k0ch

Artist

k0ch (Emiliano Canedo) · corvusproject.art/about.html#k0ch ↗

Based

Born 1989, Mar del Plata, Argentina. Based in Spain

Practice

Generative and algorithmic art, audiovisual composition, interactive installation, performance, poetry, and sound

Now

Released the album UNKNOWN SIGNALS as SPIRITFLESH on 24 April 2026.⁷

In the set

Unknown Signals ↗ · 1,000 editions
Origami Dream ↗ · 223 editions

Links

Full bibliography ↗

k0ch is the working name of Emiliano Canedo, an interdisciplinary artist and programmer born in Mar del Plata, Argentina, in 1989. A biography published by Corvus Project traces his first approaches to art through drawing and experimental music, followed by software development studies beginning in 2010. Programming subsequently became the basis of an algorithmic and generative practice that extends across moving image, installation, performance, poetry, and sound.¹ This sequence matters because it positions code neither as a late technical supplement nor as a neutral production utility. In k0ch’s work, computation is an artistic language formed alongside musical experimentation.

The artist’s images repeatedly stage a meeting between organic behavior and technological residue. Corvus Project characterizes the practice through the beauty of nature, the artificial decay of large cities, and algorithms that grow like neon within concrete.¹ That account identifies a productive tension running through the work: systems suggest life, yet their surfaces recall obsolete displays, damaged transmissions, synthetic atmospheres, and urban infrastructure. The resulting compositions do not simply illustrate nature or machinery. They make both categories uncertain.

This uncertainty connects k0ch’s Art Blocks projects to a longer engagement with embodied and time-based media. Corvus Project began in Buenos Aires in 2015 as a collaboration joining k0ch and NadArt through dance, interactive technology, generative art, sound, video, and portable sensor-based installations.² Its exhibition record includes dance and technology festivals, university contexts, museums, and performance laboratories. Such work supplies an important context for reading k0ch’s browser-based outputs. Movement is not merely depicted. It is organized as a relation among rule, variation, duration, and perception.

A signal is an event

Unknown Signals is an Art Blocks Factory project of exactly 1,000 works, released on 23 August 2021.³ Its official description begins with waves that remain invisible to human sight, from deep-space signals to hidden radio stations. The work is animated and interactive: a click stops or starts the animation, while the B key removes the foreground.³ That scale turns seriality into part of the artwork’s argument, because no single output can stand as a complete summary of the system.

Art Blocks token records identify a vocabulary of attributes that includes type, symbol, palette, lifeform, wave power, wave shift, noise modulation, capsule shape, and positional variables.⁴ These labels reveal a system constructed from several interacting registers. “Wave” and “noise” invoke transmission and electronic synthesis. “Lifeform” introduces an ambiguous body. “Symbol” implies readable information while withholding a stable message. Each output becomes less a picture of a signal than a temporary event in which signal, carrier, interference, and observer meet.

The ten selected renders demonstrate how this system maintains identity without collapsing into repetition. Central forms resemble capsules, diagrams, specimens, terminals, or emblems. Horizontal disturbances evoke scan lines and low-resolution displays. Restricted palettes give the images the authority of instruments, although the apparent instruments disclose no dependable measurement. Variation occurs through recombination, displacement, density, and rhythm. The collection’s coherence therefore arises from a grammar, not a fixed motif.

The selected records also make the scope of controlled variation more concrete. Their symbols alternate between Monad and Lozenge; lifeforms appear as Lines or Solid; and the enclosing capsule can be a Circle or Rectangle placed at the center or side. Palettes range from Bubblegum and Perfect Blue to Phosphor, Antarctica, and Amazonia.⁴ These are not decorative labels applied after generation. They name parameters through which the work stages signal, carrier, interference, and apparent organism as a single visual event.

Unknown Signals makes uncertainty operational: each image appears to carry information, yet the collection never grants a final decoding key.

Live on Art Blocks: unknown-signals-by-k0ch ↗

From image system to sonic environment

In 2026, k0ch returned to the title Unknown Signals through music. Released under the SPIRITFLESH name, the album explicitly continues the visual work launched on Art Blocks in August 2021 and expands its conceptual framework into sound.⁷ Its production notes identify static, low-fidelity methods, and analog processes as deliberate tools. They also credit k0ch with both music and visual art, locating recording, mixing, and mastering between August 2025 and March 2026 in Asturias, Spain.⁷

This later translation clarifies qualities already present in the visual series. Scan lines can be read as rhythm. Noise becomes texture rather than error. Repeated bars behave like measures, and abrupt symbols punctuate the field like events in a sequence. The album does not prove that the earlier images were concealed scores. Instead, it demonstrates the portability of the project’s underlying concerns across media. A “signal” can be optical, acoustic, digital, cultural, or imaginary, while degradation can function as a method of composition.

Such crossings are consistent with k0ch’s participation in early crypto art discourse. SuperRare’s 2020 weekly update documented INSOMNIA: A Nocturnal CryptoArt Journey by K0ch, indicating an established curatorial and editorial presence before the two Art Blocks releases.⁸ A later SuperRare archive retains INSOMNIA alongside an interview authored by k0ch, showing the artist operating as both maker and interlocutor.⁹ In that interview, creative coder Josh Katzenmeyer discusses a route from music into programming and names k0ch among artists relevant to his crypto art context.¹⁰ The exchange reflects a field in which technical practice, artistic community, and critical conversation developed together.

Folding motion into structure

Origami Dream is an Art Blocks Factory project of exactly 223 works, released on 6 April 2021.⁵ Its title joins a material operation with a mental state. Origami transforms a plane through folds, while dreaming transforms experience through unstable associations. The project description locates the work in k0ch’s own intersection of movement, poetry, and mathematics, with each output determined by a random seed.⁵

The prime number 13 guides the system: there are 13 possible characters, and every origami structure is defined by 13 random points. Two layers of stars add independently randomized color and position. The work also has static and dynamic states that the viewer switches between with a click.⁵ Mathematical construction therefore produces neither a cold demonstration nor a fixed diagram. It becomes a restless spatial event poised between depth and flatness, precision and diffusion, deliberation and emergence.

That ambiguity resonates with k0ch’s earlier collaborative performance practice. Corvus Project describes installations designed around movement sensors and projectors that did not constrain performers in the manner of wearable motion-capture equipment.² The distinction is conceptually useful: a responsive system can register a body without reducing that body to a fixed representation. Origami Dream similarly suggests movement through transformation. Its geometry feels activated, as if the apparent folds were states within a process rather than permanent edges.

Art Blocks identifies the selected Origami Dream #74 as the character “soul” and records both its Ghost edition and Light edition flags as true.⁶ The still render reproduced here captures its pale mirrored forms and scattered stars, but only one state of an artwork designed to move. The token record therefore describes an output, while the live work preserves the temporal distinction between looking at a generated composition and activating it.

Live on Art Blocks: origami-dream-by-k0ch ↗

Code as cultural memory

Generative art is sometimes described primarily through the opposition between control and randomness. k0ch’s own writing supports a more layered account. In a 2021 essay on the demoscene and new media art, he argues that in computational generative art the program in execution is itself the artwork, and that interactive technologies allow performers or the public to alter that execution.¹¹ Rules establish an environment of possibilities, but participation, interface references, sonic associations, and low-fidelity textures make those possibilities culturally specific.

Those memories include experimental music, punk, science fiction, old video games, urban decay, dance, and network culture, influences identified in the Corvus biography.¹ They are not applied as nostalgic decoration. They shape the behavior and atmosphere of each system. The terminal-like surfaces of Unknown Signals make looking resemble reception. The luminous geometry of Origami Dream makes a fixed render feel performative. Across both collections, the viewer encounters evidence of a process that exceeds the displayed frame.

The blockchain setting also gave Unknown Signals consequences beyond its images. Art Blocks’ publication The Link reported $395,157 for GiveWell through the project.¹² A 2022 account of CryptoArg’s Riesgo País exhibition in New York lists K0ch and NadArt among 22 participating artists and places their digital work in a physical gallery context during NFT.NYC.¹³ These records connect the practice to philanthropy and collective exhibition without exhausting its aesthetic stakes: the interval between a system’s legible construction and the meanings a viewer projects into it.

Together, the two AB[500] projects outline a practice grounded in translation. Code becomes image, geometry becomes motion, noise becomes material, and a visual collection later becomes an album. What remains stable is not a signature object but a way of organizing uncertainty. k0ch builds systems lucid enough to invite inspection and open enough to keep transmitting after their first encounter.

Bibliography

The references cited in this essay are listed below. For the complete bibliography see the k0ch links page ↗.