- Artist
- Ofir Liberman · ofir-liberman.com/the-source-code ↗
- Raster
- raster.art/artist/ofir-liberman ↗
- Practice
- Generative art, creative coding, interaction design, sound, graphics, and electronics
- In the set
- THE SOURCE CoDE ↗ · 180 editions
- Links
- Full bibliography ↗
Ofir Liberman is an artist, designer, and educator whose practice moves between creative coding, interaction design, graphics, sound, electronics, and machine-assisted image making. Institutional accounts position his work at the intersection of art, research, and technology, with algorithms functioning not simply as production tools but as means of translating experience into visual form.1 His participation in Shenkar’s interaction-design community further situates the practice within a collaborative field of technological experimentation and design research.2
Across these activities, Liberman repeatedly asks how computational systems can carry meanings that exceed efficiency. The recurring answer is a form of techno-mysticism: code becomes a framework through which ancient knowledge, personal experience, chance, and contemporary interfaces can meet. This concern connects his Art Blocks project to interactive installations, design events, teaching, and later plotter works.
An oracle written in code
Released by Art Blocks on November 4, 2021, THE SOURCE CoDE comprises exactly 180 editions.3 The project constructs a generative symbolic language rather than a sequence of illustrations. Its outputs resemble cards, diagrams, or emblems whose ordered forms suggest that each image might be read as a compact proposition. The edition is finite, but the governing idea is expansive: a coded system can distribute singular visual outcomes while retaining a shared grammar.
That grammar became more explicit when the project entered physical and participatory settings. The Herzliya Museum described The Source Code Oracle as an interactive work in which visitors generate a unique card by pressing a central button. Its account identifies ten symbols in the underlying algorithm and connects their meanings to actions, stages of life, colors, materials, and shamanic worlds.4 The museum also records that the installation was commissioned for Jerusalem Design Week 2022. Contemporary press coverage of that event pictured Liberman’s The Source and placed it within a program concerned with ephemerality, uncertainty, and the uses of time.5
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Live on Art Blocks: the-source-code-by-ofir-liberman ↗
From screen to ritual
The shift from token to installation clarifies a central feature of Liberman’s practice. Participation completes the system. A visitor’s action, a collector’s mint, or a plotter’s movement converts abstract instructions into an encounter. A collector’s account of THE SOURCE CoDE #24 aptly characterized the work as a digital tarot and emphasized the experience of minting an individual card and prophecy.6 While subjective, that response shows how the project’s mechanics encourage interpretation rather than passive viewing.
Liberman’s broader technical activity supports this emphasis on authored systems. A 2019 TouchDesigner Summit workshop associated with Liberman and Ben Benhorin presented generative design as a method for building reusable tools from simple rules, balancing creative freedom with structured parameters.7 In 2022, Shenkar listed Liberman as a lecturer and digital artist among the speakers at its second NFT Israel conference, which addressed community, copyright, artistic projects, and blockchain applications.8 These contexts connect studio practice to pedagogy and public discussion.
The work has also circulated through Israeli institutions. The Tel Aviv Museum of Art included Liberman among the creators in NFT: One of a Kinds, an exhibition that distributed specially created NFT works to visitors.9 The Eretz Israel Museum listed him among the creators of Material Flow Collective’s Organism 144 in its biennale conference program, indicating a collaborative dimension beyond his individual releases.10
More recent presentations preserve the same passage between spiritual experience and technical procedure. HIT’s 2025 MEMORY_ALMOST_FULL exhibition described Ditaplot Dreams 1,2,3 as plotter prints derived from accounts of shamanic journeys, transformed through automatic writing, prompts, custom software, and physical drawing.1 Ananeh’s 2025 program likewise announced Source Code: Techno-Mystic Ritual, confirming the project’s continued life as a participatory event rather than a closed digital edition.11 Across these forms, Liberman’s distinctive contribution lies in making computation legible as ritual: rules generate images, but people activate their meanings.
Bibliography
The references cited in this essay are listed below. For the complete bibliography see the Ofir Liberman links page ↗.