LOGORIA
The project was developed according to the Zitchalo creative principle.
Every generated artwork in Logoria is conceived as a discrete world, inhabited by entities drawn from nine predefined categories. These “beings” are abstract visual forms: triangles, rectangles, pentagons, and hexagons. Every output features hash-determined number of these entities arranged into a unique initial composition, which is also hash-dependant. The composition represents the internal meaningful structure of the particular Logoria world, derived from the world's fundamental principle - its logos. In Logoria worlds, the logos of the world is symbolized by the first-category being, always rendered as a single triangle.
Logoria worlds are not just meaningful and structured, but also alive. At first, the art piece is rendered as a initial still composition. However, the very first click on it initializes movement. Each entity moves through the motion of its internal core, represented as a circle and associated with the world‘s logos. Additionally, the transformative relationships among these live entities are expressed through signals traveling between them. While signals flow from one entity to the other, the color of entities changes, resulting in a vibrant animated world.
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.
AESTHETICS
Logoria explores the possibility of creating artworks in which visual elements — regardless of their specific arrangement, color, shape, or number — form perceptually harmonious compositions. Each piece looks like a small living world, populated by moving beings that follow a unique internal logic. To achieve this, each generated piece must possess a meaningful structure: an intrinsic governing principle, a logos that ensures structural harmony amid variation in its components. As a coloristic and compositional exploration, Logoria art pieces embody all laws of the theory of forms.
The number and form of Logoria world beings are hash-dependant for each output. The form varies among rectangles, pentagons, and hexagons, while the highest-ranking being is always represented as a triangle. These beings are interconnected through lines of different qualities, also defined through the initial seed. Ultimately, all these visual elements are arranged into a unique hash-defined initial composition for each output.
A fixed colour is assigned to each visual element; colours are derived from a predefined palette, while their distribution among the nine categories of Logoria world beings depends on hash. The colors of the lines representing the relations between beings reflect their hierarchy, so that each being define the color of line and signal flowing out of it. Signals‘ length and quality is also hash-dependant. When an lower-ranking entity receives a signal from a higher-ranking entity, it changes its colour and then turns back to its original color.
The color of the background upon which the composition is placed is hash-selected from the same palette determining the colors of Logoria world beings and their relations. When an entity’s color matches the background, its hue is slightly altered to maintain visibility and visual balance. The background texture is defined through a grid of lines varying in number, density and thickness; all these qualities are hash-dependant.
GENERATIVE ART
OUR VIEW
Our interest in long-form generative art is tied to the nature of such artworks and the way they are created. In long-form generative art, the code itself is the artwork in the full sense of the word: the code is composed as an artwork that generates a multitude of individual NFT art pieces. To create such an artwork, one must first devise a fundamental structure that applies to all cases, as well as the way this structure will be expressed in each individual instance. In order to harmonize such a vast number of possibilities and determinations, the artist must think about the artwork on a principled level – conceiving a unique principle that will connect and align them at the most abstract and formal level. More precisely, the artist must conceive the creative principle (i.e. the artistic method) of the series: a unique foundational law of each individual art piece and of the series as a whole. Such an artwork is an autonomous unit of meaning that requires no alternative interpretation. The creative principle, through code as its operative mechanism, provides meaning to each generated NFT in such a way that the artwork and its meaning remain immutable, yet endlessly resonant.
In the case of Logoria, we explored how all these properties of generative art can be brought into alignment with a visually well-executed composition. How can one ensure that the art pieces vary unpredictably in terms of color and composition, while still yielding a visually successful result in every case? By equally emphasizing the internal meaningful structure and the visual manifestation of the artwork, the Logoria worlds also present an artistic reflection on generative art itself. Each generated piece functions as if it is a sub-code of the original generative code, which through interactions can give rise to an unlimited number of its visual compositions.
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.
- Artist
Srđan Šarović 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.
- Philosopher
Una Popović 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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