Jiometory No Compute - ジオメトリ ハ ケイサンサレマセン

The work and its context

A field of little solids rises, breaks into ribbons and seems to flow across a reflective surface. In Jiometory No Compute, the individual unit remains visible even when the larger formation begins to resemble a landscape. Small blocks become ridges; luminous points travel through a dark structure; a reflection dissolves an orderly array into something closer to smoke. The work moves between those scales without settling permanently at either. It asks the viewer to follow a formation whose material appears definite but whose outline keeps changing. ^{1 2 3 4 5}

The series is Samsy's Art Blocks project 232, released through Curated in December 2021. Its current record contains 1,024 minted works against a maximum of 1,024. This essay compares four early editions and the AB5D-held #972. They are five configurations of a moving system, rather than five final compositions awaiting a definitive screenshot. The distinction matters particularly at the beginning of playback, when the field gradually acquires more units and an initially sparse arrangement becomes substantially fuller. ^{6 7}

The title's refusal of computation is an effective provocation beside an image that makes its units so conspicuous. The square, cylinder and pointed solid look manufactured, yet their collective movement invites organic associations. Those associations are readings of the visible work, not evidence that it simulates a particular organism. Its interest lies in the ease with which a regular vocabulary can suggest a less regular world. The Samsy artist dossier provides the broader account of the artist's practice. ^{7 1 2 3}

Conception and development

In his release interview, Samsy described the project as emerging from artistic data visualisation: changing an input produces another arrangement and behaviour. He connected its aesthetic to rainy Tokyo, neon and reflective floors, while discussing the tension between abstract geometry and forms that suggest landscapes. He also identified composition glitches as retained results of experimentation. These are the artist's associations and development recollections, not claims that the artwork reads a live external dataset or reconstructs a particular city. ⁸

That interview places the project after earlier work with light painting, interactive installation and WebGL. The relevant continuity is the ability to shape an image while it runs. For Jiometory, authorship includes the permitted relationships between parameters and the treatment of the resulting scene, not simply the design of one attractive arrangement. ⁸

The deployed script makes that distinction concrete. It contains a substantial set of coupled switches. Some arrangements suppress other effects, and certain choices alter both the number and size of units. The system therefore does not offer every visual option as an independent checkbox. Its coherence depends partly on preventing combinations, a compositional activity less immediately visible than choosing a palette but equally important to the final range. These observations concern the retrieved release script; the development archive has not been reconstructed version by version. ⁷

How the work was constructed

The indexed program uses three.js 0.124.0. It derives a numerical state from the opening hexadecimal portion of the token hash and advances that state with bitwise operations. The resulting sequence selects palette, geometry, layout and effects. A particular input therefore supplies repeatable decisions, although the displayed frame also depends on elapsed time, camera position and rendering conditions. Reproducibility of configuration does not mean that every visit presents one identical still. ^{6 7}

Palette selection uses weighted lists. The program defines eighteen named groups, then expands the selection pool according to their weights. It also contains optional colour lookup treatments, applied later in the rendering sequence. This separates colours assigned to the objects from colours produced by processing the image. A description of a final pixel as simply the selected palette colour would miss the contribution of light, bloom, reflection and possible remapping. The inspected weights establish a mechanism; they are not an audited census of minted outputs. ⁷

The scene begins with a rectangular grid. A shared geometry is instanced many times, with separate attributes carrying each unit's position, colour, displacement and lighting role. Depending on the selected branch, the basic mesh is a box, a coarse pointed sphere or a cylinder. Instancing allows a large population to share its underlying mesh while preserving local differences. The population is arranged procedurally; nothing in this inspected construction requires a separate hand-modelled object for every visible piece. ⁷

Most of the movement takes place in the vertex shader. Rows acquire different speeds, positions wrap through a bounded span, and trigonometric and noise functions affect size and height. Additional branches introduce gaps, pulsation, offsets and curved paths. Vertical and double-deck arrangements transform the structure again. These operations can make a field resemble a current or a procession, but the inspected program does not give units individual intentions or model them as organisms negotiating with their neighbours. The apparent collective behaviour comes from shared formulas and differences in their inputs. ⁷

The beginning is also constructed. An instance-dependent transition introduces the units progressively. An early frame may consequently contain a small island of geometry where a later one contains a broad field. This was visible in the inspected playback of #1. The difference should not be confused with a permanent compositional trait, and it makes a single capture taken immediately after loading an unreliable account of the work's full visual presence. ^{7 2}

The floor is more than a dark backdrop. A reflected camera renders the scene into a separate target, with clipping used around the mirror plane. The resulting image is blurred and displaced by a generated surface pattern. Square, circular and noise-based floor treatments make the reflected field legible in different ways. In #972, the upper blocks remain comparatively crisp while their reflection breaks into tangled dark patches. That contrast is produced through a second rendering process, rather than by merely placing a dim duplicate underneath the objects. ^{7 5}

A further set of passes adds bloom and processes the assembled image. The bloom uses several levels of blur, allowing selected bright areas to spread into neighbouring pixels. The final treatment includes fine scanlines and noise, optional colour remapping, horizontal distortions and symmetry. A crucial distinction is that the symmetry branch mirrors image coordinates. It need not indicate that the world contains a physically duplicated population of objects. The renderer can produce an apparently bilateral construction from the way the scene is sampled. ⁷

This distinction explains why the work can feel like both a small spatial model and a manipulated transmission. Perspective, reflected light and camera movement encourage belief in a volume. Edge bands and displaced image fragments expose another layer, the screen through which that volume is presented. Neither layer cancels the other. Their coexistence gives the same small geometric units several kinds of apparent materiality. ^{7 1 3 5}

The official renderers started automatically in the normal browser used for this review. Each of the five examples was observed at more than one moment. Dragging #972 changed its viewpoint. The script also implements camera dolly controls; a wheel action was attempted during inspection, but its precise effect was not isolated from the ongoing movement and is not claimed as a separate measured result. No audio mechanism was found in the complete script review. ^{7 1 2 3 4 5}

The program detects headless Chrome and fixes its time value rather than advancing it normally. Automated capture can therefore produce a convincing still without demonstrating live motion. Preserving this project requires attention to the actual playback environment, not only retention of the hash and code. The present review used the official generator in a regular browser and did not treat headless screenshots as animation evidence. ⁷

The mint

The official collection page identifies 20 December 2021 as the release date. The current index records the first token on 13 December at 20:42:37, activation on 15 December at 21:59:31, and a scheduled start on 20 December at 18:00:00. The second token is recorded at 18:11:06 on the release day. These fields describe distinct events. The earlier first token does not move the public release back a week, and activation is not interchangeable with the first public purchase. Full timestamps and offsets remain in the source record. ^{6 1 2}

The completion field is 20 December at 18:32:59. Editions #10 and #20 share the indexed mint time 18:29:57, while #972 is recorded at 18:32:55. The current maximum and invocation count both read 1,024. These observations establish an indexed sequence, but do not classify every transaction as public, reserved or administrative. An exact public sellout duration is therefore not calculated by subtracting whichever two timestamps happen to be available. ^{6 3 4 5}

The current price setting reads 1 ETH and the sales-notes field is empty. That is a configuration observation, not sufficient evidence of the opening price, auction steps or the amount paid by every collector. Launch-era sale terms and transaction-level payment reconstruction remain open research tasks. The project description also records a historical offer of handmade Game Boy cartridges for holders at an additional cost. It should be read as part of the release's documented offer, not as a promise that redemption remains available now. ⁶

Copyright and licensing

The current artwork label is CC BY-NC 4.0. The index does not supply a separate terms URL, so the named Creative Commons deed is linked here. It permits sharing and adaptation subject to conditions including attribution, indication of changes and noncommercial use. This records the observed label; a complete history of the project's artwork terms has not been established. The header credits Samsy and identifies the exact edition held by AB5D. ^{6 9}

The three.js r124 repository carries the MIT licence, including its notice-retention condition. That dependency licence is distinct from the project's artwork label and does not, by itself, grant permission to reuse Samsy's entire program. No separate comprehensive licence for the artist's script was established in the material inspected. The program is analysed here rather than redistributed. AB5D's CC0 dedication applies to the original essay prose. ^{7 10}

Close reading of five outputs

The sample combines editions #0, #1, #10 and #20 with AB5D's #972. The early group was selected before visual comparison, and #972 supplies a verified collection example rather than a claim about rarity. All five token identities, hashes and generator URLs were checked against the exact contract and project. Their differences support close reading, not estimates of how frequently any feature appears across the complete edition. ^{1 2 3 4 5}

In #0, a dark field holds a sharply mirrored construction. Grey peaks, outlined facets and small yellow, salmon and white units form a series of chevrons around the central axis. Bright points make certain turns flare while quieter wireframe passages retain the appearance of a diagram. Below, a square floor pattern receives a dimmer reflection. The result can suggest a ceremonial object or a terrain seen through a symmetrical filter, but neither description quite exhausts the visible evidence. ¹

Watching #0 changes that reading. The arrangement observed as a compact crown becomes a wider field of ridges and lights. Its bilateral agreement remains firm while the internal distribution changes. Horizontal strips at the sides interrupt the apparent depth with pieces of displaced image. The eye moves between the central alignment, which promises order, and those lateral breaks, which make the presentation seem unstable. The distortion is especially effective because the little units remain so precise. ¹

Edition #1 gives a different sense of continuity. Purple and magenta ribbons, interrupted by mint units and white glints, stretch over a slate-blue and lavender field. Their tapered ends curl away from broad rising areas. The first observed view left much of the upper field open; later playback spread the interlaced structure across substantially more of the image. Its underlying blocks are easy to see locally, yet the larger paths read as flowing bands. The work continually trades the stability of a tile for the instability of a contour. ²

The reflection intensifies that exchange. Above the surface, a viewer can follow orderly ranks and count changes of direction. Below, the same field becomes a wavering, darker mass whose edges refuse that precision. The reflection supplies weight and apparent location while simultaneously loosening the geometry. Compared with #0, #1 relies less on a commanding central axis and more on the continuity of paths moving across the field. ²

Edition #10 is much more porous. A mauve-to-copper background surrounds suspended discs, thin wireframe cylinders and glowing cyan, blue and yellow points. The units seem scattered along a diagonal rather than fused into a dense surface. As playback advances, their distribution and lighting change, while the reflection remains comparatively diffuse. Edge distortions pull streaks out of that delicate arrangement. The image's openness makes those small events more conspicuous: there is less solid mass to absorb them. ³

In #20, a deep blue and violet field supports a bright bilateral branching structure. Thin white and mint rows gather and separate, and the circular floor pattern remains clearly visible around the reflected light. Later frames broaden the luminous formations without removing the strong central division. Beside #0, it shows that symmetry alone does not determine the visual effect. One can be read through angular peaks and dark scaffolding; the other through thin illuminated runs and the patterned surface beneath them. ⁴

The collection's #972 removes the strong chromatic contrasts of those examples. Black, grey and white block ribbons hover over a grey field, with bright glints punctuating their folds. Their dark reflections spread into irregular patches below. As the sequence develops, disconnected stretches appear to join into larger formations and separate again. Dragging the view makes the rows swing into a much steeper orientation, exposing how much the initial landscape reading depends on the camera. Its monochrome range directs attention toward depth, interruption and reflection rather than palette changes. ⁵

Significance and limitations

Jiometory No Compute gives regular units an uncertain collective identity. Its achievement is not simply that many objects move at once. It is the sustained relationship between discrete geometry, fluid-looking formation and a screen treatment that sometimes appears to disrupt its own scene. A reflection can establish a floor and dissolve an outline at the same time. Symmetry can create a stable emblem out of a changing field. The work remains legible as computation while allowing its effects to exceed the visual character of its individual parts. ^{7 1 2 3 4 5}

This review establishes those mechanisms through the complete indexed script and five live outputs. It does not reconstruct every development revision, audit feature frequencies, recover the full original sale schedule or establish a separate artist-code licence. A pinned chain comparison and broader device testing would strengthen the preservation record. Those limits do not prevent close attention to the existing work, but they distinguish the evidence gathered here from a comprehensive technical or transaction archive. ^{6 7}