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, up to the cell that contains itself in Goo (2026)
• 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
• Dispersion — Seth Price and the Practice — Price's essay (2002), "hugely influential" on the early practice; filed as a work in the Club Internet show Dissociation (2009), touchstone of Free (2010); public art as circulation and the private portrait (Ethereal Self); reframing found material until 2015; re-release of his own early works on-chain; Linux and "nothing is finished"; Fountain as palimpsest and 992; the copy disperses, the title is recorded

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) and their returns through 2026, from Markov's Dream to its last token, Goo, which uses black and white as colours of their own and lets the paint run together where its cells meet; 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; chance in every sorter but Bison; extinctr (bitforms, 2018); Folia's 2021 drop (Pixelsorters, Vintage NFT drop); Lasso.swf

• Bison (2005–2026) — the oldest pixel sorter: Java applet in Processing at the Rietveld Academie (2005); two bitmaps, the engraving and an invisible hand-drawn mask that stops the falling pixels; deterministic, so the October 2007 GIF is its only run; harmlog, Club Internet, De Nieuwe Vide (2008); the Folia token on IPFS (2021) burned and replaced by two tokens with every frame on-chain (2026); tending as part of the work

• Markov's Dream — on-chain (2026) — the 2022 series moved off its web server on 12 November 2026 through a web3:// address (ERC-6860); code and texts on Ethereum, images on Arweave; versions only ever added; token 32, Goo, minted 13 November 2026

• 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
• Goo — the brief for token 32 — the artist's instructions for the last token of Markov's Dream (2026): the disintegration of geometry; emergent cells; token 30's logic; nothing sudden

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