Made on
Tilda
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 a random number of these entities arranged into a unique randomly generated initial composition. 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 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 randomly generated initial composition for each output.
A fixed colour is assigned to each visual element; colours are derived from a predefined palette and randomly distributed according to the nine categories of Logoria world beings. 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 randomly selected from the same palette determining the colors of Logoria world beings and their relations. When an entity’s color matches the background, its opacity 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.
ART & GENERATIVE
Artwork’s creative principle (logos) - that is, the artwork that is to be created according to it - fundamentally define and direct the craftsmanship. As craftsmanship always takes place within a specific artistic medium, the technical procedure must consider the characteristics of that environment. The craftsmanship of an OCC GEN ART artwork, as a crypto artwork, concerns the NFT as a whole — not only the creation of the representational content of the
NFT painting (visual elements and composition) but also the way the representational content is related to the data.
Artwork’s creative principle (logos) - that is, the artwork that is to be created according to it - fundamentally define and direct the craftsmanship. As craftsmanship always takes place within a specific artistic medium, the technical procedure must consider the characteristics of that environment. The craftsmanship of an OCC GEN ART artwork, as a crypto artwork, concerns the NFT as a whole — not only the creation of the representational content of the
NFT painting (visual elements and composition) but also the way the representational content is related to the data.
When the artist and the philosopher engage as a collaborative pair, their dialogue on the ontology of art becomes both conceptually rich and experimentally grounded. As a team, they do not merely analyze the ontology of art—they co-construct it, revealing how theory and practice are inseparable in the ongoing effort to define what art is and can become.
Srđan Šarović, D.A., is an interdisciplinary artist and creative professional with extensive experience in both commercial and academic fields. He has worked on numerous projects in graphic design, film, music, animation, and video art, delivering innovative and impactful solutions that blend artistry with technical expertise.
Srđan’s artistic portfolio spans drawing, painting, video art, digital and generative art, animation, and performance. Known for his abstract expression and innovative techniques, he continually explores new ways to expand the boundaries of artistic media while staying attuned to the unique demands of each project.
Una Popović, PhD., is a philosopher and a university professor at the Faculty of Philosophy, University of Novi Sad. Her academic work is situated at the intersection of several philosophical disciplines, with a primary focus on the philosophy of art, medieval philosophy, phenomenology, and the philosophy of language. Of special interest are ontology of art creation and research in methodological background of philosophical concepts and language.
In addition to her research and teaching activities, Una Popović is experienced in academic community-building through various organizational roles. Her experience includes leading research teams, serving on academic committees, and contributing to the development of curricula and strategic planning in higher education.