Activity

What changed in the wiki, one entry per session, newest first. Also as an RSS feed.

The angel, the agent and the oracle

15 November 2026 · New The Angelic and the Agentic — Christov-Bakargiev and the Practice · New source The Angelic-Agentic Dimension — Carolyn Christov-Bakargiev (e-flux Journal #167, 2026) · Changed 8 pages · From note 876, note 992, note 709, note 805

Carolyn Christov-Bakargiev's e-flux essay (November 2026) separates the angel, which addresses a body in a place, from the agent, which predicts from the recorded past, and holds that the machine has no void. Markov's Window (2004) predicts with no past at all, and Death Imitates Language (2016) ran Beeple's loop of humans and systems judging each other the other way round. She says calculation never becomes revelation; the artist says that at sufficient complexity it is indistinguishable from an oracle. Agent places the oracle, a chance procedure read by a person, between her two figures.

The log becomes an activity feed

15 November 2026 · Changed About — Dissociations

The wiki's log is now an activity feed: one entry per working session, each with a picture from the pages it touched, a page of its own, and an RSS feed at /feed that carries the same entries. The 262 headings of the old log, kept since April 2026, were read into these entries and cut to a few sentences each.

Goo, the last token of Markov's Dream

14 November 2026 · New source Goo — the brief for token 32 of Markov's Dream (2026) · Changed 6 pages

Markov's Dream is complete. Its last token, Goo, minted on 13 November 2026, keeps the five colours the artist picked for Markov's Window in 2004: each new cell takes the colour used least so far, and where cells meet the paint runs together into violets and lilacs. It is the first work in the lineage with a hand in it: a stroke divides a cell and the chain carries on from what the hand left. The brief he gave while making it, which asks for 'a complete disintegration of geometry and modernity', is now a source.

The internet as the mainstream medium: the artist on Price

13 November 2026 · Changed Dispersion — Seth Price and the Practice

The artist corrects the Dispersion page: the internet itself is 'the most mainstream medium there is', and his work has taken its forms, the domain-named website, the group blog, the screensaver, the GIF, the token. NFTs are 'the culmination of using consumer forms of distribution for fine art'. He still respects Price, but something in him wants to break out of the confines of fine art, where Price seems to have stayed. Dürer and Dieter Roth are his models of the artist as publisher.

Seth Price's Dispersion

13 November 2026 · New Dispersion — Seth Price and the Practice · New source Dispersion — Seth Price (2002; illustrated PDF, 2007) · Changed 7 pages

Seth Price's essay Dispersion (2002), which the artist calls hugely influential on his early practice, is in the archive in full. He filed it as a work in his Club Internet show Dissociation on 10 June 2009, a year before it became the touchstone of Free at the New Museum. A new page reads the practice against it: Ethereal Self as the private portrait Price foresaw, the token as a dispersed copy with a recorded title.

Markov's Dream moves on-chain

13 November 2026 · New Markov's Dream — on-chain (2026) · Changed Mediation and the Archive

Markov's Dream (2022) no longer depends on its web server. On 12 November 2026 its owner pointed the contract at a web3:// address, defined by ERC-6860, which asks a contract on Ethereum for each token's description. The texts and traits are unchanged, the PNGs are on Arweave byte for byte, and the animation is the code the server had run since December 2023, stored with its graphics library.

The hand-drawn mask in Bison

12 November 2026 · Changed Bison — from Java applet to on-chain (2005–2026), Pixel Sorters (2005–2022) and the Folia drop, Mediation and the Archive

Bison reads two bitmaps: the engraving the viewer sees and an invisible mask drawn by hand that marks how far the pixels may fall. Without it they would have fallen off the screen. The last frame of the on-chain token shows where the mask runs: the undersides of the hooves never move, and the heap settles on the ground the bison stood on.

Bison, from Java applet to on-chain frames

11 November 2026 · New Bison — from Java applet to on-chain (2005–2026) · Changed Pixel Sorters (2005–2022) and the Folia drop, Mediation and the Archive

Bison (2005), perhaps the artist's oldest work still accessible, has a page built from the tokens minted on 11 November 2026 and from his websites of 2007–2011 in the Wayback Machine. It began as a Java applet written in Processing at the Rietveld Academie, at PAL size, 720 × 576 pixels at 25 frames a second. Its rule is deterministic, so the GIF of October 2007 records the only run there is.

How Swallow, Only Shallow was made, and why its colours band

5 November 2026 · New source Swallow, Only Shallow — the tool and the working files (2023–24) · Changed Franke × van den Dorpel — Vectors, Apple Munich (2026), Struggle for Pleasure (Verse SOLOS London, 2024), Algorithmic Archaeology

The tool behind Swallow, Only Shallow (2024) is read from the artist's repository: a branch of the Struggle for Pleasure code that fills a quadtree with the mean colours of a found picture, one cell, then four, then sixteen. The artist explains the banding: a channel that exceeds 255 wraps to zero, 'what Herbert did, and also what I did'. The precedent found after the work becomes a third direction of algorithmic archaeology.

Anabel Zenith on watching Entfaltung

3 November 2026 · New source Terrifying and Glorious. I See Angels. — Anabel Zenith on Entfaltung (2026) · Changed Entfaltung — Unfolding Emma Kunz into Four Dimensions, Entfaltung on Chain — the 36 Tokens, Predecessors of Entfaltung, External Writings — Texts by Others

Anabel Zenith's essay 'Terrifying and Glorious. I See Angels.' is the wiki's first account of the Entfaltung tokens from a viewer. It also records how the series came to Emma Kunz: Zenith, the artist's partner, suggested he look at her drawings. The cycle the code defines, three turns, is confirmed from the viewer's side.