Dissociations

An LLM-maintained wiki layer on top of Harm van den Dorpel's archive, begun in 2010 as dissociations.com — a second brain for the practice and a public reading room. The numbered notes in sources/ are the raw stratum, many of them passages collected from other writers; the pages below synthesize, cross-reference, and connect.

Start here

• The Practice in Propositions — the artist statement in Tractatus form; seven propositions distilling the practice as a truth-finding procedure
• About — what this site is; 2010 origin; New Museum First Look; 2026 LLM mutation
• The Generative Threshold — hub for three lines across the practice; less composed than initiated; taste made explicit, read as a loop in which the criterion stays with the artist; compression and decompression; the loom genealogy

Frames of thinking

Conceptual scaffolds the practice runs on.

• Does a Work Still Need to Be New? — thesis in five questions: works made after older works with a machine made of older texts, read against Mark Fisher's hauntology; Krauss's modernist new as repressed repetition; generativity before the computer (Kunz's pendulum, divination); oracles and the direction of their bias; the new as unfolding, computed from the present
• Recursion and Self-Reference — 876 On recursion: self-reference, the stop condition, radical autonomy; the forms recursion takes in the archive and the works
• The Semiotic Square — 901 New and Different and its negations, read as Greimas's square; the new as experience, not as position; ZORA's "subdued iconoclasm"
• Assemblage Identity — DeLanda; everything vs. anything; Agamben's profane order; interval space
• Sculpture and the Object — the Assemblages (2011–18), open spheres of hand-cut, UV-printed, riveted strips that began as Cinema 4D renders; Travis Jeppesen's Revenge of the Spheres
• The Four Master Tropes — 2011 video of reordered Kindle highlights, DeviantArt images and studio photos; the title is Kenneth Burke's essay
• Randomness and Pattern — Hayles's information as pattern (805); Arp's chance collage; the limits of pure randomness; organic and geometric as one continuum
• Mediation and the Archive — Derrida's Archive Fever (822) and Hayles's flickering signifiers; The Work = The Work + Its Documentation (992) as recursive inclusion; the score kept, the performance let go
• Impulse, Risk, Method — discovery rather than decision, from Bernard Williams via 793; Pye's workmanship of risk; constrained chance
• Love — What Love Is Not — Krishnamurti's via negativa applied to love, read as the negative selection that produced Dissociations; Bataille via Čeika; Williams on the deepest impulse (793); Haddaway as the negative case
• Apophatic Theology — the via negativa as the wiki's reading of the practice, from the artist's "a bit like apophatic theology" (2026); Plotinus, Pseudo-Dionysius, Maimonides, Eckhart, the Cloud of Unknowing; the evangelical upbringing; legislative (cataphatic) vs. generative (apophatic); the Dionysian double movement
• Différance — Derrida's differ/defer read onto the dissociative mechanism; "Identity is deferred" (note 952); Saussure's diacritical sign; Strategies' rewritten advice; Hyphenation .xyz (2019); the reserve left undecided

Form and geometry

Recurring shapes, surfaces, and structural devices.

• The Grid — Rosalind Krauss's "Grids" (1979) against the practice's grid algorithms (CGP, Field, Anni, Pression des pairs, Stained Unravel); the loom as the grid's other ancestry; the grid that develops; the screen as its edge; the interface grid; Rasterbild and Rasterbild II after Posenenske
• The Lozenge — Mondrian's lozenge canvases from 1918 and Krauss's centrifugal grid; Markov's Window (2004) and its turned monitor; Untitled Nested Composition 3 (2018); the Resolution Paintings hung on their points (2023); Venster (2024); Endless Knot (2025)
• The Squircle — the superellipse between circle and square; the rounded interface corner as ideology in the Markov's Dream text (2022) and the Spike interview; a form presented as natural against a form derived by visible rules
• Sacred Geometry — Emma Kunz's pendulum drawings as the artist's own use of the term; loom, mandala, stained glass, heraldry; Anicca (2025); meaning initiated, not assigned
• Quantization and Dithering — error diffusion by eleven methods in Quantizer (2025); CGA, Apple II, ZX Spectrum and other hardware palettes; the block as the unit of time
• Colour — meaning in combinations, not single colours; five ways of making them: RGB extremes (the Markov's Dream palette), hand-made palettes (Stained Unravel), old-computer and named palettes (Quantizer), and more; written for Judgment and Calculation (HAUNT, 2026); judgment relocated
• Afterimage — the trace after the stimulus; Markov's Dream #10 Rotorelief after Duchamp; Maschine (2023); Relieved Afterimage in Struggle for Pleasure; tinnitus and shoegaze

Process and method

How the work is made.

• Process Legibility — the construction of an image stays readable in the image; checked against Stained Unravel, Struggle for Pleasure and the plotter drawings; concealment as a relation between image and rule
• Algorithmic Archaeology — the artist's name for reconstructing rule-based procedures of earlier artists, first recorded in Spike #70; a timeline from the loom and the mandala through the Markov chain, Albers, Kunz, the cellular automaton, Posenenske and Molnár to the language model; recognition, the precedent found after the work: Franke's wrap-around (1980–81) and Swallow, Only Shallow
• Emma Kunz — How the Drawings Were Made — Kunz's sitting in eight steps, from question and pendulum points to the reading over a wooden cross; what the pendulum did in each step and the one step no witness saw; construction by number in her 1953 booklet; the marigold experiment; ideomotor movement, physicalists and mentalists
• Evolutionary Logic — Cartesian Genetic Programming; fitness functions; algorithmic archaeology
• Subconscious Computation — Joseph del Pesco's phrase; Dissociations (2010) computing associations from what he threw out; creator and bystander; the deciding mind leaves generation and stays in selection
• Protocol, Taste, and Systems — Brian Droitcour's Beautiful Rules (2025): protocol art and taste, personal, collective, then systemic; Dissociations, Delinear.info, Mutant Garden Seeder, Quantizer; the "blockchain soul"
• Meditative Labour — four ways hand and plotter work together; Kapitulation (2024) and Beads I–III (2025); Monaco Mix and Fernand; the hand inside the loop
• Release Early, Release Often — Eric Raymond's description of Torvalds's method as the title of the 2013 Abrons show; openness as stance; recursion through the outside
• Limit Experience — Bataille; Agamben; Chemsex Benelux (2022)

Bodies of work

Named series and projects.

• Death Imitates Language — the first series bred with a genetic algorithm (2016–); likes, visitor statistics and simulated ageing as selection; Autobreeder

• Algues Artificielles — seaweed curves bred by sibling crossover from summer 2016; Hans Arp; Hybrid Vigor .bio (2017), where visitors choose

• Senescenence (2026) — Interface Gallery with Nguyen Wahed, New York, 3 April – 2 May 2026; seven Stained Unravel tokens and four drawings; "less composed than initiated"

• Stained Unravel — 23-state morphological vocabulary; positional compare, temporal staining, edge merging; seven palettes on one logic; death as one shape among 23; Blockade, the Museum Proof after Franke, with its own rule pool and timing

• Interruptions (2026) — five on-chain tokens after Vera Molnár; the rotating line of Pression des pairs (2024) run on the Stained Unravel engine; nine cell states, including spinning, stuck and neighbour-following lines; neighbour averaging as a diffusion equation; ornament and flow; Peer Pressure, Interruptions, Monochrome, Projection, Nocturne and their palettes, among them a near-copy of the IBM PC 16-colour set

• Quantizer (2025) — 256 tokens on Ethereum; new composition every 12 seconds from block hashes; hardware-palette catalogue with swatches; eleven error-diffusion methods; plotter drawings

• Entfaltung (2026) — the series after Emma Kunz's pendulum drawings; her sitting from the eyewitness accounts; four stages from emulation to points moving in space and time; the editor; Manfred Mohr; nesting and the grid; Anabel Zenith's account of watching the tokens; the pendulum taken apart

• Entfaltung on Chain (2026) — the 36 tokens: Genesis, 24 by the artist, 8 for collectors, 3 artist's proofs; one renderer on-chain, updatable by design; every point joined to every other; symmetry groups from mirror to icosahedral; the 48-second cycle of three turns and a morph; faces rebuilt at each move; the relay and the shared clock; twin tokens ⧗ and ꕥ; traits; glyphs and folds; every token's palette

• Predecessors of Entfaltung — Quantizer's block-hash engine and its memoryless images; Anicca's mandala; Manfred Mohr's rigid hypercubes

• Entfaltung on Paper (2026) — the 19 drawings by title, date and construction (Seraph, Emanation, Meridian I–IV, Tabula I–II, Commissure, Nimbus, Mask, Cardinal, Syzygy); plotter construction, hand colouring; tokens and drawings split Emma Kunz's method; her sitting from the eyewitness accounts; the sequence June–October 2026; criterion at the speed of the hand; how Kunz channelled; authorship in an open tradition

• Early Plotter Drawings — the artist's note for Lohaus Gallery's Summer: Sur Real Real (2026): botanical and geometric plotter drawings of 2017–18 (Thistle, Papaver Somniferum, Metaballs ⁱⁱ, Diaphragm) and Diagonal Fault and Vesper (2026); the organic–geometric continuum

• Codec Breeze — four 2008 videos (Trees, Plastic Plant, Smoke, Baptism) in which only the parts of a photograph that might be alive run through a low-quality codec; chance given a spiritual reading; Baptism with only the water encoded; the 2009 conversation with his parents, his father then an evangelical preacher; a piece shown at Club Internet the same summer

• Zeuchnungen — 2012 digital collages made for dissociations.com; scanned paintings and drawings reworked in Photoshop; overlay, subtraction and composite operations; smoke plume, white voids, 3D clip-art, glitch blocks; originals lost; Versum 2022 and own Tezos contract 2024; Zeuchnung #4, Thread, Boarish

• Markov's Dream Palette — four colours picked by hand in 2004 (blue, green, magenta, a grey gradient) returning in six works through 2026; Venster adds red and orange

• Lexachast (2016–) — with Amnesia Scanner and Bill Kouligas (PAN): the website lexachast.com (January 2016), live sets in 2016–17 curated in real time, the LP on PAN (2019); open_NSFW and word2vec over the internet image-pool; "Ken Burns effect on steroids"

• qubibi's hello world — Kazumasa Teshigawara's hello world (2010) read beside dissociations.com, after Giannis Sourdis's essay (2026): two running systems begun the same year, forms grown from simple rules

• Dashcam Paintings (2024–) — stills from online dashcam footage of car crashes, saved at the moment of impact; "a decisive moment" after Cartier-Bresson; made while recovering from his own accident; "these are not paintings"; the are.na channel (2024–25); beside Swallow, Only Shallow

• Four Single Works (2013–2021) — Untitled Collage (2013) on a watermarked stock photo; Untitled (forgotten) (2015), a Raspberry Pi animation in a printed acrylic frame, "Confusion leads to prayer"; Dark Calendar .com (2019), an empty dark-mode week view; Slanted Magazine (2021), the AI issue

• Mutant Garden (2019–) — programs bred with Cartesian genetic programming, one parent at a time; Autobreeder (lite) (2018) as predecessor; the first outputs of spring 2019 titled by render time; the website Mutant .garden (2020) with its lab and garden; prints and metallic exposures 2019–2023; Protoseeders tokens and the Proto Seeders prints; Mutant Garden Seeder (2021), 512+1 tokens with Folia that mutate when a block hash matches the birth hash; Lrne, Coralena, Susanon; Mutant Garden Seeder Mutations (2026), snapshots on-chain, mintable until pruned; Agent's reading: the fossil record

• Revenant Series (2006–07) — ten Flash animations of found photographs of people asleep or passed out, Resurrection (i)–(vii) and Sleepwalker (i)–(iii); "moving still" images, collage from the Net Art age; the title and his father's theology; roll-over animations on harmlog.nl, Rhizome's reblog of 2007, Club Internet 2008; video after Flash

• Animal Configurations (2007) — Bison, Ostriches, Death Roll, Gaussian Goat, Dogggie: Google-search animal photos folded, looped and blurred with filters; first called Animal Series, LightJet prints 40 × 60 cm; clinical, generic images; the goat uncredited on Instagram; the Pixel Sorters GIFs filed with them

• Ethereal Self & Others (2008–09) — webcam websites: the visitor's face on a gemstone, visitors in a grid, the empty rooms of When No One is Looking; single-serving sites and Miltos Manetas; "returning the gaze of the internet"; Club Internet, Venice Internet Pavilion 2009, plug.in Basel; Brian Droitcour's reading in the Free catalogue (2010); switched off c. 2021

• Early Works (2007–2011) — Pseudo Psycho, Lasso, White Rectangle, Exotica, [a]{104} and its destroyed resin print, Saturation Transition, the Diagonal Enlargements (Rug, Panda, Pizza), Sample, Untitled (arrangement) and Untitled (leaves)

• Automated Drawings (2016–2018) — plotter drawings in ballpoint and pencil interrupted by hand; Metaballs, Thistle, Fingerprinting, Diaphragm and its source image; "classical cyborg art works"; automatic vs. automated (Kunstverein Freiburg, narrative projects); Bamboo (2017); Nested Drawings and Untitled Nested Composition 1–2; System with a Turtle and Papert's turtle graphics; Achillea Millefolium (2026)

• Monochrome Drawings Edition (2025) — eight brush-pen plotter drawings in an edition of 20 (Tires, Bamboo, Pole, Rotan, Serif I–II, Bones, Plateaux); the brush as performer; Bamboo (II) on are.na, 2024; Stairs and Crosses and (worn); the Cloud Writings vocabulary

• Bags (2019–2026) — nested brown paper shopping bags cut after Hans Arp; Bag, Another Bag, Spectre, Bag (Skeleton and its entourage), Bag (Pflanzenbild); Notes on Objects (London, 2019), Shimmer (Rotterdam, 2021), Cloud Writings (Tokyo, 2026)

• Quadra, Features and Soft Shield (2025) — Mutant Garden compositions plotted and shaded by hand, and a Protoseeder exposed on metallic paper; Features, first titled Alithea; after Typographic Trace

• Nested Exchange (2017–2019) — specimens as trees of drawing instructions after the linear chromosome of Death Imitates Language; two specimens swap a branch ("gossip"); the "hipster algorithm" of difference; the web version's code read; acrylic panels and prints; Lammer Asbestos, Wyn, Hexamerisms, Fissured Petrolling Mridangam, C. C. Rashes, Sensualist, Cussos Unfence Thermographers, Seul, R. Electrotype, Peached Renitencies Mercer; Protorb and Segfault; six shows 2018–2021

• Interpolations (2024–25) — nine plotter drawings on millimetre paper after Hanne Darboven's Konstruktionen (1966–67); her Perforation, Konstruktion beside Interpolation I; traced strokes and computed in-between lines; Interpolation I–IX described; Angles Morts (2024) and Cloud Writings (2026)

• Swallow, Only Shallow (2024) — twelve works, fourteen tokens; early-1990s concert stills through the Struggle for Pleasure subdivision; wrap-around colour bands; shoegaze and My Bloody Valentine; Doré behind two titles; Person in a Field, Vortex, A Vale of Tears, Creation of Light, A Man, Blow Out, Array, Attractor, Crowd, Crowd II, Desert Sky, Landscape, Glow, Transpire; Crowd (III) and Transpiration; Symmetrical Composition, an early Struggle for Pleasure output

• Resolution Paintings (2023) — twelve works, the Markov's Window algorithm run to pixel level; six lozenges and five square works; Synthesis Euphoria, Hell, Nacre, Rite, Pivot, Markov's Window (exposure), A Forest, Sprite, Klimt, Field (double exposure), Altibzz; Our Inner Child (2023), Judgment and Calculation (2026); Candyflip, the twelfth

• Ambi-framed Protoseeders (2022–23) — ten prints titled with the second their image was rendered by the 2019 desktop CGP algorithm, from Thursday, March 28 2019, 16:10:34 to Friday, April 26 2019, 00:50:27; Lacelove; painted frames; the Protoseeders token Snared (a)

• Event Listeners (2015) — macOS screensaver of random and classic L-systems with a text about a party where the speaker never gave the expected reaction; the title read against what a screensaver is; the MAK's Bitcoin purchase of 20 editions and the different "firsts" claimed for it; ascribe to Ethereum (2018)

• Colour Configurations (2019–2022) — five images from the first Cartesian genetic programming code; four are the halves of the two are.na pairs of March 2019; Zora and the artist's contract (2021); the start of the grid works and of Mutant Garden

• Indiscreet Units (2022) — 266 flags turning through the hue circle every 20 seconds, white and black fixed; Chemsex Benelux, the project the artist founded; colour as continuum against "discrete units"; Benelux, Friesland, Europe, the UN

• Maschine (2023) — 1,000 tokens of a spinning wheel at speed, Mercedes-Benz commission with Fingerprints DAO; rims in hip hop videos, the wagon-wheel effect, the tracer, the visual synthesiser and the traits; a three-layer network trained on his preferences; Kupka against the Futurists

• Anni (2024–2026) — software after Anni Albers's Study for Camino Real; triangles turned by their neighbours, scanned like a weave; the four tokens by resolution; Angles Morts; Anni (unravel), Anni (sync), Beads I–III

• Anicca (2025) — the first mandala in code: two animations that build a figure by subdivision and let it fall; the sand mandala compared; the Mandala channel in spring 2025; Anicca 2 and the Endless Knot

• Pixel Sorters (2005–2022) — GIFs in which found clip-art animals, the Nuremberg Chronicle's Dance of Death and Fuller's dome patent collapse pixel by pixel; the rule in the 2021 texts and decay as settling; extinctr (bitforms, 2018); Folia's 2021 drop (Pixelsorters, Vintage NFT drop); Lasso.swf

• Phantom Crush (2023) — 130 generative portraits from Enver Hadzijaj's pastel drawings for Chemsex Benelux; the platform's credits and the 2022 Indiscreet Units drop; 444 announced, 130 minted; eight traits and their counts; generated sentences; Albanian names

• Orb (lite) (2022) — 512 on-chain SVGs of nested rotating squircles after Markov's Dream: Orb; Colours, Temperament, Rings and Curve read against the SVG code; rotations that add up towards the centre; Maschine

• Software Editions — the harm.work collection of ten editioned programs, 2008–2024: White Rectangle, Transplant, the Death Imitates Language and Mutant Garden Autobreeders, Algues Artificielles, Nested Exchange, Temporality is, Fernand, Breezy Doozy, Pression des pairs

• Small Collections — JPGs (Art Gallery 1–3 from Spirit Surfers, Owl.jpg, Merch Clouds, Hands); Single Specimens and the lineage in their names; Monaco Mix on Bitcoin (2016) and Ethereum (2018); Sources, the SVG scores of five Stained Unravel plotter drawings

• Cloud Writings (2024–) — 36 plotter drawings in which every grid cell is one short line; the rotating line of Pression des pairs and probabilities set by position; the first sheets Coral, Ridge, Cliff; rows after writing and weaving (Weaving (square), Vapour, Scene); columns (Été, Fait Divers, Current); Printemps and the file-only Mid; chevrons (Pineal, Girl/Boy Song, Peaking); streams (Helmgras, Vermis, Derelic on PVC); drawn twice (Shroud, Mold, Plateaux (layered)); the exposure Rapture and the brush drawing Drift; Angles Morts (2024) and Tokyo (2026); catalogue

Exhibitions

Write-ups of solo and group shows, read with the texts written for them.

• Free — New Museum (2010) — Lauren Cornell's show on the internet and public space; Seth Price's "Dispersion"; the free-culture movement; Redux (1)–(3), Hollywood posters cut by hand, "haunted by" their films; Droitcour on Ethereal Self and Ethereal Others; the artists' talk
• Wilkinson Gallery — About (2012) — first real solo show, London; six hanging Assemblages that began as 3D renders, first shown at Frieze 2011; collages behind hand-etched glass, among them Untitled (collage with hands); Travis Jeppesen's Revenge of the Spheres in full; Paul Hobson's notice; the reviews printed into Assemblage (About reviews and press)
• Abrons Arts Center — Release Early (2013) — first US solo; Karen Archey
• Narrative Projects — IOU (2015) — ten works on thermosensitive paper; heat as mark; provenance "timestamped in the supposedly perpetual blockchain"
• Loomer — LA (2015) — first LA solo, at Young Projects; the first-person press release; post-internet accepted but "not sustainable"
• Just-in-Time — American Medium (2015) — Jaakko Pallasvuo's Facebook-chat press release; Delinear Whiteboards (scrum kanban) series; "process happens before the work" as the 2015 formulation that process-legibility later resolves; Arendt on understanding-not-influence; Agamben on absolute potentiality; Wilk on invisibility
• Vienna Biennale — MAK (2015) — 24/7: the human condition, Arendt's labour, work and action; Event Listeners on an iMac two months after the MAK's Bitcoin purchase; Nausner's disclaimer; Max Henry's Spike review
• Wer nicht denken will, fliegt raus — Kleve (2016) — instructions after Beuys at Museum Kurhaus Kleve, with Steyerl, Kippenberger, Wurm and others; six Death Imitates Language wall objects (Shtonk Vtejuwoh Bonifac, Vuwtvvyft Zcuviey Dayssuck) and Autobreeder
• narrative projects — Asking for a Friend (2017) — the software as proxy; Algues Artificielles prints (Adoreway, Frouters, Bluena, Availablesky) and projected software; Juancar Zolim Juancar and Autobreeder; five plotter drawings; X-bar trees and deferred meaning; names taken from real passwords (CLOT, 2018)
• Upstream — Pattern and Presence (2018) — title from N. Katherine Hayles; "Do we have a body or are we a body?"; Nested Exchange on screen and as layered acrylic (Hexamerisms, Fissured Petrolling Mridangam, Wyn, Lammer Asbestos); 2018 Algues prints incl. Freeling Tristesse; Assemblage (About), Assemblage (new); risograph arrays; Ethereum tokens
• Proof of Work — Schinkel Pavillon (2018) — Simon Denny's blockchain show curated by "decision-making nodes"; van den Dorpel's node selects himself and left gallery; Nested Exchange software, Lammer Asbestos and Wyn (generation unknown) as layered acrylic panels; the animated left gallery Explainer
• I Was Raised on the Internet — MCA Chicago (2018) — Omar Kholeif's survey of internet art since 1998; Assemblage (About) in Touch Me, a sphere printed with the online press of About (2012); 2012 or 2018; visitors' Instagram posts; six artists from Club Internet; post-internet
• E-State Realisms — ArtCenter/South Florida (2018) — Emer Grant's show on value and circulation, from the GALA Committee's Melrose Place props; Nested Exchange in a window over Lincoln Road; C. C. Rashes, Sensualist, Peached Renitencies Mercer; the Wildcard Token Explainer; the Art Gallery photographs; Nora Khan's essay on gossip and tokens
• Lehmann + Silva — Uninnocent Bystander (2019) — first show of the Cartesian genetic programming work, six weeks after the first outputs; Untitled (1554993052565) titled with its render time; Subprioress, Push Forth Specter, Bars, Symbol No Aggression; autobreeder projection; the halting problem; Agent's reading: programs that halt, a population that does not
• Vertiginous Data — MMCA Seoul (2019) — Deoksun Park's show on the non-neutrality of data; Sensualist, C. C. Rashes, Seul and R. Electrotype on a blue wall; the software and a chromosome–file–object–token explainer; paired with Simon Denny on blockchain
• Notes on Objects — Narrative Projects (2019) — sculpture show answering Robert Morris; two cut paper bags after Arp, Bag and Another Bag, listed as Invariable Depth Constellation and Pseudocount Arp Bootleg; Bag of Words; the gallery's "readymade intercepted by technology"
• Stedelijk Base — Markov's Window (2020) — the Stedelijk Museum Amsterdam's collection display; Markov's Window (2004) as "transhistorical intervention" beside Mondrian, Malevich and the Bauhaus; seen at Upstream's Live and Let Live (2018); Ruf and Archey; the acquisition as vindication and overwhelm
• BioMedia — ZKM Karlsruhe (2021–22) — Weibel's biomimetic media; Mutant Garden Autobreeder, Tracer, two Associative Displays (one printed with note 876); the ZKM's purchase of the Autobreeder; DNA as compressed programs
• Shimmer — A Field Without Boundaries (2021) — solo show in Rotterdam, Chapter 2 of World as Lover, World as Self; a back-catalogue refreshed three times; Death Imitates Language, bags after Arp, Calor Scripturam, Strategies; the squircle mirror sticker; two exhibition reports; harm.work launched with a mix by Carsten Jost
• Mutant Garden — Upstream Gallery (2021) — solo show laid out as garden and lab; the Mutant Garden Autobreeder on six screens; metallic exposures (Odd Motives, Grand Formation, Plural Shim, Zwour, Moksi); the Tracer; a timeline wall with one work from each breeding series; Associative Display lightboxes; DNA as compressed programs; 64 Seeder tokens pre-sold for fiat
• Artforum — Context Switch (2022) — Adina Glickstein's review; mandala vs. doomscroll
• Screens and Skin — Schöttle, Munich (2022) — duo with Raphael Weilguni's raku ceramics; five Markov's Dream tokens (Kodama, Softenon (II), Rotorelief, Softenon (III), Markov's Dream (II)); the rounded square as "a living, breathing cell" against the artist's critique of rounded interfaces
• Systems of Belief — Graz (2022) — Cathrin Mayer's show at Halle für Kunst Steiermark; four Markov's Dream tokens (Keta, Hedphelym, Orb, Softenon (II) or Fruity); technology as "a generator of disorder"; the Kleine Zeitung review
• The Painter's New Tools — Nahmad (2022) — Cayre and Kissick's survey of painting with software; the Coralena triptych (mutations 62, 105, 160) and the Mutant Garden Autobreeder; selection after breeding as the painter's tool
• TSCA group show, Tokyo (2022) — with Kenjiro Okazaki, Chinoko Sakamoto, Goro Murayama; SPARCStation, Field, Pleasant Modules; first NFT shown in Japan; Murayama's rule-based drawings
• Sammeln — Villa Schöningen (2022) — a show about collecting; Indiscreet Units on a cathode-ray television as the work about "dissolving identities"
• Upstream — Our Inner Child (2023) — Inner Child therapy; the Resolution Paintings made with the Markov's Window algorithm; compression vs. decompression
• Upstream — Mixed Feelings (2023) — summer group show on "the ambiguous attitude one can harbor towards technological advancements"; eleven artists; Maschine ₇ on a monitor, between the text's two camps
• Verse SOLOS London — Struggle for Pleasure (2024) — four Swallow, Only Shallow wall objects and 128 quadtree tokens; William Kherbek's first-person press release; pleasure through resistance
• Angles Morts — with Vera Molnár (2024) — two-person show in Munich; four women whose grid work he has researched since 2019; weaving; the Cloud Writings premiere
• TSCA Tokyo — Cloud Writings (2026) — first solo show at Takuro Someya Contemporary Art; 22 works; why a plotter
• Judgment and Calculation — reading the text (2026) — Qin Yan's text for the show with Sonneck and Becker at frontviews at HAUNT; colour chords; the artist as selector; the published text took up the three corrections; judgment relocated
• Franke × van den Dorpel — Vectors, Apple Munich (2026) — Margit Rosen's curatorial text; Stained Unravel (Blockade), the eighth token, with Franke's Move (Blockade) (1991–94); beauty vs. aging; CRT palette and square grids; Franke's Transformation, Anton Bruckner (yearbook 1980–81) beside Swallow, Only Shallow's A Man and Blow Out
• Degrees of Disruption — V&A (2026) — Vera Molnár and generative art, curated by Melanie Lenz; Bluena and the Algues Artificielles software on screen; Availablesky; the 2021 acquisition with Dechayotic; the V&A's labels and records; Le Random's review
• Summer: Sur Real Real — Lohaus Gallery (2026) — six artists on the real appearing unreal; eight plotter drawings of 2017–18 in one row; the first projection of Entfaltung; Diagonal Fault and Vesper in stock

Networks and platforms

The spaces the practice was made in and built.

• Surf Clubs (2003–) — group blogs where artists posted what they found; Nasty Nets coining the term in 2006 and its 39-member roster; Supercentral and Charles Broskoski's route to Are.na; Spirit Surfers and the boon/wake split; del.icio.us as the network where the community actually formed; the Internet Sleepover at Eyebeam, 2007; work as common property before NFTs; the crossing into physical space in 2009
• Club Internet (2008–2010) — van den Dorpel's online exhibition space at clubinternet.org; the domain speculation that became a Freemason-modelled society and then a gallery; 15 shows, ~274 works, 106 artists reconstructed from the recovered MySQL tables; guest curators Damon Zucconi, Constant Dullaart, Guthrie Lonergan, Martijn Hendriks, Domenico Quaranta and Charles Broskoski; one work at a time in a fake browser chrome; Free Fall at Mediamatic and AFK sculpture park in Kreuzberg as the move offline, curated by AIDS-3D, photographed and also scanned as 3D point clouds
• left gallery (2015–2022) — downloadable objects sold in editions of a hundred; founded with Paloma Rodríguez Carrington after the MAK Vienna bought Event Listeners with Bitcoin in April 2015; ascribe.io certificates independent of the gallery; routing around the app stores; the 2020 loss of the "blockchain soul"; closed March 2022; circulation, not stages

Reference

• Works Overview — dated catalogue of works and exhibitions 2004–2026, with pointers to the pages on each
• External Writings — every ingested text by someone other than the artist: author, venue, year and the wiki page that reads it
• For collectors: How to receive your NFT — wallet, recovery phrase, public address; How to display your NFT — browser, dedicated screen or projection
• are.na channels (2011–2026) — index of the 89 public research channels; when each interest began, with the wiki page that records it; show titles, the running list of candidate exhibition titles
• Wiki Health Report — open issues; maintenance principles

Conversations and writings

Ingested external texts: interviews, reviews, catalog essays.

• CGP — Julian F. Miller interview (2021) — life is a 3.5 billion year old technology; CGP's origin in circuit design (1997); non-coding genes; technology, not life
• Outland — Sutela conversation (2021) — pixel-sorters; DNA as recursive zip; library-as-agar
• ZORA ZINE — Subdued Iconoclasm (2021) — theology and the unconscious; Event Listeners history
• Tokenising Sustainability (2021) — personal NFT history 2015–21; ascribe.io; PoW vs. PoS
• Spike #70 — The Squircle of Life (2021/22) — conversation with Tina Rivers Ryan; four selection criteria; the squircle; the MAK purchase as Ryan tells it
• Verse Twitter Spaces (2024) — with Nico Epstein and Leyla Fakhr; pixels and varying resolution; every stage kept and timestamped; Dieter Roth as closest affinity
• Magicians Conceal, Artists Reveal — a text in the archive on ars celare artem inverted; concealment as a relation between image and rule, not a property of the tool
• Mandala Q&A — Goro Murayama (2026) — Tibetan sand mandala; Jung; Anicca
• Venster — the writing (2024) — first-person artist's text accompanying the Venster NFT collection; pixel-perfect as inherited demand; cross-browser SVG variation; the score / performance distinction for on-chain art; April 2026 dedicated site at venster.harm.work
• Strategies (2010/2011) — collage-manifesto; non-dialectical simultaneity; hauntology
• Field (2008/2023) — Flash animation ported on-chain; Actionscript → Solidity

This is a wiki by Harm van den Dorpel Ⓗ co-authored with an LLM