# Libertad Parametrizada by zJorge

## The work and its context

Libertad Parametrizada presents a field of small, skewed door forms around a square or circular boundary. Some are thin outlines; others are filled shapes with rounded corners. Differences in scale and visibility make them seem to occupy several depths. A frame organises the field, but forms can cross its edges, making containment a visible question rather than an accomplished fact. [^S05][^S02]

The Art Blocks Factory series contains 243 works and is project 92 on its Ethereum contract. The collection page gives 15 June 2021 as its release date. The indexed artist credit is zJorge, the name used here. The artist's own account, published on Jorge Ledezma's website, places this Art Blocks edition within a project that began in 2019. Its concern with freedom and boundaries preceded this particular distribution of outputs. [^S02][^S06][^S01]

Movement and interaction complicate an initial view. AB5D's #80 begins with a static speed setting, yet keyboard input can set its doors moving. Another sampled output, #74, was observed changing without input. The distinction is between initial conditions and available behaviour: a still-looking opening state does not exhaust the work. [^S03][^S05][^S02]

## Conception and development

In his retrospective project account, Ledezma frames freedom as something defined by parameters. He connects the series to questions arising from the technological singularity and asks where confinement resides, including social, bodily and mental boundaries. The doors and frames can be read in that context, without assigning a specific symbolic meaning to every colour or shape. [^S06]

The artist dates the beginning to June 2019 as a web application. He describes subsequent forms including Instagram filters, an intervention using Google Maps, a blind auction for Panama's Museum of Contemporary Art, an Arduino installation and a tattoo. He presents the 243-piece Art Blocks edition as the journey's concluding stage. This is a primary retrospective account of the project's development, not an independently recovered archive of every version. [^S06]

The deployed program gives the idea of parameters a concrete form. It defines permitted positions, sizes, colours and movement, then offers the viewer controls within that system. Pressing a key can change the field without removing the rules that organise it. That connection between the artist's account and the executable work is an interpretation supported by both sources; it does not require treating a particular implementation quirk as a declared philosophical intention. [^S02][^S06]

## How the work was constructed

The complete indexed program contains 10,465 UTF-8 bytes. Thirty-two hash bytes supply values for density, skew, palette selection, colour strategy, dimensions, frame treatment and other choices. Twenty-six palette arrays provide starting colours, which the program converts to HSL and modifies through several conditional branches. A bitwise pseudorandom generator supplies choices during placement. Its seed is parsed from the beginning of the hash, including the prefix; exact numerical and collision statistics are not asserted here. [^S02]

The density and skew expressions use 265 as a divisor. This is the literal deployed calculation. No recovered development source establishes that 256 was intended, so the value should not be labelled a typographical mistake or used to reconstruct a supposed intended range. Colour branches likewise need to be followed in their actual order, including a selector interval in which the named strategy variable is not assigned. [^S02]

Placement begins with arrays containing two hundred possible positions. The generator selects an index through an inclusive integer helper and removes an entry. Because the upper argument is the array length, a selection can reach one position beyond the last valid index. An empty result divided by two becomes zero in JavaScript. This is a mechanism for a zero coordinate; the submitted exact all-edition incidence was not independently reproduced. Describing that mechanism does not establish what the artist intended the boundary to contain. [^S02]

The drawing is organised into three layers. Their counts depend on density, while their door sizes scale approximately as 0.64, 1 and 1.36 relative to the central size. Their vertical increments also differ, using three, two and one times the speed variable. Smaller and larger marks therefore occupy related but distinct systems. Repeated translucent background washes within the first two layers reduce the prominence of earlier marks, helping establish the depth visible in the examples. [^S02][^S05]

Wind and Gravity are names for nonlinear coordinate transformations. They redistribute normalised horizontal and vertical positions before those positions are mapped into the padded drawing area. This is not an integration of physical forces over time. Vertical travel is controlled separately: positions increment, wrap at the limits and fade near those limits when moving. Treating the Gravity value as vertical animation speed would conflate different operations. [^S02]

Fill labels require the same care. A byte threshold sets an opacity multiplier to 0.6, but the drawing multiplies that value into colour only within the Rumba branch. Other branches use their boundary-fade value. The multiplier's presence alone cannot demonstrate that a token labelled Filled is incorrectly described. Nor can the number of visible colours settle the issue, because antialiasing, overlapping marks and background washes also affect rendered colour. [^S02]

The frame is drawn after the second layer and before the third. Foreground shapes can consequently appear over it. Sharp doors are constructed as quadrilaterals; rounded and pill-like versions use Bézier segments at their corners. A conditional accent can preserve an earlier palette colour for the final foreground shape after the surrounding colours have been modified. The orange door in the sampled #147 is consistent with that available mechanism. [^S02][^S05]

The keyboard handler changes several parameters. Left and right adjust horizontal wind; down and up adjust vertical speed; space sets speed to zero. Lowercase m and l adjust density within bounds, and lowercase s invokes saving. Down and space were independently tested on #80. Other controls are described from code, not reported as tested. No audio mechanism or resize handler was found, and sound was not auditioned. [^S02][^S05]

## The mint

The current index records the first mint on 13 June 2021 at 14:32:55, activation later that day at 21:29:05, the second mint on 15 June at 12:47:45 and completion on 26 June at 00:24:10. These are separate events. An earlier first token does not by itself identify an artist-proof allocation, and the second mint does not independently prove the precise moment public purchasing became possible. [^S02][^S03]

The interval between the second mint and indexed completion is ten days, eleven hours, thirty-six minutes and twenty-five seconds. It describes the span between those records, not an audited public-sale duration. A gradually completed edition can still reach a final mint; the distribution over time is not a reason to claim that completion was not a sellout event. Transaction classifications and original sale-opening conditions remain unresolved. [^S02][^S03]

The currently configured price is 0.119 ETH. This is an indexed setting, not evidence of the amount paid by every recipient or a verified original public price. The header uses the first indexed mint date, while the research record retains the full chronology. [^S02]

## Copyright and licensing

The current Art Blocks artwork label is CC BY-NC 4.0. Its terms-link field is empty, but the named Creative Commons deed is publicly available and was inspected. It describes sharing and adaptation with attribution and a noncommercial restriction. The link supplied here identifies the standard terms corresponding to the reported label; a complete history of earlier project terms has not been recovered. [^S02][^S10]

No separate artist-code licence was found in the inspected program. The declared p5.js 1.0.0 dependency has its own upstream LGPL version 2.1 licence file, which is distinct from the artwork and artist software. Public availability of the script is not treated as an additional reuse grant. [^S02][^S12]

The essay's original prose is dedicated to CC0. The displayed artwork retains its artist credit and reported licence, with those rights kept separate from the archive's prose dedication. [^S10]

## Close reading of examples

Four original renderers were inspected: #80, #147, #18 and #74. Their token identifiers are 92000080, 92000147, 92000018 and 92000074 on the project's Ethereum contract. Fresh token records establish their identities and features. The sample compares outlined and filled forms, an isolated colour accent and movement; it is not a claim to represent the full distribution of the edition. [^S03][^S05]

AB5D holds #80. Its owner matches one of the complete linked-wallet set returned for the collection. A blue field supports a dark square frame and many pale green, thinly outlined door shapes. Larger, brighter outlines overlap fainter small ones, creating depth without filling the shapes with solid colour. The right-hand region is comparatively crowded, while several outlines extend above, left and below the square. The frame gives the eye a stable reference without containing every mark. [^S03][^S04][^S05]

The outlines in #80 reward looking through as well as at them. One door can remain legible within another because both interiors retain the blue field. Repetition does not produce a uniform screen: differences in size and visibility make some doors seem nearer, while others become a faint background rhythm. Their consistent skew also gives the assembly a shared directional pressure. The square is important because its level edges make that skew easier to notice. [^S05]

The token's Initial speed is Static. Two initial observed states were visibly unchanged. After focusing the artwork and pressing the down arrow three times, the outlined forms changed their vertical positions across successive observations while the frame stayed fixed. Pressing space was then tested as the code's stop control. This demonstrates why a static initial setting should not be confused with an inert image file: the program retains a keyboard-controlled movement mechanism. No exact frame rate or all-edition control test is claimed. [^S03][^S05][^S02]

In #147, white and grey rounded door forms stand against a slate-blue field, with a black square frame behind them. One orange door near the upper-right of the centre interrupts the subdued palette. Its colour makes it conspicuous without changing the basic vocabulary of shapes. The larger white forms extend beyond the frame and overlap smaller grey ones, so the orange accent participates in an existing depth structure rather than sitting on a separate decorative layer. [^S05]

The inspected program includes a conditional accent for the final foreground shape. It retains a colour from before later colour-strategy changes and applies it only when further colour, flag and position conditions are met. That branch provides a mechanism for an isolated colour such as the orange in #147. The indexed Has glitch label is reported for this token, but the submitted all-edition predicate matches and exact pixel measurements were not independently reproduced. The visible accent and the available code branch are the evidence used here. [^S02][^S03][^S05]

The effect of #147 depends on restraint elsewhere. Its white forms are strong, but their repetition makes them a collective field. The lone orange shape asks to be followed individually. It can suggest a door with a different status, although no such narrative is assigned by the inspected source. The artist's larger question about freedom within parameters makes that difference suggestive without requiring an invented story about escape. [^S05][^S06]

In #18, a pale blue outer field surrounds a dark blue square with a fine white boundary. Yellow rounded doors overlap in front of it, with darker, muted small forms behind. A dense cluster gathers toward the right and bottom, and several bright doors extend beyond the frame. These differences in apparent depth cannot establish a particular alpha value by eye. The code applies repeated background washes within layers, as well as edge fading; those mechanisms must be distinguished from the opacity multiplier applied in the Rumba branch. The image does not by itself prove that its Filled metadata is wrong. [^S05][^S02][^S03]

The observed #74 has a grey ground, a thin pale blue square and dark blue-grey doors. Smaller pale forms make a secondary field behind the stronger ones. Compared with #18, larger gaps remain through the centre, giving individual forms more room. Two observed states changed the placement of doors relative to the fixed frame, confirming autonomous movement for this token. No cycle duration or speed in seconds was measured. Sound was not auditioned, and no audio instructions were found in the program. [^S05][^S02]

## Significance and limitations

Libertad Parametrizada makes a boundary visible and then gives the eye reasons to look across it. Door forms overlap the frame, recede behind stronger shapes or gather beyond an edge. The distinction between interior and exterior remains legible, but it does not fully determine the composition. That tension gives a concrete visual counterpart to the artist's question about freedom within parameters. [^S05][^S06]

The four inspected outputs show how a restricted vocabulary can change its address. Thin outlines in #80 invite the eye to look through overlapping shapes. White and grey forms in #147 make one orange accent unusually conspicuous. Yellow doors against blue in #18 give overlap a stronger chromatic presence. The moving dark forms in #74 make positions temporary while leaving the frame stable. Their differences can be examined without ranking tokens by rarity. [^S05]

Interaction extends that comparison into time. On #80, the viewer can set an initially still field moving and stop it again. The choice changes the arrangement while remaining inside the program's permitted actions. The system offers agency through parameters, making the relation between freedom and constraint something the viewer can operate as well as contemplate. [^S05][^S02][^S06]

For preservation, the program's actual calculations, drawing order and controls matter. Replacing an unusual placement rule or assuming that a fill variable applies in every branch could produce a different work. The research therefore distinguishes inspected mechanisms, observed results and unverified numerical claims. [^S02]

Unresolved research questions:

- Recover dated records for the earlier forms described by the artist.
- Establish historical sale terms and allocation classifications.
- Locate any separate artist-code grant and historical artwork terms.
- Compare the indexed script with a pinned chain retrieval.
- Independently reproduce the submitted all-edition trait comparisons before asserting exact matches or mismatches. [^S02][^S03][^S06]

[^S02]: Art Blocks. [Art Blocks public GraphQL index, projects_metadata for project 92](https://artblocks-mainnet.hasura.app/v1/graphql). Accessed 2026-09-18.
[^S03]: Art Blocks. [Art Blocks public GraphQL index, tokens_metadata for all 243 tokens of project 92](https://artblocks-mainnet.hasura.app/v1/graphql). Accessed 2026-09-18.
[^S04]: Art Blocks. [Art Blocks public GraphQL index, user_profiles for the AB5D profile and for the artist](https://artblocks-mainnet.hasura.app/v1/graphql). Accessed 2026-09-18.
[^S05]: Art Blocks. [Libertad Parametrizada original renderers and control observations](https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/92000080). Accessed 2026-09-18.
[^S06]: Jorge Ledezma. [Libertad Parametrizada, artist statement](https://ledezma.art/en/libertad-parametrizada). Accessed 2026-09-18.
[^S10]: Creative Commons. [Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) deed](https://creativecommons.org/licenses/by-nc/4.0/). Accessed 2026-09-18.
[^S12]: p5.js contributors / Free Software Foundation. [p5.js 1.0.0 licence](https://raw.githubusercontent.com/processing/p5.js/1.0.0/license.txt). Accessed 2026-09-18.
[^S01]: Art Blocks. [Libertad Parametrizada by zJorge, Art Blocks collection page](https://www.artblocks.io/collection/libertad-parametrizada-by-zjorge). Accessed 2026-09-18.