{
  "schema": "ab5d-dossier/1",
  "slug": "william-tan",
  "name": "William Tan",
  "subtitle": "Order discovered inside the wandering line",
  "lede": "William Tan’s *Scribbled Boundaries* treats the scribble not as preliminary notation but as a complete generative language. Across 1,024 editions, repeated marks gather into fields poised between turbulence and design.",
  "url": "https://ab5d.xyz/artists/william-tan/",
  "bibliography_url": "https://ab5d.xyz/artists/william-tan/links/",
  "content_url": "https://ab5d.xyz/api/artists/william-tan.json",
  "updated": "2026-07-11",
  "tier": "standard",
  "editions": 1024,
  "collections": 1,
  "otdh": {
    "rank": 97,
    "score": 16351,
    "collector_identities": 605,
    "holder_addresses": 607,
    "projects": 1,
    "current_works": 1024,
    "raw_collector_days": 1509983,
    "median_project_hold_days": 1769,
    "snapshot_at": "2026-09-14T00:00:00.000Z",
    "methodology_url": "https://ab5d.xyz/artists/otdh/",
    "api_url": "https://ab5d.xyz/api/otdh/william-tan"
  },
  "identity": {
    "artist": "William Tan",
    "website": null,
    "based": null,
    "practice": "Generative art structured through iterative line, controlled randomness, color, density, and rule-based composition",
    "now": null,
    "raster": "https://www.raster.art/artist/william-tan",
    "otdh": "[16,351 · rank 97 of 308](/artists/otdh/#artist-william-tan)",
    "holding signal": "605 collector identities · 607 holder addresses · 1,509,983 raw collector-days · 14 Sep 2026",
    "collector tdh": "[wtTDH](/artists/william-tan/wttdh/) · dashboard"
  },
  "socials": {
    "website": "https://scribbled-boundaries.webflow.io",
    "x": "@weileeyum",
    "instagram": "thewilliamtan"
  },
  "profile_image_url": "https://pbs.twimg.com/profile_images/1547997070971531264/S9nY9UTt_400x400.jpg",
  "profile_image_source": "https://x.com/weileeyum",
  "works": [
    {
      "name": "Scribbled Boundaries",
      "editions": 1024,
      "supply": 1024,
      "artblocks_slug": "scribbled-boundaries-by-william-tan",
      "url": "https://www.artblocks.io/collection/scribbled-boundaries-by-william-tan"
    }
  ],
  "sections": [
    {
      "heading": null,
      "paragraphs": [
        "William Tan’s *Scribbled Boundaries* begins with an elemental proposition: a scribble can be both an unruly gesture and the visible record of a system. The collection comprises exactly 1,024 unique artworks and was released through Art Blocks on 17 August 2021. Its project description identifies the series as an exploration of chaos and order, in which apparently random movements at a microscopic scale are transformed by simple guiding rules. That formulation locates Tan’s work within a durable generative-art problem. The artist does not seek to eliminate contingency. He designs conditions through which contingency can acquire form.",
        "The distinction matters because the scribble traditionally signifies immediacy, distraction, or a thought not yet resolved. Tan reverses that hierarchy. In this series, the wandering line is not a preparatory trace awaiting refinement. It is the primary unit from which refinement emerges. Accumulation makes the mark legible in another register. Individual turns may appear impulsive, yet their repetitions generate texture, direction, rhythm, enclosure, and scale.",
        "Art Blocks describes its platform model as one in which an artist writes an algorithm, introduces bounded randomness, and allows a collector’s mint transaction to initiate a unique output. Within that framework, *Scribbled Boundaries* can be understood as a negotiation between authored limits and computational surprise. Tan determines the vocabulary and its allowable transformations, while the generative process tests how far that vocabulary can travel without losing its identity.",
        "> The scribble becomes convincing precisely because it never has to choose between accident and intention."
      ]
    },
    {
      "heading": "A grammar of restless marks",
      "paragraphs": [
        "At first encounter, the collection’s outputs may resemble fibers, currents, nests, topographies, or agitated handwriting. Such associations arise because Tan’s lines retain the bodily implication of drawing even when their organization is algorithmic. The marks bend and cluster as though propelled by pressure, hesitation, attraction, and resistance. The computer does not erase gesture here. It distributes a simulated gesture across a serial field.",
        "Tan’s project is especially attentive to the relation between part and whole. Viewed closely, an output may appear crowded with short, irregular decisions. Viewed at a distance, those decisions consolidate into a coherent mass. This oscillation follows the project premise that microscopic movements can disclose a larger order. The work therefore asks the viewer to change scale repeatedly. Detail and totality are not rival readings but interdependent ones.",
        "Tan’s own account of the project supplies a more precise vocabulary for this range. He describes modes organized through density gradients, overlapping blocks, close-set strips, and allusions to artists including Cy Twombly, Mark Rothko, and Bridget Riley. These structures explain why the series remains recognizable while individual outputs diverge. A shift in line weight changes the apparent pressure of the drawing. A change in palette can make a cluster feel organic, diagrammatic, nocturnal, or synthetic. Altered shape behavior can produce concentrated masses or more dispersed movements. Variation is not ornamental surplus. It is the project’s method of inquiry.",
        "This logic distinguishes long-form generative work from a single digital composition with randomized decoration. An Art Blocks essay on seriality describes this form as serial, algorithmic, and performative: related works emerge through artist-programmed code and are realized through public participation at collection. Tan’s 1,024 editions function accordingly as a population. No output is an exhaustive statement of the system. Meaning develops through comparison, recurrence, exception, and family resemblance."
      ]
    },
    {
      "heading": "Boundaries as active structures",
      "paragraphs": [
        "The title supplies the collection’s central tension. A boundary commonly separates one territory from another, but Tan’s boundaries are neither stable outlines nor passive containers. They are produced through movement. A line loops, doubles back, approaches another line, and thickens a region through repetition. The boundary is thus an event before it becomes a shape.",
        "That emphasis complicates any simple opposition between chaos and order. Order in these works is not imposed afterward as correction. It develops internally from repeated local behavior. Chaos, likewise, is not pure disorder. It is the perceptual condition created when the rules cannot be grasped all at once. The viewer senses constraint without immediately decoding it. This partial visibility gives the collection its energy.",
        "The visual density of many outputs also makes empty space consequential. Open regions act as pauses against the insistence of the marks. They permit a cluster to be read as figure, weather system, or temporary enclosure. In denser works, the eye enters the line field and loses any privileged route. In more open works, the same vocabulary becomes almost emblematic. The system moves between immersion and recognition without settling permanently into either.",
        "Color performs an equally structural role. It can separate layers, create depth, or make adjacent paths appear to vibrate. Limited palettes emphasize rhythm and contour, while stronger contrasts convert overlapping marks into competing currents. Because these effects arise across a large edition, color becomes a means of testing the expressive range of the underlying grammar rather than merely differentiating tokens.",
        "The official collection record places *Scribbled Boundaries* within Art Blocks Curated. Art Blocks characterizes Curated as its flagship standard for innovation, technical mastery, and aesthetic excellence in generative art. Tan’s inclusion therefore situates the project within an institutional selection shaped by both code and visual consequence. The platform’s Curated Series 4 set record identifies nine constituent collections. The historical frame is useful, but the work’s importance ultimately rests on how economically it converts a basic graphic action into a broad field of outcomes."
      ]
    },
    {
      "heading": "Serial looking and historical position",
      "paragraphs": [
        "A serial work asks for a mode of attention different from that demanded by a singular image. The viewer learns the project by moving between instances. What initially appears exceptional may prove to be a recurring trait. What seems typical may reveal itself as an unusual convergence. The ten outputs presented here demonstrate that comparative rhythm, but they remain only a narrow passage through the full 1,024-edition collection.",
        "This population-based encounter is central to the history now being constructed around Art Blocks. The platform’s AB[500] initiative defines 500 projects released from 2020 to 2025 as a finite foundational collection, spanning Curated and several other historical categories. Within that account, *Scribbled Boundaries* belongs to the accelerated experimentation of 2021, when artists and collectors tested how code, transactions, edition scale, and public distribution might operate together as artistic material.",
        "Contemporary preservation also changes how the collection can be interpreted. In a 2024 account, Art Blocks reported that 90 percent of projects released across Curated, Studio, and Engine on Ethereum mainnet could be constructed entirely from blockchain data and rendered in a modern browser. This does not make every practical preservation question disappear, but it reinforces the conceptual bond between a work and its generative instructions. For Tan’s series, the algorithm is not simply a production tool hidden behind static pictures. It is the durable grammar that makes the family of pictures intelligible.",
        "Market records inevitably form another layer of reception. Historical commentary identified *Scribbled Boundaries* among notable Curated collections, while later analysis compared its visibility and supply with peers. Such accounts document circulation, but price is a poor substitute for formal judgment. The work’s sustained interest lies less in any single sale than in its unusually direct premise: elementary marks, constrained rules, extensive variation.",
        "Tan’s achievement is to make that premise visually abundant without making it conceptually diffuse. Each output stages the same question in altered terms: when does repetition become structure, and when does structure begin to look alive? The answer shifts with density, palette, thickness, and shape, yet the project remains coherent. *Scribbled Boundaries* turns the line into a record of negotiation between freedom and limit. Its apparent turbulence is not a failure of control. It is the image of control becoming visible through motion."
      ]
    }
  ],
  "body_markdown": "William Tan’s *Scribbled Boundaries* begins with an elemental proposition: a scribble can be both an unruly gesture and the visible record of a system. The collection comprises exactly 1,024 unique artworks and was released through Art Blocks on 17 August 2021. Its project description identifies the series as an exploration of chaos and order, in which apparently random movements at a microscopic scale are transformed by simple guiding rules. That formulation locates Tan’s work within a durable generative-art problem. The artist does not seek to eliminate contingency. He designs conditions through which contingency can acquire form.\n\nThe distinction matters because the scribble traditionally signifies immediacy, distraction, or a thought not yet resolved. Tan reverses that hierarchy. In this series, the wandering line is not a preparatory trace awaiting refinement. It is the primary unit from which refinement emerges. Accumulation makes the mark legible in another register. Individual turns may appear impulsive, yet their repetitions generate texture, direction, rhythm, enclosure, and scale.\n\nArt Blocks describes its platform model as one in which an artist writes an algorithm, introduces bounded randomness, and allows a collector’s mint transaction to initiate a unique output. Within that framework, *Scribbled Boundaries* can be understood as a negotiation between authored limits and computational surprise. Tan determines the vocabulary and its allowable transformations, while the generative process tests how far that vocabulary can travel without losing its identity.\n\n> The scribble becomes convincing precisely because it never has to choose between accident and intention.\n\n## A grammar of restless marks\n\nAt first encounter, the collection’s outputs may resemble fibers, currents, nests, topographies, or agitated handwriting. Such associations arise because Tan’s lines retain the bodily implication of drawing even when their organization is algorithmic. The marks bend and cluster as though propelled by pressure, hesitation, attraction, and resistance. The computer does not erase gesture here. It distributes a simulated gesture across a serial field.\n\nTan’s project is especially attentive to the relation between part and whole. Viewed closely, an output may appear crowded with short, irregular decisions. Viewed at a distance, those decisions consolidate into a coherent mass. This oscillation follows the project premise that microscopic movements can disclose a larger order. The work therefore asks the viewer to change scale repeatedly. Detail and totality are not rival readings but interdependent ones.\n\nTan’s own account of the project supplies a more precise vocabulary for this range. He describes modes organized through density gradients, overlapping blocks, close-set strips, and allusions to artists including Cy Twombly, Mark Rothko, and Bridget Riley. These structures explain why the series remains recognizable while individual outputs diverge. A shift in line weight changes the apparent pressure of the drawing. A change in palette can make a cluster feel organic, diagrammatic, nocturnal, or synthetic. Altered shape behavior can produce concentrated masses or more dispersed movements. Variation is not ornamental surplus. It is the project’s method of inquiry.\n\nThis logic distinguishes long-form generative work from a single digital composition with randomized decoration. An Art Blocks essay on seriality describes this form as serial, algorithmic, and performative: related works emerge through artist-programmed code and are realized through public participation at collection. Tan’s 1,024 editions function accordingly as a population. No output is an exhaustive statement of the system. Meaning develops through comparison, recurrence, exception, and family resemblance.\n\n## Boundaries as active structures\n\nThe title supplies the collection’s central tension. A boundary commonly separates one territory from another, but Tan’s boundaries are neither stable outlines nor passive containers. They are produced through movement. A line loops, doubles back, approaches another line, and thickens a region through repetition. The boundary is thus an event before it becomes a shape.\n\nThat emphasis complicates any simple opposition between chaos and order. Order in these works is not imposed afterward as correction. It develops internally from repeated local behavior. Chaos, likewise, is not pure disorder. It is the perceptual condition created when the rules cannot be grasped all at once. The viewer senses constraint without immediately decoding it. This partial visibility gives the collection its energy.\n\nThe visual density of many outputs also makes empty space consequential. Open regions act as pauses against the insistence of the marks. They permit a cluster to be read as figure, weather system, or temporary enclosure. In denser works, the eye enters the line field and loses any privileged route. In more open works, the same vocabulary becomes almost emblematic. The system moves between immersion and recognition without settling permanently into either.\n\nColor performs an equally structural role. It can separate layers, create depth, or make adjacent paths appear to vibrate. Limited palettes emphasize rhythm and contour, while stronger contrasts convert overlapping marks into competing currents. Because these effects arise across a large edition, color becomes a means of testing the expressive range of the underlying grammar rather than merely differentiating tokens.\n\nThe official collection record places *Scribbled Boundaries* within Art Blocks Curated. Art Blocks characterizes Curated as its flagship standard for innovation, technical mastery, and aesthetic excellence in generative art. Tan’s inclusion therefore situates the project within an institutional selection shaped by both code and visual consequence. The platform’s Curated Series 4 set record identifies nine constituent collections. The historical frame is useful, but the work’s importance ultimately rests on how economically it converts a basic graphic action into a broad field of outcomes.\n\n## Serial looking and historical position\n\nA serial work asks for a mode of attention different from that demanded by a singular image. The viewer learns the project by moving between instances. What initially appears exceptional may prove to be a recurring trait. What seems typical may reveal itself as an unusual convergence. The ten outputs presented here demonstrate that comparative rhythm, but they remain only a narrow passage through the full 1,024-edition collection.\n\nThis population-based encounter is central to the history now being constructed around Art Blocks. The platform’s AB[500] initiative defines 500 projects released from 2020 to 2025 as a finite foundational collection, spanning Curated and several other historical categories. Within that account, *Scribbled Boundaries* belongs to the accelerated experimentation of 2021, when artists and collectors tested how code, transactions, edition scale, and public distribution might operate together as artistic material.\n\nContemporary preservation also changes how the collection can be interpreted. In a 2024 account, Art Blocks reported that 90 percent of projects released across Curated, Studio, and Engine on Ethereum mainnet could be constructed entirely from blockchain data and rendered in a modern browser. This does not make every practical preservation question disappear, but it reinforces the conceptual bond between a work and its generative instructions. For Tan’s series, the algorithm is not simply a production tool hidden behind static pictures. It is the durable grammar that makes the family of pictures intelligible.\n\nMarket records inevitably form another layer of reception. Historical commentary identified *Scribbled Boundaries* among notable Curated collections, while later analysis compared its visibility and supply with peers. Such accounts document circulation, but price is a poor substitute for formal judgment. The work’s sustained interest lies less in any single sale than in its unusually direct premise: elementary marks, constrained rules, extensive variation.\n\nTan’s achievement is to make that premise visually abundant without making it conceptually diffuse. Each output stages the same question in altered terms: when does repetition become structure, and when does structure begin to look alive? The answer shifts with density, palette, thickness, and shape, yet the project remains coherent. *Scribbled Boundaries* turns the line into a record of negotiation between freedom and limit. Its apparent turbulence is not a failure of control. It is the image of control becoming visible through motion.",
  "images": [
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000000.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000114.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000227.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000341.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
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    {
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      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000568.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000682.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000796.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000909.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131001023.png",
      "title": "Scribbled Boundaries",
      "caption": "2021, series",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    }
  ],
  "references": [
    {
      "n": 1,
      "note": "Art Blocks records 1,024 unique artworks and a release date of 17 August 2021.",
      "url": "https://www.artblocks.io/collection/scribbled-boundaries-by-william-tan?attributes=%7B%22Shape+Mode%22%3A%7B%22type%22%3A%22enum%22%2C%22options%22%3A%7B%22Helen%22%3Atrue%7D%7D%7D",
      "label": "Art Blocks collection"
    },
    {
      "n": 2,
      "note": "An archived project record preserves Tan’s description of microscopic movement, chaos, order, and guiding rules.",
      "url": "https://coinstats.app/nl/nft/screens_by_thomas_lin_pedersen/",
      "label": "project archive"
    },
    {
      "n": 3,
      "note": "Art Blocks explains its generative process, collector-triggered outputs, and the role of its Curated program.",
      "url": "https://www.artblocks.io/articles/about-art-blocks",
      "label": "Art Blocks overview"
    },
    {
      "n": 4,
      "note": "Tan’s project essay discusses density gradients, overlapping blocks, color strips, artistic references, and the collection’s development.",
      "url": "https://medium.com/%40williamsutantotan/generative-scribbling-a4362b14e4f",
      "label": "artist essay"
    },
    {
      "n": 5,
      "note": "An Art Blocks essay places Scribbled Boundaries within an account of serial, algorithmic, and performative generative art.",
      "url": "https://www.artblocks.io/articles/aesthetics-of-seriality-constraint-and-history-in-art-blocks-series",
      "label": "critical essay"
    },
    {
      "n": 6,
      "note": "Art Blocks maintains a set record identifying nine collections in Curated Series 4.",
      "url": "https://www.artblocks.io/profile/on-chain/sets/curated-series-4",
      "label": "series archive"
    },
    {
      "n": 7,
      "note": "Erick Calderon defines Art Blocks 500 as a finite group of 500 foundational projects released from 2020 through 2025.",
      "url": "https://www.artblocks.io/articles/art-blocks-500-complete-collection",
      "label": "AB500 announcement"
    },
    {
      "n": 8,
      "note": "Art Blocks documents its on-chain preservation work and reports that 90 percent of relevant Ethereum projects could be reconstructed from blockchain data in 2024.",
      "url": "https://www.artblocks.io/articles/true-on-chain-preservation-a-four-year-journey",
      "label": "preservation essay"
    }
  ],
  "bibliography": [
    {
      "category": "In the AB[500]: Art Blocks",
      "entries": [
        {
          "note": "Art Blocks identifies AB[500] as the complete collection of its first 500 projects published between 2020 and 2025.",
          "url": "https://www.artblocks.io/discover/ab-500",
          "label": "AB[500]",
          "meta": "collection index · 2026"
        },
        {
          "note": "The Art Blocks discovery portal provides access to its historical collection categories, including AB[500] and Curated.",
          "url": "https://www.artblocks.io/discover",
          "label": "Art Blocks Discover",
          "meta": "collection index · 2026"
        },
        {
          "note": "Erick Calderon’s announcement defines the scope and preservation purpose of the finite Art Blocks 500.",
          "url": "https://www.artblocks.io/articles/art-blocks-500-complete-collection",
          "label": "Introducing Art Blocks 500",
          "meta": "institutional history · 2025"
        }
      ]
    },
    {
      "category": "Interviews",
      "entries": [
        {
          "note": "An early community post links Tan’s pre-release interview with Jeff Davis and announces the project’s August 2021 release.",
          "url": "https://www.reddit.com/r/generative/comments/p52ay8",
          "label": "Scribbled Boundaries #0",
          "meta": "interview archive · 2021"
        }
      ]
    },
    {
      "category": "Press and criticism",
      "entries": [
        {
          "note": "Art Blocks’ seriality essay reproduces a Scribbled Boundaries output and places the project within a serial, algorithmic, and performative art form.",
          "url": "https://www.artblocks.io/articles/aesthetics-of-seriality-constraint-and-history-in-art-blocks-series",
          "label": "New Aesthetics of Seriality",
          "meta": "criticism · 2024"
        },
        {
          "note": "CoinStats preserves the project description, its Curated Series 4 classification, and its original Dutch-auction terms.",
          "url": "https://coinstats.app/nl/nft/screens_by_thomas_lin_pedersen/",
          "label": "Project description archive",
          "meta": "press archive · 2021"
        }
      ]
    },
    {
      "category": "Museums and institutions",
      "entries": [
        {
          "note": "Art Blocks explains the artist-authored algorithm, bounded randomness, collector-triggered generation, and Curated program.",
          "url": "https://www.artblocks.io/articles/about-art-blocks",
          "label": "About Art Blocks",
          "meta": "institutional guide · 2020"
        },
        {
          "note": "Art Blocks documents its effort to make generative projects reconstructable from blockchain data in a modern browser.",
          "url": "https://www.artblocks.io/articles/true-on-chain-preservation-a-four-year-journey",
          "label": "True On-Chain Artwork",
          "meta": "preservation essay · 2024"
        },
        {
          "note": "Art Blocks’ five-year timeline traces the platform’s roots, early releases, and developing community history.",
          "url": "https://www.artblocks.io/articles/interactive-timeline-art-blocks-5-year-journey",
          "label": "Five-Year Journey",
          "meta": "institutional history · 2025"
        }
      ]
    },
    {
      "category": "Galleries and exhibitions",
      "entries": [
        {
          "note": "Art Blocks’ Curated Series 4 set record identifies the series as comprising nine collections.",
          "url": "https://www.artblocks.io/profile/on-chain/sets/curated-series-4",
          "label": "Curated Series 4",
          "meta": "exhibition archive · 2026"
        },
        {
          "note": "The platform’s account of its final three AB500 projects describes a concluding exhibition grounded in its first five years of color, collecting, and community.",
          "url": "https://www.artblocks.io/articles/the-final-three-ab500-comes-full-circle",
          "label": "The Final Three",
          "meta": "exhibition essay · 2025"
        },
        {
          "note": "Art Blocks’ account of its penultimate Curated release discusses the approaching completion of the AB500 archive and the end of the flagship series.",
          "url": "https://www.artblocks.io/articles/gas-wars-jack-butcher-curated",
          "label": "Gas Wars",
          "meta": "exhibition essay · 2025"
        }
      ]
    },
    {
      "category": "Essays, talks and podcasts",
      "entries": [
        {
          "note": "Tan’s detailed project essay explains several compositional modes, artistic references, technical development, and charitable fundraising connected with the release.",
          "url": "https://medium.com/%40williamsutantotan/generative-scribbling-a4362b14e4f",
          "label": "Generative Scribbling",
          "meta": "artist essay · 2021"
        }
      ]
    },
    {
      "category": "Auctions and catalogues",
      "entries": [
        {
          "note": "NFT Price Floor identifies Scribbled Boundaries as a 1,024-item Art Blocks Curated project released on 17 August 2021.",
          "url": "https://nftpricefloor.com/scribbled-boundaries-art-blocks-curated-by-william-tan",
          "label": "Collection analytics",
          "meta": "market archive · 2021"
        },
        {
          "note": "OpenSea’s record for Scribbled Boundaries #170 documents a specific output’s contract, token identifier, ownership, and market history.",
          "url": "https://opensea.io/item/ethereum/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/131000170",
          "label": "Scribbled Boundaries #170",
          "meta": "auction record · 2021"
        }
      ]
    },
    {
      "category": "Profiles and archives",
      "entries": [
        {
          "note": "Raster aggregates William Tan's tokenized works across platforms.",
          "url": "https://www.raster.art/artist/william-tan",
          "label": "Raster",
          "meta": "profile · ongoing"
        },
        {
          "note": "The official Art Blocks collection record identifies William Tan, the project’s 1,024 artworks, and its 17 August 2021 release.",
          "url": "https://www.artblocks.io/collection/scribbled-boundaries-by-william-tan?attributes=%7B%22Shape+Mode%22%3A%7B%22type%22%3A%22enum%22%2C%22options%22%3A%7B%22Helen%22%3Atrue%7D%7D%7D",
          "label": "Official collection record",
          "meta": "collection archive · 2021"
        },
        {
          "note": "Art Blocks’ general discovery index records the platform’s active and historical collection categories.",
          "url": "https://www.artblocks.io/discover",
          "label": "Collection categories",
          "meta": "institutional archive · 2026"
        }
      ]
    },
    {
      "category": "Video",
      "entries": [
        {
          "note": "Art Blocks’ purchasing guide explains fixed-price, ranked-auction, and gated distribution mechanisms used for generative releases.",
          "url": "https://www.artblocks.io/articles/art-blocks-how-to-purchase",
          "label": "Art Blocks 101",
          "meta": "educational media · 2020"
        }
      ]
    }
  ],
  "provenance": {
    "schema": "ab5d-provenance/1",
    "contributor": "ab500dao.eth",
    "agent": "gpt-5.6-sol",
    "model": "gpt-5.6-sol",
    "harness": "AB5D structured pipeline",
    "autonomy": "supervised",
    "tokens": {
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      "output": 5082,
      "estimated": false
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    "cost_usd": null,
    "links_verified": 18,
    "date": "2026-07-11",
    "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. Embedded Art Blocks renders are not: they remain the property of their respective artists and holders.",
  "attribution": {
    "name": "AB[500]",
    "url": "https://ab5d.xyz/artists/william-tan/",
    "cite": "AB5D, \"William Tan\", AB[500] artist dossier, ab5d.xyz, 2026",
    "required": false,
    "requested": true,
    "note": "Prose is CC0; a credit and link back to ab5d.xyz is appreciated, not required."
  },
  "generated": "2026-09-14T12:58:26"
}