Alzheimer’s disease is the most common form of dementia, which affects more than 55 million people worldwide. It is estimated that someone develops dementia every three seconds.
Through reGEN, we are not just creating art, but fostering a global community united in its commitment to bring about positive change, be it through raising awareness about Alzheimer’s or generating funds to fuel research that aids those affected.
Having seen the effects of the disease in my own family, I’m especially motivated to see this disease done away with. To play a small part in that effort by means of creating art is a real honor and privilege that I’m deeply grateful for.
While I will not find a treatment for Alzheimer’s disease myself, I can do something to improve the lives of those struck by it, and every gesture does count. Being able to donate a full generative artwork toward funding research is an incredible opportunity to help engineer meaningful change.
The countless clovers that fill the screen form a variety of patterns according to their color, composition, and flow — unique fields engraved in our memories and on the blockchain.
The disease degrades one’s ability to communicate and take care of oneself, which is very hard on the person inside as well as those outside. It also challenges what it means to be oneself — to be human.
This blend of the real and the imagined pushed me toward the concept of generative vistas whose clarity is eroded by the passing of time.
As I sat with the idea for a few months, I started thinking about how everything comes to a close eventually. But rather than dreading that, I want it to inform how I act in the present — spending time with the loved ones I have now, and focusing on the things that matter to me deeply.
This project is my first ever animated long-form work, which means that not only do I need to think about the entire space of all possible outputs, but also what the images will look like over a potentially infinite length of time. The space to plan for is like infinity squared.
Robert Hodgin is a digital artist living in Brooklyn with his husband and two cats. He is a co-founder and partner of Rare Volume, a design and technology studio with offices in New York and Austin. Hodgin’s work is featured in the V&A, Smithsonian Design Museum, The Exploratorium, Wired, and Wing Luke Museum.
Nat Sarkissian is a generative artist interested in impressionistic, abstract, and simulated systems. His work has involved studies of representation, as well as experiments with light, color, and geometry.
Marcelo Soria-Rodríguez is an artist and strategist. His artistic practice is centered on the whole span of possibilities of a given system and how it can engage with human emotions, as well as the potential emergence of a machine version of the same phenomenon. He has released critically acclaimed generative art collections on fxhash and Art Blocks Curated. He also co-founded a global data practice at BBVA, a global financial firm, and Databeers, an informal data literacy movement active in ten countries. He writes occasionally on his personal website about art and strategy.
Sputniko! (Hiromi Ozaki) is an artist and filmmaker who explores the themes of gender, futures, and feminism. She is also the founder and CEO of women’s health startup Cradle. She has held the role of Assistant Professor at MIT Media Lab, serving as director of the Design Fiction Group from 2013 to 2017, and is currently an Associate Professor at Tokyo University of the Arts. In 2013, Sputniko! was awarded Vogue Japan Woman of the Year, and has since been selected as one of the Young Global Leaders by the World Economic Forum, moderating sessions at Davos 2020. Her work is in the permanent collections of the V&A, London; and the 21st Century Museum of Contemporary Art, Kanazawa.
Kazuhiro Tanimoto is a generative artist and materials research and development chemist based in Japan. He holds a Master of Engineering and a PhD in engineering. In this capacity, He has been developing dyes, functional molecules, and environmentally-friendly plastics. Aside from his engineering work, Kazuhiro has been creating digital art since the 1990s, and he regards scientific research and art-making as intimately related activities. In addition to his generative work published digitally, Kazuhiro has exhibited at events in Japan, including the Japan Media Arts Festival, and internationally.
Melissa Wiederrecht was raised in Wyoming, but lives and works in Mecca, Saudi Arabia. Since graduating, she has employed code and algorithms to create abstract compositions that evoke a connection to the infinite. While her artistic medium relies on technology, it explores how generated outputs can connect to timeless and ancient concepts. Born in the US, Melissa chose to live her life as a Muslim woman in Saudi Arabia, immersing herself fully while also being surrounded by Sudanese people and culture. With her art, Melissa aims to celebrate the strange and beautiful blend of these diverse cultures, showcasing how they coexist and influence one another in a harmonious symphony of creativity.
Foteini Valeonti is the Lead Author of “Crypto Collectibles, Museum Funding and OpenGLAM: Challenges, Opportunities and the Potential of Non-Fungible Tokens (NFTs),” one of the first in-depth studies of the NFT as it relates to the cultural heritage sector. Dr Valeonti is a Research Fellow at UCL and the Founder of USEUM Collectibles, a UCL spin-out company, providing research-driven consulting to cultural institutions on NFTs and Web3, whose clients include major institutions such as the Natural History Museum in London. She holds a BSc in Computer Science and a PhD in Digital Humanities. She is currently advising policymakers while helping major museums, companies, and smaller heritage institutions to leverage NFTs for public benefit.
Alex Estorick is Editor-in-Chief at Right Click Save.