methodology

off-meta intricately weaves the golden ratio into the very essence of every output, with phi values meticulously employed throughout. Each piece is composed of thousands of quadrilaterals, their sizes and placements governed by the Fibonacci sequence within a structured grid. As the artwork begins to take shape, every object initially adheres strictly to its designated place within the grid. The dimensions and shapes of these objects are determined by either purely random values, noise values, or a blend of both.

As the creation process progresses, the influence of noise and randomness becomes more pronounced, breaking down and distorting the forms, leading to deviations from the core structure. With the foundational forms emerging, additional distress is introduced through the erasure of quadrilaterals, gradually obscuring the initial shapes.

Outlines, or “walls,” may appear as integral parts of the form or as hollow, subtractive elements. Marks are then added, once again adhering to a grid strictly aligned with the golden ratio and Fibonacci sequence. These marks may serve as background elements or become subtractive, depending on the balance between black objects and negative space.

Additional quadrilaterals are incorporated to either contrast the composition with color or participate in the subtraction process. The use of color is minimal, with no more than one hue outside of black, strategically applied to add weight or energy to the work. Occasionally, a piece may be graced with memetic features, proof marks, or special membership privileges, adding another layer of uniqueness and significance.

off-meta celebrates the beauty of randomness and controlled chaos, encapsulating the human experience through its ever-evolving, imperfect forms. Each piece stands as a testament to the unpredictable journey of creation, where the golden ratio serves as both guide and muse, leading to outcomes that are as unexpected as they are profoundly human.

structure

Each work in off-meta is characterized by a warm or cool palette, each with an associated background color. A Fibonacci grid acts as a guide, rarely absent, ensuring a foundational harmony. Texture is introduced through objects in the form of vertical noise, horizontal noise, pebble noise, pixel noise, or sometimes, no texture at all. These textures are subtle and confined to the original grid, providing a nuanced layer to the composition. Together, these elements form the structure of the core components that follow, reinforcing the intricate balance between order and randomness that defines off-meta.

marks and typography

In off-meta, seven types of marks, each with varying probabilities, symbolize distinct frames of mind or emotional states at specific moments. These marks are integral to the algorithm, encapsulating a spectrum of human experiences. Examples include indecisiveness (on/off), immortality (skulls), love (xo), zen (kanji), and beauty (Fibonacci). These elements invite viewers to contemplate the diverse emotions they represent. The absence of marks in an output signifies clarity or a void in thought, adding another layer of introspective meaning.

form

Large blocks of varying heights and widths, guided by random phi values, create the foundational forms of each output. These blocks are meticulously placed within the piece’s prescribed Fibonacci structure, but as in life, imperfections—representing our humanity—soon emerge. Despite our pursuit of perfection, our experiences rarely align with our initial vision. Deviations (noise) shift, distort, and meander, resulting in outcomes that are imperfect yet uniquely and inherently human. In essence, off-meta is defined by these randomly controlled happy accidents, celebrating the beauty of the unexpected.

color

off-meta is a study of form, randomness, and noise, exploring the interplay between structure and chaos. Color is used sparingly, never accompanied by another hue, serving as a highlight to the metaphorical state of mind presented in each work. At times, it seems to take on a mind of its own, dominating the composition. Color in an output is rare, intended only as an accessory. The primary intention of this work is to be minimal and monochromatic, as these elements speak volumes, conveying profound messages through simplicity and restraint.

traits

temperature: cool (50%), warm (50%)

background color: 11-4800 (50%), 11-4300 (50%)

background texture: vertical noise (20%), horizontal noise (20%), pebble noise (25%), pixel noise (25%), clean (10%)

background intensity: light (85%), medium (10%), dark (5%)

border: none (5%), phi4 (50%), phi5 (40%), phi6 (5%)

hour: 12:00 (20%), 1:30 (20%), 4:20 (20%), 7:30 (20%), 10:30 (20%)

structure: Fibonacci 00 (22.5%), Fibonacci 01 (22.5%), Fibonacci 02 (22.5%), Fibonacci 03 (22.5%), false (10%)

walls: solid (70%), hollow (25%), naked (5%)

focus: macro (60%), meta (30%), micro (10%)

marks: off meta (5%), on/off (10%), binary (15%), Fibonacci (15%), kanji (15%), skulls (5%), xo (10%), false (25%)

palette: monotone (70%), pantone (30%)

production: proof (15%), final (85%)

foreground color: 17-3938, 17-5104, 19-4052, 18-3838, 15-0343, 15-3919, 18-3224, 17-5641, 15-5519, 13-1023, 18-1750, 13-0647, 16-1546, 13-1520, 18-1438, 17-1463, 18-2120, Cool Gray 1, 11-4800, 19-0201, 19-0000, 19-4006, black, Warm Gray 1, 19-0812, 19-1102, 19-4203

signature: michael anthony (7%), false (93%)

edition: memetic (6%), false (94%)

memetic (if edition == memetic): 69/420 (40%), 0.4, gm gm (20%), on chain (20%), hodl (20%)

membership: member (98%), friday regular member (2%)