles emanate from the root node
      • Multiple Variants: Standard, tapered, dual-ring, segmented, pulsating, and spiral waves
      • Dynamic Colors: Waves use high-contrast colors for optimal visibility
      • Node Dragging: Click and drag any node to reposition it within the 1000×1000 logical space
      • Shape Morphing: Nodes transform dynamically during interaction
      • Root Special Powers: Dragging the triangular root node creates unique interaction effects
      • Scene Rotation: Click empty space and drag to rotate the entire composition around its center
      • Smooth Easing: Rotation uses momentum and easing for natural feel
      • Boundary Return: Nodes gently return to safe boundaries after rotation
      • Repulsion Forces: Nodes push away from each other to prevent overlap
      • Boundary Constraints: Nodes stay within the defined space with soft collision response
      • Velocity Smoothing: Movement feels organic with proper damping and acceleration
      • Asymmetric Drift (22%): Elliptical scaling with organic off-center growth
      • Spiral Hint (20%): Angular offset creates subtle spiral patterns
      • Ring Bias (18%): Nodes pushed toward concentric circular formation
      • Radial Cluster (16%): Nodes grouped around multiple cluster centers
      • Hybrid Ring Spiral (14%): Combination of ring and spiral arrangements
      • Radial Core (10%): Pure radial emanation from center - RARE
      • Zitchalo mode_I (26%): Original color order without permutation - COMMON
      • Zitchalo mode_ii (18%): First permutation variant
      • Zitchalo mode_iii (16%): Second permutation variant
      • Zitchalo mode_IV (14%): Third permutation variant
      • Zitchalo mode_V (12%): Fourth permutation variant
      • Zitchalo mode_vi (10%): Fifth permutation variant
      • Zitchalo mode_vii° (4%): Sixth permutation with diminished character - ULTRA RARE
      • Note: All outputs use the same 9-color Zitchalo base palette in different arrangements. Modal notation (I=major, ii-vi=minor, vii°=diminished) serves as conceptual metaphor for color distribution across node hierarchy levels.
      • Fibonacci sequence-based distribution (13, 21, 34, 55, 89)
      • Weighted selection: 13 (10%), 21 (30%), 34 (30%), 55 (10%), 89 (10%)
      • Mathematical harmony ensures natural compositions
      • Most common range: 21-34 nodes
      • Rare ~7% variant with dramatically reduced node density
      • Creates minimalist, breathable compositions
      • Node count reduced to 60% of normal
      • Link density reduced to 55% for emphasis on empty space
      • Baseline (40%): Standard smooth ribbon appearance - COMMON
      • Soft (30%): Gentler, more organic curves
      • Lively (20%): Enhanced curve intensity and energy
      • Dotted (10%): Dashed line pattern - RARE
      • Flat (10%): Minimal curvature, nearly straight connections - RARE
      • Medium (40%): Balanced curvature for natural flow - COMMON
      • Arc (30%): Pronounced arcs create dynamic paths
      • Swoop (20%): Dramatic, swooping curves for maximum visual impact
      • Standard (30%): Classic concentric circles - COMMON
      • Tapered Soft (20%): Gradual width variation along wave
      • Dual Ring (18%): Double-circle effect with offset
      • Segmented (14%): Dashed circle patterns
      • Pulsating Thickness (10%): Variable width animation over time
      • Spiral Wave (8%): Gentle angular drift creating spiral - RARE
      • Steady (20%): Consistent, even-paced signal flow
      • Brisk (20%): Faster movement with frequent waves
      • Languid (20%): Slow, contemplative, meditative pace
      • Rare Surge (15%): Occasional speed bursts and acceleration
      • Stillness (13%): Ultra-slow, minimal activity
      • Burst Storm (12%): Intense intermittent acceleration - RARE
      • Subtle vertical guide lines with hash-based spacing
      • Three density categories: dense, baseline, airy
      • Three variation tiers: tight, balanced, loose
    • Minimal: 13-21 nodes - Clean, sparse compositions with clear structure
    • Balanced: 34 nodes - Moderate complexity with natural interconnections (most common)
    • Complex: 55-89 nodes - Dense, intricate networks with rich detail
      • Every aspect controlled by hash seed - no randomness in final output
      • Reproducible across different devices and browsers
      • Fibonacci-based node distribution for mathematical harmony
      • Dual sfc32 PRNG with 1024 warmup iterations
      • Object pooling for smooth animation
      • Cached rendering for UI elements
      • Optimized trigonometry with lookup tables
      • High-resolution PNG export (4800×4800 or 9600×9600 pixels)
      • Keyboard shortcuts: L (4800px) or X (9600px) to export at any given state of the composition
      • Touch, mouse, and pen input support
      • Canvas-based rendering for broad browser compatibility
      • Static Mode: Automatic detection for Art Blocks platform
      • Feature Declaration: Structured metadata for marketplace display
      • Compliance: Meets all technical requirements for on-chain art
      • 100% deterministic trait calculation from tokenData hash
      • Zitchalo mode_vii° palette (4%)
      • Negative Space (7%)
      • Spiral Wave variant (8%)
      • Flat curvature (10%)
      • Radial Core structure (10%)
      • Dotted link style (10%)
      • Zitchalo mode_vi palette (10%)
      • Node Count 13 (10%)
      • Node Count 55 (10%)
      • Node Count 89 (10%)
      • Burst Storm rhythm (12%)
      • Zitchalo mode_V palette (12%)
      • Stillness rhythm (13%)
      • Hybrid Ring Spiral structure (14%)
      • Segmented wave (14%)
      • Zitchalo mode_IV palette (14%)
EXPLORE LOGORIA
Logoria on Art Blocks

AESTHETICS

The central visual element of each generated artwork is a vintage television set. The size, shape, and color of the television casing vary in each instance, depending on the hash. Colors are derived from a predefined custom palette (the Zitchalo palette). Each generated television features two antennas, whose size, shape, and position are likewise determined by the hash. Beneath the television, a screen reflection dynamically changes in real time, corresponding to the transformations of the image on the screen.

The initial state of the generated artwork is chaotic: the screen is filled with dynamic visual noise, composed of fragmented and indistinct lines. This initial state is divided into segments -groupings of related visual elements marked by different colors. Each segment is generated as a distinct visual configuration, and some may already appear as clear lines. All visual elements of the initial screen state are hash-dependent and unique to each artwork. As a whole, the initial screen presents a disharmonious image composed of heterogeneous visual elements.

On the right side of the television is a control panel with knobs and sliders through which interaction is realized. The number of knobs corresponds to the number of screen segments and may range from a minimum of three to a maximum of nine. Each knob is color-coded to match the lines or noise of a specific segment on the screen. By rotating a knob, the user modifies the state of the corresponding segment, ranging from complete distortion and unarticulated noise to fully clear and defined lines. The number, size, color, density, and shape of the lines within each segment are determined by the hash and vary across artworks.

The screen brightness of each generated television is also determined by the hash. The middle of the three sliders on the control panel allows for interactive brightness adjustment: the far-left position corresponds to the darkest possible state, while the far-right position corresponds to the brightest.

In Harmozo, sound and image are integrated into a unified structure. Both evolve from an initial chaotic state toward a completed harmonious condition. Sound is generated based on the hash and does not rely on external libraries. On the control panel, the upper slider controls volume, while the lower slider controls pitch.

The antennas of the television are also interactive compositional elements. Moving the left antenna shifts the image horizontally (from right to left), producing a visually altered state of the composition. Moving the right antenna shifts the image vertically (from top to bottom), effectively changing the order of the line segments on the screen. These changes in segment arrangement do not affect the order or function of the knobs, which retain their initial mapping: rotating a knob of a given color always controls the lines of the corresponding color.

When, through interaction, complete clarity of all lines is achieved - thus harmonizing the entire composition - the algorithm automatically generates a static PNG image representing the completed state of the artwork. This harmonized state can also be achieved by “striking” the television: upon impact, the device first shakes, after which the image resolves into a harmonious configuration and a PNG is generated. The manner in which the television responds to the impact is determined by the hash.

TEAM

The collaboration between the artist and the philosopher connects the inner necessity of the creative process with the precision of philosophical reflection - two key prerequisites of a successful generative project. The authorial team signs artworks with a clear artistic methodology and execution in which every step carries a defined meaning.

  • Srđan Šarović
    Artist

    Srđan Šarović, D. A., is an interdisciplinary artist and art theorist. His artistic practice is grounded in a unique platform that bridges theoretical-philosophical reflection and artistic creation. Šarović’s artworks, usually abstract and expressive in form, span multiple media and integrate unconventional technical approaches.

  • Una Popović
    Philosopher

    Una Popović, Ph.D., is a philosopher and a university professor. Her scholarly work intertwines several branches of philosophy, with a primary focus on the philosophy of art and the philosophy of language, namely the study of the ontology of artistic creation and the methodological grounding of philosophical concepts.

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