{ "schema": "ab5d-dossier/1", "slug": "lovid", "name": "LoVid", "subtitle": "Signals woven between circuitry, code, and touch", "lede": "LoVid treats technology as a material culture rather than an immaterial service. Across handmade circuitry, textiles, performances, and generative code, signals become objects that bodies can inhabit, handle, and reinterpret.", "url": "https://ab5d.xyz/artists/lovid/", "bibliography_url": "https://ab5d.xyz/artists/lovid/links/", "content_url": "https://ab5d.xyz/api/artists/lovid.json", "updated": "2026-08-06", "tier": "standard", "editions": 526, "collections": 2, "otdh": { "rank": 155, "score": 13211, "collector_identities": 314, "holder_addresses": 324, "projects": 2, "current_works": 511, "raw_collector_days": 572374, "median_project_hold_days": 1276, "snapshot_at": "2026-09-14T00:00:00.000Z", "methodology_url": "https://ab5d.xyz/artists/otdh/", "api_url": "https://ab5d.xyz/api/otdh/lovid" }, "identity": { "artist": "LoVid", "website": "https://www.lovid.org/", "based": "Tali Hinkis (born 1974, Jerusalem) and Kyle Lapidus (born 1975, New York). Live and work in New York", "practice": "Interdisciplinary collaboration spanning handmade electronics, experimental video, textiles, performance, installation, and generative art", "now": "Presented by Picture Theory at OFFSCREEN Paris, 20-25 October 2026", "raster": "https://www.raster.art/artist/lovid", "otdh": "[13,211 · rank 155 of 308](/artists/otdh/#artist-lovid)", "holding signal": "314 collector identities · 324 holder addresses · 572,374 raw collector-days · 14 Sep 2026", "collector tdh": "[lovidTDH](/artists/lovid/lovidtdh/) · dashboard" }, "socials": { "website": "https://www.lovid.org/", "x": "@lovidlovid", "instagram": "lovidlovid" }, "profile_image_url": "https://pbs.twimg.com/profile_images/2056490722170183680/VY3qlXU5_400x400.jpg", "profile_image_source": "https://x.com/lovidlovid", "works": [ { "name": "Tide Predictor", "editions": 400, "supply": 400, "artblocks_slug": "tide-predictor-by-lovid", "url": "https://www.artblocks.io/collection/tide-predictor-by-lovid" }, { "name": "Augury", "editions": 126, "supply": 126, "artblocks_slug": "augury-by-lovid", "url": "https://www.artblocks.io/collection/augury-by-lovid" } ], "sections": [ { "heading": null, "paragraphs": [ "LoVid is the collaborative identity of Tali Hinkis and Kyle Lapidus, whose practice has developed since the beginning of the twenty-first century through a sustained encounter between electronic signals and handmade form. Hinkis was born in Jerusalem in 1974 and Lapidus in New York in 1975; both live and work in New York. Electronic Arts Intermix describes an approach that combines craft-oriented analog processes, playful engineering, and natural and social science. The resulting works include live performances, participatory projects, immersive installations, videos, and textiles. This breadth is not simply multidisciplinary accumulation. It establishes translation itself as LoVid’s central method: voltage becomes color, color becomes moving image, moving image becomes printed or stitched pattern, and embodied participation becomes data, choreography, or social structure.", "That method emerged through direct engagement with the physical infrastructure of electronic media. At the Experimental Television Center in 2003, LoVid worked with historical image-processing equipment including Nam June Paik’s Wobbulator, the Sandin Image Processor, and the Jones Colorizer. The experience encouraged the duo to build instruments of their own, culminating in the Sync Armonica during an Eyebeam residency in 2005. Their deliberately cumbersome devices refuse the frictionless appearance of consumer electronics. Knobs, wires, unstable synchronization, and saturated raster patterns reveal media as a contingent arrangement of materials and gestures.", "> For LoVid, noise is not the failure of a signal. It is evidence that a signal has a body, a history, and a route through the world." ] }, { "heading": "The handmade signal", "paragraphs": [ "LoVid’s work belongs to an expanded history of video synthesis in which an image is generated rather than recorded. Their oscillators and processors construct color and pattern directly from electronic signals, loosening video from the camera’s descriptive function. An interview with Hinkis and Lapidus situates this practice in a trajectory that began with noise performance and developed into immersive installations, sculptural synthesizers, single-channel videos, textile art, and blockchain works. The instrument can therefore be an artwork, a studio tool, a performance partner, and the source of later artifacts.", "The tactile character of this process matters. LoVid repeatedly moves between what might conventionally be separated as hard and soft media: circuit boards and fabric, code and stitching, electrical current and bodily movement. In a separately conducted dual interview, the artists describe complementary roles within their collaboration while emphasizing the porous exchange between technological and conceptual thinking. Their authorship is neither the expression of a single hand nor an anonymous technical pipeline. It is a negotiated system in which different competencies, perceptions, and decisions remain active.", "This collaborative structure also shapes how LoVid understands instability. Analog synthesis produces images through continuous voltages whose alignment can drift, buckle, or erupt. Such irregularities are not cosmetic glitch effects added after an image has been stabilized. They arise from the behavior of the apparatus. The Jewish Museum’s account of *Retzuot* records how handmade hardware, video-generating sculptural synthesizers, knotted patchworks, and live audiovisual performance were joined to examine ritual, abstraction, and technologically mediated spirituality. Here, electronic media become wearable and ceremonial, testing how inherited symbolic structures can be encountered through unstable contemporary tools." ] }, { "heading": "Predicting a digital tide", "paragraphs": [ "*Tide Predictor* carries this analog sensibility into an on-chain generative system. Released through Art Blocks Curated on November 2, 2022, the work comprises exactly 400 editions. Rather than presenting scans or recordings of analog outputs, LoVid constructed a code-based model of a modular video synthesizer organized around red, green, and blue channels.", "The title links two histories of oscillation. Nineteenth-century tide-predicting machines used periodic mechanical motion to model the rise and fall of water. Analog video synthesis likewise organizes moving images through frequencies, periods, phase relationships, and electrical waves. In *Tide Predictor*, code translates this shared language of cycles into animated fields whose bands, grids, and color collisions continuously reorganize themselves. The Museum of the Moving Image describes the work as LoVid’s first code-driven generative artwork and explains that its JavaScript outputs simulate randomness while preserving the duo’s longstanding attention to electronic signals and natural rhythms.", "Translation is not presented as perfect equivalence. A browser cannot reproduce the electrical materiality of an analog synthesizer, just as a model cannot reproduce an ocean. Instead, LoVid makes the distance between systems productive. The work asks what analog practice can become when oscillation is expressed through variables and functions, then distributed as distinct on-chain instances. Across 400 editions, a common program produces marked visual heterogeneity. Each output is simultaneously an autonomous composition and evidence of a shared generative instrument.", "The project’s museum history reinforces this collective logic. From March through June 2024, the Museum of the Moving Image displayed #173 with three additional outputs while announcing its acquisition of *Tide Predictor* #173 for the permanent collection. The installation used serial comparison to show how one source code could yield substantially different results. In August 2026, LoVid reported meeting with MoMI Associate Curator of Media Arts Regina Harsanyi to finalize the acquisition, with particular attention to the work’s long-term preservation and context. Harsanyi had previously served as a consultant for MoMI’s digital preservation efforts and was appointed to help grow its media-art collection and capacity for preserving variable media works. Together, the 2024 presentation and the later preservation work show that collecting a browser-based generative artwork extends beyond obtaining a numbered output. It also requires an institutional account of the code, dependencies, behavior, and conditions needed to keep the work intelligible over time. Seen together, the four displayed outputs resist the idea that generative art is reducible to either a privileged master image or a list of rarity traits. Their subject is variation as a visible event." ] }, { "heading": "Code as textile logic", "paragraphs": [ "If *Tide Predictor* models the patching of a synthesizer, *Augury* turns its outputs toward the compositional logic of weaving, quilting, and decoration. Art Blocks records the project as 126 unique artworks released on May 3, 2023. The exact count, 126 editions, gives the project a more concentrated field of variations, but its images often suggest expansiveness: fragments accumulate along borders, mirrored structures meet, and luminous signals appear to fold across one another.", "*Augury* draws frames from the *Tide Predictor* algorithm using new hashes, then arranges those fragments according to rules governing density, repetition, mirroring, and edge placement. The mechanism connects generative code to LoVid’s textile practice without claiming that digital assembly is literally weaving. Instead, it identifies related operations across media: selecting units, repeating motifs, joining boundaries, and building a surface through patterned decisions. The project’s own account connects these compositions to Pattern and Decoration and glitch art, while explaining that visual density is weighted toward the borders to displace attention from the center.", "This displacement has critical force. Modern interface design often guides attention toward a centered message and conceals the processes at its edges. *Augury* reverses that hierarchy. Borders become active zones where signals collide and structures disclose how they were assembled. The title’s reference to interpreting omens through the behavior of birds adds another model of reading: meaning does not arrive as a fixed declaration but emerges from attentive observation of complex movement.", "The project also clarifies why textiles remain essential to LoVid’s digital work. Cloth is both image and structure. A woven pattern cannot be detached from the crossings that produce its surface, just as LoVid’s electronic images cannot be separated from signal flow. Hinkis has discussed entering digital art through video while confronting the gendered power structures surrounding technology. Within the duo’s broader practice, stitching, quilting, and decorative pattern challenge inherited divisions between technical invention and feminized craft. Code does not supersede those material histories. It enters into correspondence with them." ] }, { "heading": "Bodies, archives, and resistant surfaces", "paragraphs": [ "LoVid’s generative projects are best understood within a practice that repeatedly gives electronic images new physical and social lives. *486 Shorts*, for example, began by opening an obsolete computer and making direct circuit-board connections that generated unpredictable video signals. OFFSCREEN Paris describes the work as 486 clips created by deliberately shorting an i486 graphics card, later preserved with an archival disk image and installation instructions. The work transforms the sealed computer from a consumer object into a field of risky contact.", "That impulse continues in public art, wearables, tapestries, and participatory performance. It also explains the unusually embodied quality of LoVid’s screen works. Their color is not merely chromatic information. It carries memories of voltages adjusted by hand, studio sessions performed in real time, and images translated into paper, fabric, glass, or code. That archival logic remains active: Picture Theory will present LoVid at OFFSCREEN Paris in October 2026, with *486 Shorts* as the featured work.", "The significance of *Tide Predictor* and *Augury* within AB[500] therefore lies in more than their adoption of blockchain distribution. They articulate generative art as part of a longer ecology of instruments, crafts, signals, and relationships. The blockchain secures distinct outputs, but LoVid’s deeper concern is how images circulate among media and people. Their code remembers hardware; their pixels anticipate cloth; their patterns carry the pressure of hands. Across both collections, prediction does not promise mastery of the future. It names a practice of staying alert to rhythm, instability, and change." ] } ], "body_markdown": "LoVid is the collaborative identity of Tali Hinkis and Kyle Lapidus, whose practice has developed since the beginning of the twenty-first century through a sustained encounter between electronic signals and handmade form. Hinkis was born in Jerusalem in 1974 and Lapidus in New York in 1975; both live and work in New York. Electronic Arts Intermix describes an approach that combines craft-oriented analog processes, playful engineering, and natural and social science. The resulting works include live performances, participatory projects, immersive installations, videos, and textiles. This breadth is not simply multidisciplinary accumulation. It establishes translation itself as LoVid’s central method: voltage becomes color, color becomes moving image, moving image becomes printed or stitched pattern, and embodied participation becomes data, choreography, or social structure.\n\nThat method emerged through direct engagement with the physical infrastructure of electronic media. At the Experimental Television Center in 2003, LoVid worked with historical image-processing equipment including Nam June Paik’s Wobbulator, the Sandin Image Processor, and the Jones Colorizer. The experience encouraged the duo to build instruments of their own, culminating in the Sync Armonica during an Eyebeam residency in 2005. Their deliberately cumbersome devices refuse the frictionless appearance of consumer electronics. Knobs, wires, unstable synchronization, and saturated raster patterns reveal media as a contingent arrangement of materials and gestures.\n\n> For LoVid, noise is not the failure of a signal. It is evidence that a signal has a body, a history, and a route through the world.\n\n## The handmade signal\n\nLoVid’s work belongs to an expanded history of video synthesis in which an image is generated rather than recorded. Their oscillators and processors construct color and pattern directly from electronic signals, loosening video from the camera’s descriptive function. An interview with Hinkis and Lapidus situates this practice in a trajectory that began with noise performance and developed into immersive installations, sculptural synthesizers, single-channel videos, textile art, and blockchain works. The instrument can therefore be an artwork, a studio tool, a performance partner, and the source of later artifacts.\n\nThe tactile character of this process matters. LoVid repeatedly moves between what might conventionally be separated as hard and soft media: circuit boards and fabric, code and stitching, electrical current and bodily movement. In a separately conducted dual interview, the artists describe complementary roles within their collaboration while emphasizing the porous exchange between technological and conceptual thinking. Their authorship is neither the expression of a single hand nor an anonymous technical pipeline. It is a negotiated system in which different competencies, perceptions, and decisions remain active.\n\nThis collaborative structure also shapes how LoVid understands instability. Analog synthesis produces images through continuous voltages whose alignment can drift, buckle, or erupt. Such irregularities are not cosmetic glitch effects added after an image has been stabilized. They arise from the behavior of the apparatus. The Jewish Museum’s account of *Retzuot* records how handmade hardware, video-generating sculptural synthesizers, knotted patchworks, and live audiovisual performance were joined to examine ritual, abstraction, and technologically mediated spirituality. Here, electronic media become wearable and ceremonial, testing how inherited symbolic structures can be encountered through unstable contemporary tools.\n\n## Predicting a digital tide\n\n*Tide Predictor* carries this analog sensibility into an on-chain generative system. Released through Art Blocks Curated on November 2, 2022, the work comprises exactly 400 editions. Rather than presenting scans or recordings of analog outputs, LoVid constructed a code-based model of a modular video synthesizer organized around red, green, and blue channels.\n\nThe title links two histories of oscillation. Nineteenth-century tide-predicting machines used periodic mechanical motion to model the rise and fall of water. Analog video synthesis likewise organizes moving images through frequencies, periods, phase relationships, and electrical waves. In *Tide Predictor*, code translates this shared language of cycles into animated fields whose bands, grids, and color collisions continuously reorganize themselves. The Museum of the Moving Image describes the work as LoVid’s first code-driven generative artwork and explains that its JavaScript outputs simulate randomness while preserving the duo’s longstanding attention to electronic signals and natural rhythms.\n\nTranslation is not presented as perfect equivalence. A browser cannot reproduce the electrical materiality of an analog synthesizer, just as a model cannot reproduce an ocean. Instead, LoVid makes the distance between systems productive. The work asks what analog practice can become when oscillation is expressed through variables and functions, then distributed as distinct on-chain instances. Across 400 editions, a common program produces marked visual heterogeneity. Each output is simultaneously an autonomous composition and evidence of a shared generative instrument.\n\nThe project’s museum history reinforces this collective logic. From March through June 2024, the Museum of the Moving Image displayed #173 with three additional outputs while announcing its acquisition of *Tide Predictor* #173 for the permanent collection. The installation used serial comparison to show how one source code could yield substantially different results. In August 2026, LoVid reported meeting with MoMI Associate Curator of Media Arts Regina Harsanyi to finalize the acquisition, with particular attention to the work’s long-term preservation and context. Harsanyi had previously served as a consultant for MoMI’s digital preservation efforts and was appointed to help grow its media-art collection and capacity for preserving variable media works. Together, the 2024 presentation and the later preservation work show that collecting a browser-based generative artwork extends beyond obtaining a numbered output. It also requires an institutional account of the code, dependencies, behavior, and conditions needed to keep the work intelligible over time. Seen together, the four displayed outputs resist the idea that generative art is reducible to either a privileged master image or a list of rarity traits. Their subject is variation as a visible event.\n\n## Code as textile logic\n\nIf *Tide Predictor* models the patching of a synthesizer, *Augury* turns its outputs toward the compositional logic of weaving, quilting, and decoration. Art Blocks records the project as 126 unique artworks released on May 3, 2023. The exact count, 126 editions, gives the project a more concentrated field of variations, but its images often suggest expansiveness: fragments accumulate along borders, mirrored structures meet, and luminous signals appear to fold across one another.\n\n*Augury* draws frames from the *Tide Predictor* algorithm using new hashes, then arranges those fragments according to rules governing density, repetition, mirroring, and edge placement. The mechanism connects generative code to LoVid’s textile practice without claiming that digital assembly is literally weaving. Instead, it identifies related operations across media: selecting units, repeating motifs, joining boundaries, and building a surface through patterned decisions. The project’s own account connects these compositions to Pattern and Decoration and glitch art, while explaining that visual density is weighted toward the borders to displace attention from the center.\n\nThis displacement has critical force. Modern interface design often guides attention toward a centered message and conceals the processes at its edges. *Augury* reverses that hierarchy. Borders become active zones where signals collide and structures disclose how they were assembled. The title’s reference to interpreting omens through the behavior of birds adds another model of reading: meaning does not arrive as a fixed declaration but emerges from attentive observation of complex movement.\n\nThe project also clarifies why textiles remain essential to LoVid’s digital work. Cloth is both image and structure. A woven pattern cannot be detached from the crossings that produce its surface, just as LoVid’s electronic images cannot be separated from signal flow. Hinkis has discussed entering digital art through video while confronting the gendered power structures surrounding technology. Within the duo’s broader practice, stitching, quilting, and decorative pattern challenge inherited divisions between technical invention and feminized craft. Code does not supersede those material histories. It enters into correspondence with them.\n\n## Bodies, archives, and resistant surfaces\n\nLoVid’s generative projects are best understood within a practice that repeatedly gives electronic images new physical and social lives. *486 Shorts*, for example, began by opening an obsolete computer and making direct circuit-board connections that generated unpredictable video signals. OFFSCREEN Paris describes the work as 486 clips created by deliberately shorting an i486 graphics card, later preserved with an archival disk image and installation instructions. The work transforms the sealed computer from a consumer object into a field of risky contact.\n\nThat impulse continues in public art, wearables, tapestries, and participatory performance. It also explains the unusually embodied quality of LoVid’s screen works. Their color is not merely chromatic information. It carries memories of voltages adjusted by hand, studio sessions performed in real time, and images translated into paper, fabric, glass, or code. That archival logic remains active: Picture Theory will present LoVid at OFFSCREEN Paris in October 2026, with *486 Shorts* as the featured work.\n\nThe significance of *Tide Predictor* and *Augury* within AB[500] therefore lies in more than their adoption of blockchain distribution. They articulate generative art as part of a longer ecology of instruments, crafts, signals, and relationships. The blockchain secures distinct outputs, but LoVid’s deeper concern is how images circulate among media and people. Their code remembers hardware; their pixels anticipate cloth; their patterns carry the pressure of hands. Across both collections, prediction does not promise mastery of the future. It names a practice of staying alert to rhythm, instability, and change.", "images": [ { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000000.png", "title": "Tide Predictor #0", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000044.png", "title": "Tide Predictor #44", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000089.png", "title": "Tide Predictor #89", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000133.png", "title": "Tide Predictor #133", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000177.png", "title": "Tide Predictor #177", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000222.png", "title": "Tide Predictor #222", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000266.png", "title": "Tide Predictor #266", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000310.png", "title": "Tide Predictor #310", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000355.png", "title": "Tide Predictor #355", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/376000399.png", "title": "Tide Predictor #399", "caption": "2022, Tide Predictor", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/440000042.png", "title": "Augury #42", "caption": "2023, Augury", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" } ], "references": [ { "n": 1, "note": "Electronic Arts Intermix surveys LoVid’s biography, media, instruments, exhibitions, and institutional support.", "url": "https://www.eai.org/artists/lovid/biography", "label": "EAI biography" }, { "n": 2, "note": "Eyebeam documents LoVid’s residency history, Experimental Television Center influence, and development of handmade synthesizers.", "url": "https://eyebeam.org/artists/lovid/", "label": "Eyebeam profile" }, { "n": 3, "note": "Anika Meier’s interview with LoVid addresses collaboration, analog tools, generative art, and blockchain practice.", "url": "https://www.expanded.art/articles/lovid-in-conversation-with-anika-meier", "label": "Expanded Art interview" }, { "n": 4, "note": "First Person Plural interviews Hinkis and Lapidus separately about their roles, methods, and collaborative relationship.", "url": "https://www.firstpersonpluralharlem.com/fpp-interviews/lovid/", "label": "dual interview" }, { "n": 5, "note": "The Jewish Museum describes the materials, ritual references, and performance structure of Retzuot.", "url": "https://thejewishmuseum.org/exhibitions/off-the-wall-artists-at-work/", "label": "Jewish Museum" }, { "n": 6, "note": "Art Blocks records Tide Predictor as 400 unique artworks released on November 2, 2022.", "url": "https://www.artblocks.io/collection/tide-predictor-by-lovid", "label": "Art Blocks Tide Predictor" }, { "n": 7, "note": "Museum of the Moving Image explains Tide Predictor’s mechanics, 400 outputs, institutional acquisition, and 2024 installation.", "url": "https://movingimage.org/event/tide-predictor/", "label": "MoMI exhibition" }, { "n": 8, "note": "Art Blocks records Augury as 126 unique artworks released on May 3, 2023.", "url": "https://www.artblocks.io/collection/augury-by-lovid", "label": "Art Blocks Augury" }, { "n": 9, "note": "LoVid’s project page details Augury’s use of Tide Predictor frames, border density, mirroring, repetition, and textile references.", "url": "https://lovid.org/works/NFTs/", "label": "project mechanics" }, { "n": 10, "note": "Anika Meier’s interview with Tali Hinkis discusses video art, generative practice, gender, and technological power.", "url": "https://www.expanded.art/articles/tali-hinkis-in-conversation-with-anika-meier", "label": "Hinkis interview" }, { "n": 11, "note": "OFFSCREEN Paris documents the circuit-short process, archival form, and 2026 presentation of 486 Shorts by Picture Theory.", "url": "https://offscreenparis.com/artists/lovid", "label": "OFFSCREEN profile" }, { "n": 12, "note": "Art Blocks records LoVid’s members, birthplaces, New York base, collaborative history, and platform projects.", "url": "https://www.artblocks.io/artists/lovid", "label": "Art Blocks artist profile" }, { "n": 13, "note": "LoVid reports an August 2026 meeting with Regina Harsanyi to finalize MoMI’s acquisition of Tide Predictor #173, emphasizing long-term preservation and context.", "url": "https://x.com/lovidlovid/status/2084995269800640979", "label": "LoVid acquisition update" }, { "n": 14, "note": "Museum of the Moving Image records Regina Harsanyi’s appointment, her digital-preservation work, and her role in growing and preserving the museum’s media-art collection.", "url": "https://movingimage.org/wp-content/uploads/2023/01/pressrelease-regina-harsanyi_20230110.pdf", "label": "MoMI appointment release" } ], "bibliography": [ { "category": "In the AB[500]: Art Blocks", "entries": [ { "note": "Art Blocks records Tide Predictor as 400 unique artworks released through Art Blocks Curated on November 2, 2022.", "url": "https://www.artblocks.io/collection/tide-predictor-by-lovid", "label": "Tide Predictor", "meta": "collection · 2022" }, { "note": "Art Blocks records Augury as 126 unique artworks released through Art Blocks Presents on May 3, 2023.", "url": "https://www.artblocks.io/collection/augury-by-lovid", "label": "Augury", "meta": "collection · 2023" } ] }, { "category": "Interviews", "entries": [ { "note": "Decrypt’s SCENE video interview discusses LoVid’s collaboration, Art Blocks work, and participation in MoMA Postcard.", "url": "https://decrypt.co/205009", "label": "5 Questions with SCENE", "meta": "interview · 2023" }, { "note": "Apple Podcasts hosts an Art Blocks discussion with LoVid, Benton C. Bainbridge, Gregory Zinman, and Debora Bernagozzi.", "url": "https://podcasts.apple.com/us/podcast/lovid-benton-c-bainbridge-gregory-zinman-debora-bernagozzi/id1611604712?i=1000595102486", "label": "Minters & Makers", "meta": "interview · 2023" }, { "note": "Wave Hill presents a conversation about LoVid’s Tap Root exhibition and creative process.", "url": "https://www.wavehill.org/calendar/meet-the-artists-lovid", "label": "Meet the Artists", "meta": "interview · 2023" } ] }, { "category": "Press and criticism", "entries": [ { "note": "VernissageTV reviews and documents the audiovisual installation Roots No Shoots at Smack Mellon.", "url": "https://vernissage.tv/2013/11/29/lovid-roots-no-shoots-smack-mellon-new-york/", "label": "Roots No Shoots", "meta": "criticism · 2013" }, { "note": "Artforum’s Critics’ Pick addresses High Resolution, a group exhibition including LoVid’s Hugs on Tape (Shimmy).", "url": "https://www.postmastersart.com/archive/hires24/High%20Resolution%20Artforum%2015.10.2024.pdf", "label": "High Resolution", "meta": "criticism · 2024" } ] }, { "category": "Museums and institutions", "entries": [ { "note": "Museum of the Moving Image records its acquisition of Tide Predictor #173 for the permanent collection and the work’s 2024 presentation with three additional outputs.", "url": "https://movingimage.org/event/tide-predictor/", "label": "Tide Predictor at MoMI", "meta": "acquisition and exhibition · 2024" }, { "note": "LoVid reports an August 2026 meeting with Regina Harsanyi to finalize MoMI’s acquisition, with long-term preservation and context as central concerns.", "url": "https://x.com/lovidlovid/status/2084995269800640979", "label": "Acquisition update", "meta": "artist statement · 2026" }, { "note": "Museum of the Moving Image documents Regina Harsanyi’s digital-preservation work and her role in growing and preserving the museum’s media-art collection.", "url": "https://movingimage.org/wp-content/uploads/2023/01/pressrelease-regina-harsanyi_20230110.pdf", "label": "Regina Harsanyi appointment", "meta": "institutional record · 2023" }, { "note": "Museum of the Moving Image records LoVid’s performances in the museum-wide Signal to Noise #3 program.", "url": "https://movingimage.org/archived-events/signal-to-noise-3/", "label": "Signal to Noise #3", "meta": "institution · archived" }, { "note": "Rhizome’s archive documents LoVid’s inclusion in The GIF Show, curated by Marisa Olson in San Francisco.", "url": "https://archive.rhizome.org/exhibition/gifshow/", "label": "The GIF Show", "meta": "institution · 2006" }, { "note": "ISSUE Project Room presents LoVid’s 2020 commissioned field recording April with an artist statement and event documentation.", "url": "https://issueprojectroom.org/video/isolated-field-recording-series-lovid-april", "label": "April", "meta": "institution · 2020" }, { "note": "LoVid’s archive documents 486 Shorts and its 2025 presentation at Nantes Museum of Arts.", "url": "https://lovid.org/works/486_shorts/", "label": "486 Shorts", "meta": "museum presentation · 2025" } ] }, { "category": "Galleries and exhibitions", "entries": [ { "note": "MISA’s artist page situates LoVid’s work across DIY engineering, generative code, fabric, stained glass, and exhibitions.", "url": "https://www.misa.art/artists/lovid", "label": "MISA curated profile", "meta": "gallery · 2024" }, { "note": "Postmasters’ release documents the 2022 solo exhibition Hugs on Tape and its pandemic-era portrait project.", "url": "https://www.postmastersart.com/archive/lovid22/pr_LoVid.pdf", "label": "Hugs on Tape", "meta": "exhibition · 2022" }, { "note": "A Postmasters and TRANSFER release documents LoVid’s participation in High Resolution.", "url": "https://www.postmastersart.com/archive/hires24/hires24_PR.pdf", "label": "High Resolution", "meta": "exhibition · 2024" }, { "note": "OFFSCREEN Paris presents LoVid with Picture Theory and features 486 Shorts in its October 2026 edition.", "url": "https://offscreenparis.com/artists/lovid", "label": "OFFSCREEN Paris", "meta": "exhibition · 2026" } ] }, { "category": "Essays, talks and podcasts", "entries": [ { "note": "Louisiana State University announces LoVid’s Wireful to Wireless lecture on audiovisual synthesizer practice.", "url": "https://design.lsu.edu/calendar/tali-hinkis-kyle-lapidus-lovid-wireful-to-wireless-school-of-art-lecture/", "label": "Wireful to Wireless", "meta": "talk · 2015" }, { "note": "Stony Brook’s video portal records LoVid’s participation in Ways of Making: A Dialogue about Processes.", "url": "https://scgp.stonybrook.edu/video_portal/results.php?event_id=132", "label": "Ways of Making", "meta": "talk · 2022" }, { "note": "Wave Farm records Tide Predictor’s launch program and 400-edition algorithmic release.", "url": "https://wavefarm.org/radio/wgxc/schedule/cxtg0m", "label": "Tide Predictor launch", "meta": "program · 2022" } ] }, { "category": "Profiles and archives", "entries": [ { "note": "Raster’s verified LoVid activity record indexes the duo’s market and collection activity.", "url": "https://www.raster.art/artist/lovid", "label": "Raster", "meta": "profile · current" }, { "note": "Art Blocks records LoVid’s members, New York base, collaborative history, and platform projects.", "url": "https://www.artblocks.io/artists/lovid", "label": "Art Blocks", "meta": "artist profile · current" }, { "note": "ISSUE Project Room’s artist archive gathers LoVid performances and participatory projects from 2008 through 2024.", "url": "https://issueprojectroom.org/artist/lovid", "label": "ISSUE artist archive", "meta": "archive · 2024" }, { "note": "An archived Rhizome community notice records an early LoVid performance using homemade electronic devices and DIY instruments.", "url": "https://old.rhizome.org/community/35109/", "label": "Rhizome community archive", "meta": "archive · 2005" } ] }, { "category": "Video", "entries": [ { "note": "Signal Culture’s Vimeo record preserves a LoVid artist talk.", "url": "https://vimeo.com/109983051", "label": "LoVid Artist Talk", "meta": "video · 2014" } ] } ], "provenance": { "schema": "ab5d-provenance/1", "contributor": "ab500dao.eth", "agent": "gpt-5.6-sol", "model": "gpt-5.6-sol", "harness": "AB5D structured pipeline; fact-checked and revised with OpenAI Codex", "autonomy": "supervised", "tokens": { "input": 150499, "output": 6002, "estimated": false }, "cost_usd": null, "links_verified": 35, "date": "2026-08-06", "note": "Structured return rendered by scripts/render_dossier.py; token counts are measured API usage." }, "license": "https://ab5d.xyz/license/", "license_note": "Dossier prose is CC0. 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