{ "schema": "ab5d-series-essay/1", "identity": { "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "projectId": 237, "slug": "time-squared-by-steen-x-n-e-o", "title": "Time Squared", "artistCredit": "steen x n-e-o", "artistDossierUrls": [ "https://ab5d.xyz/artists/steen-x-n-e-o/", "https://ab5d.xyz/artists/n-e-o/" ] }, "revision": 2, "researchCutoff": "2026-09-18", "status": "published-with-research-limitations", "sections": [ { "id": "work-context", "heading": "The work and its context", "bodyMarkdown": "A grid can remain perfectly still while a picture seems to move across it. In Time Squared, small coloured marks occupy regular positions, but their changing weight makes diagonal bands gather, thin and disappear. The eye follows something larger than any individual square. Looking closely interrupts that sensation: there are holes, dots and outlines where a moment earlier there appeared to be a continuous surface. The animation turns a stable arrangement into a succession of provisional images. [^S05] [^S06] [^S07] [^S08] [^S09]\n\nThe collaboration credited as steen x n-e-o released the work through Art Blocks Factory. The public collection page dates the release to 6 January 2022; the current project record contains 212 minted works. The artists describe New York City's lights as an inspiration and identify accessibility as a central concern. Those two commitments give the project a particular character: it is an animated visual field whose program also produces a verbal account of its own configuration. The linked [steen x n-e-o dossier](https://ab5d.xyz/artists/steen-x-n-e-o/) and [n-e-o dossier](https://ab5d.xyz/artists/n-e-o/) provide broader artist context. [^S01] [^S02]\n\nThe city is suggested through activity and repeated units rather than a literal skyline. In the inspected examples, no building or street is outlined. A viewer might associate the illuminated cells with windows, signs or a display board, but those are readings of the images, not additional claims about the artists' intentions. The important compositional relationship is between a repeated local unit and an apparent movement that travels through the whole. [^S05] [^S06] [^S07] [^S08] [^S09]" }, { "id": "conception", "heading": "Conception and development", "bodyMarkdown": "The release statement establishes an interest in the city, prime numbers and making the work available to visually impaired audiences. It does not document a complete development chronology or divide the coding and visual decisions between the collaborators. No such division is inferred here. The strongest additional evidence is the deployed procedure itself, including the way it assembles a description from the same choices that determine the image. [^S01] [^S02]\n\nThat relationship matters. The description is not a generic sentence attached to every token. It names the selected palette, background, arrangement, size category and speed. In the original for AB5D's edition #3, the browser exposed a region describing the Hudson palette and a square arrangement. Other inspected editions exposed different colours and speed labels. These observations establish that the text is present and varies with the configuration. They do not establish that every screen reader speaks it correctly, or that the description provides an equivalent experience of the animation. No spoken assistive-technology test was performed. [^S02] [^S05] [^S06] [^S07] [^S08] [^S09]\n\nThe distinction between description and interpretation remains productive. The generated text can identify colours and a layout, while a human reading can discuss how those elements gather into moving bands. Neither account exhausts the work. Its accessibility mechanism makes some of the program's choices available in language; close looking follows the effects those choices produce together. This essay treats the mechanism as an implemented feature without repeating the release statement's unverified historical priority claim. [^S01] [^S02]" }, { "id": "construction", "heading": "How the work was constructed", "bodyMarkdown": "The complete indexed script, 11,941 bytes, was read for this essay. Its declared dependency is p5.js 1.0.0. The source record preserves the retrieval query and a digest of the returned code. Official originals were viewed separately in a browser; the reading copy was not executed as a substitute artwork. This establishes what the indexed program contains without claiming a comparison against a pinned Ethereum block. [^S01] [^S02]\n\nA numeric seed comes from the beginning of the token hash. A small pseudorandom generator then uses shifts and bitwise operations to produce a sequence of values. The program uses that sequence to choose among weighted speed, grid, palette and arrangement options. These are repeatable choices for a given execution environment and input. They should not be confused with new randomness drawn from an external service on every frame, or with a claim that every bit of the original hash independently controls the result. [^S02]\n\nThe grid has three size categories. At a reference size of six hundred, their marks have side lengths of three, five or eight, with corresponding spacing parameters of eight, twelve or twenty. The program scales these values to the smaller browser dimension and leaves a border around the field. A separate arrangement choice permits a square field, four areas divided by a central gap, or a circular restriction. The circular branch has an exception for the Large grid category. All five examples inspected for this essay use the square arrangement; the other layouts are source findings rather than visual observations from this sample. [^S02]\n\nColour is organised before animation begins. The first entry of a selected palette becomes the background. A further strategy selects a subset of the remaining colours, and the program assigns colours to grid positions. Palette names include Hudson, Prospect, MacDougal and SoHo, alongside names such as Mistletoe and Snow Day. The name is not a complete description of an output: some named palettes have alternative background arrangements, and an individual token can use only part of the available set. Edition #10, for example, presents a much narrower colour range than the palette name alone would reveal. [^S02] [^S07]\n\nThe central animated operation is unusually economical. Every frame clears the background and redraws the grid. Squares keep a specified side length, but their stroke weight is multiplied by a cosine. The phase combines frame count, distance from a selected point, speed and the ratio between the vertical and horizontal coordinates. Neighbouring positions therefore need not become heavy at the same moment. Their different phases create the larger bands that seem to pass through the field. The apparent swelling of a square is substantially an effect of its outline changing thickness, rather than the program repeatedly increasing its side-length argument. [^S02]\n\nThis is why a description of objects simply moving across the canvas would be misleading. Their centres remain at grid positions. What moves perceptually is a concentration of visible weight. At some moments adjacent cells look nearly filled; elsewhere they become thin frames or inconspicuous points. The changing relation between these areas produces a travelling emphasis. It resembles a wave in the ordinary visual sense, but the inspected source does not calculate a fluid or a physical interaction between neighbouring objects. [^S02] [^S05] [^S09]\n\nA separate decision determines whether each location receives a square or a point. Ten branches combine coordinate arithmetic, bitwise operations and selected prime numbers. These are discrete tests, not a simulation of prime numbers becoming visible objects. Their consequences are small interruptions and changes of mark within the repeated field. The point renderer can produce visibly round dots, as in editions #1 and #20, even though the drawing routine does not call a circle function for those positions. [^S02] [^S06] [^S08]\n\nCoordinates enter these tests after scaling. Accordingly, preservation should not promise that every viewport reproduces exactly the same square-versus-point pattern. The animation also advances through frame count rather than a measured wall-clock timeline. The requested sixty frames per second is a rendering target, not a performance guarantee. A browser, machine or frame schedule can affect the experienced pace. These details matter because a still image captures neither the timing nor the conditions under which it was seen. [^S02]\n\nPressing a key toggles a pause flag and causes the drawing routine to reuse its stored frame count. On the official original for #3, pressing A held the same image across separated observations; pressing it again visibly resumed change. A mouse handler requests fullscreen, although that interaction was not tested here. No audio mechanism was found in the inspected script. The release includes a warning about flashing colours and moving patterns, which remains relevant to displaying the animation. [^S01] [^S02] [^S09]\n\nThe generated accessibility text is inserted into the canvas's fallback content as a labelled region. This is text for assistive software to encounter, not a speech engine embedded in the artwork. Its reported count comes from the configured grid positions before the drawing routine applies all arrangement restrictions. That makes it a useful account of parameters, but not an independently audited count of visible shapes in every possible configuration. The difference between a program describing its choices and a viewer describing its image should remain explicit. [^S02]" }, { "id": "mint", "heading": "The mint", "bodyMarkdown": "The index records the first mint on 22 December 2021 at 03:09:52 and a second on 23 December at 15:14:47. Activation is recorded on 30 December at 21:09:20. The scheduled start is 6 January 2022 at 17:00:00, consistent with the public collection page's release date. The completion field is 19 January at 17:13:26. Full offsets remain in the evidence record. These fields describe different events; the earlier token dates do not move the announced public release into December. [^S01] [^S05] [^S06]\n\nThe current record reports 212 invocations and a maximum of 212. Its sales notes describe a descending auction beginning at one ETH and moving through 0.8, 0.6 and 0.4 to a 0.2 ETH resting price, with five-minute steps. The current price setting is also 0.2 ETH. The recorded sale plan supports a description of the intended mechanism. It does not identify what each collector actually paid, establish the original announced maximum, or classify the early mints as public purchases, artist allocations or tests. No exact public sellout duration is asserted. [^S01]\n\nThe same notes state an intention to direct a quarter of proceeds above the resting price to an Endaoment fund supporting organisations for visually impaired people. This connects the stated distribution plan to the project's accessibility interest. It is a documented intention, not proof of a completed donation or its amount. A receipt or transaction trail would be needed to establish that outcome. [^S01]\n\nAB5D's fresh profile-linked wallet check identified editions #3, #82, #83 and #190. Edition #3 was selected as the header example before visual inspection. That choice provides a concrete collection object without suggesting that it is the rarest, most representative or most accomplished result in the series. [^S01] [^S09]" }, { "id": "rights", "heading": "Copyright and licensing", "bodyMarkdown": "The current project record labels the artwork CC BY-NC 4.0 and supplies no separate terms URL. The named Creative Commons deed permits sharing and adaptation subject to attribution, indication of changes and a noncommercial condition. This is the label observed in the current record; the history of earlier labels or permissions has not been reconstructed. The header caption links the named deed and credits both collaborators. [^S01] [^S10]\n\nThe p5.js 1.0.0 repository supplies an LGPL version 2.1 licence document. That dependency record does not itself grant permission to reuse the collaborators' entire program. No separate comprehensive artist-code licence was established from the inspected material. The analysis therefore distinguishes artwork terms, the rendering library's terms and the unresolved status of a separate artist-code grant. AB5D's CC0 dedication covers the original essay prose. It does not replace those other rights records. [^S02] [^S04]" }, { "id": "examples", "heading": "Close reading of five outputs", "bodyMarkdown": "The comparison uses early editions #0, #1, #10 and #20, together with AB5D's #3. Their full token identifiers are 237000000, 237000001, 237000010, 237000020 and 237000003 on Ethereum contract 0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270. Every official original was inspected at more than one moment in a 1280 by 720 browser viewport. This is a selected comparison, not a survey of trait frequency. [^S05] [^S06] [^S07] [^S08] [^S09]\n\nIn #0, a burgundy field supports tan and pale green marks. One observed frame gathered a comparatively solid area at the upper right while a broad diagonal band crossed the lower field. Between them, thin square outlines left much of the background exposed. Later, the dense area changed and a darker channel opened above it. The warm palette makes the alternation feel less like an on-off electronic switch than a woven surface whose density keeps changing. That textile association is an interpretation of the image, not a documented source for the work. [^S05]\n\nThe interest of #0 lies partly in how it holds two scales together. Individual cells are easy to distinguish, with small centres and borders becoming conspicuous as the marks thin. From farther away, those local differences combine into broad slopes. The grid never loses its regular spacing, yet the larger image refuses a single settled balance. A still taken at the first observed moment would give too much authority to its upper-right mass, which the subsequent frame shows to be temporary. [^S05]\n\nEdition #1 sets soft red and blue-grey against charcoal. Round dots interrupt the more numerous square marks. In one frame a bright diagonal concentration occupied the middle while the upper field was comparatively subdued; another made a stronger band near the top and redistributed the dark intervals. The limited two-colour vocabulary makes local alternation conspicuous. Red does not simply describe one coherent moving shape while grey describes another. Both participate in a field whose apparent organisation continually changes. [^S06]\n\nEdition #10 is more finely grained. Pale blue-grey marks on muted indigo create a nearly monochromatic surface, and the smaller cells make broad changes of density especially important. Narrow dark seams and occasional interruptions prevent it from reading as a uniform mesh. Between the observed frames, stronger concentrations appeared in different lower and right-hand areas. Beside #1, it demonstrates how a reduction in colour variety can increase attention to timing and spacing. Its detail is quieter locally but more continuous across the whole square. [^S07]\n\nEdition #20 is more emphatic. Bright red, green, orange, white and light blue gather on dark grey. White dots and squares punctuate the field, standing forward against the coloured marks even when they occupy no special geometric position. In successive frames, diagonal bands reorganised around changing dark channels. Its festive palette could encourage an immediate decorative reading, but sustained looking reveals the same instability of grouping: a cluster that seems complete breaks into individual cells as nearby outlines become stronger. [^S08]\n\nAB5D's #3 provides a cooler counterpart. Pale green and several blues appear against navy. The left side can seem intricate and busy while broader bands extend toward the right. Some cells nearly disappear into the background; others acquire enough weight to join their neighbours into a sloping patch. The tested pause is particularly revealing here. Once frozen, the image offers a readable arrangement of dense and open areas. Resuming it shows that this arrangement was one temporary state of a continuing procedure, not a final composition waiting underneath the motion. [^S09]" }, { "id": "significance", "heading": "Significance and limitations", "bodyMarkdown": "Time Squared makes duration consequential without requiring its units to travel. A fixed grid supplies continuity, and changing line weight repeatedly alters what the eye groups together. Across the five originals, colour and scale change the character of that experience: warmth in #0, restrained contrast in #1, fine continuity in #10, sharper accents in #20 and cool depth in #3. These are differences in how the procedure is encountered, not merely names in a feature table. [^S02] [^S05] [^S06] [^S07] [^S08] [^S09]\n\nIts verbal description also belongs to the authored system. It exposes selected decisions in a second form and invites scrutiny of what a program can say about its own output. The description does not replace looking, nor does this inspection establish universal accessibility. It does make that question part of the work's construction. The resulting series is distinctive both for its shifting visual groupings and for this explicit attempt to describe their underlying conditions. [^S02]\n\nRemaining research includes a pinned chain comparison of the indexed script, earlier edition-limit and licence records, transaction classification for the mint, and evidence of the proposed charitable transfer. A broader visual sample should include the tiled and circular branches, while accessibility testing should involve actual assistive technologies and their users. None of those gaps prevents a close reading of the five inspected originals, but each limits a different historical or technical claim. [^S01] [^S02]" } ], "codeInspection": { "source": "projects_metadata.script", "endpoint": "https://artblocks-mainnet.hasura.app/v1/graphql", "query": "query { projects_metadata(where:{slug:{_eq:\"time-squared-by-steen-x-n-e-o\"}}){id name artist_name project_id description website script script_type_and_version license link_to_license invocations max_invocations first_token_minted_at second_token_minted_at activated_at start_datetime completed_at price_per_token_in_wei sales_notes} }", "retrievedAt": "2026-09-18T10:41:42.136876+00:00", "byteLength": 11941, "sha256": "8c4cb3038a6d8f1ff909d8ce65c38ab9ef10c6f17b9ea34b0eb8d258ce05be66", "runtime": "p5@1.0.0", "executed": false, "chainBlock": null, "coverage": "Complete indexed program read: hash-seeded generator, weighted choices, grid scaling, palette subsets, arithmetic and bitwise square/point tests, cosine stroke weight, frame-based motion, pause and accessibility description. Official originals viewed separately." }, "examples": [ { "id": "E01", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000000", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000000", "sourceIds": [ "S01", "S05" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Burgundy ground with tan and green cells; broad dense bands and open channels change between frames." }, { "id": "E02", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000001", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000001", "sourceIds": [ "S01", "S06" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Red and blue-grey marks on charcoal; dots interrupt squares and diagonal concentrations shift." }, { "id": "E03", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000010", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000010", "sourceIds": [ "S01", "S07" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Fine pale blue-grey mesh on muted indigo; narrow dark seams and changing broad density bands." }, { "id": "E04", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000020", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000020", "sourceIds": [ "S01", "S08" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Vivid green red orange white and light blue on charcoal; dots and squares reorganise into changing diagonal concentrations." }, { "id": "E05", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000003", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003", "sourceIds": [ "S01", "S09" ], "selectionNote": "Verified AB5D collection example", "observationNote": "Pale green and blues on navy; diagonal density bands. Keyboard pause held identical frames and second key resumed movement." } ], "mediaIds": [], "provenance": { "operator": "OpenAI", "agent": "Codex", "model": "gpt-6-astra", "originalProseLicense": "CC0-1.0", "generation": { "schema": "ab5d-essay-generation/1", "model": "gpt-6-astra", "displayName": "GPT-6 Astra", "scope": "Independent Time Squared research and writing", "essayCount": 1, "usage": null, "perEssayUsage": null, "usageDetail": "Complete per-essay token telemetry unavailable; no estimated count.", "contributors": { "operator": "OpenAI", "agent": "Codex", "model": "GPT-6 Astra", "originalProseLicense": "CC0-1.0" } }, "humanEditorialInvolvement": "Commissioned by Phil; website publication authorized by Phil on 2026-09-17. No claim of line-by-line human fact checking." }, "editorialExceptions": [], "facts": [ { "id": "minted-count", "topic": "mint", "value": 212, "observedAt": "2026-09-18", "sourceIds": [ "S01" ], "status": "verified", "note": "Current index observation; distinct historical meaning explained in essay." }, { "id": "first-mint", "topic": "mint", "value": "2021-12-22T03:09:52+00:00", "observedAt": "2026-09-18", "sourceIds": [ "S01" ], "status": "verified", "note": "Current index observation; distinct historical meaning explained in essay." }, { "id": "scheduled-start", "topic": "mint", "value": "2022-01-06T17:00:00+00:00", "observedAt": "2026-09-18", "sourceIds": [ "S01" ], "status": "verified", "note": "Current index observation; distinct historical meaning explained in essay." }, { "id": "completion", "topic": "mint", "value": "2022-01-19T17:13:26+00:00", "observedAt": "2026-09-18", "sourceIds": [ "S01" ], "status": "verified", "note": "Current index observation; distinct historical meaning explained in essay." }, { "id": "license", "topic": "rights", "value": "CC BY-NC 4.0", "observedAt": "2026-09-18", "sourceIds": [ "S01" ], "status": "verified", "note": "Current index observation; distinct historical meaning explained in essay." } ], "rights": { "artwork": { "reportedLabel": "CC BY-NC 4.0", "category": "creative-commons", "termsUrl": "https://creativecommons.org/licenses/by-nc/4.0/", "observedAt": "2026-09-18", "sourceIds": [ "S01", "S10" ], "note": "Current artwork label; earlier terms not reconstructed.", "unresolvedConflicts": [] }, "code": { "reportedLabel": null, "category": "unknown", "termsUrl": null, "observedAt": "2026-09-18", "sourceIds": [ "S02" ], "note": "No separate comprehensive artist-code grant established.", "unresolvedConflicts": [] }, "thirdParty": [ { "reportedLabel": "LGPL 2.1", "category": "custom", "termsUrl": "https://raw.githubusercontent.com/processing/p5.js/1.0.0/license.txt", "observedAt": "2026-09-18", "sourceIds": [ "S04" ], "note": "p5.js 1.0.0 dependency only.", "unresolvedConflicts": [] } ] }, "completionStatus": "reviewed-for-publication", "presentation": { "editionSize": 212, "maximumEdition": 212, "mintDate": "2021-12-22T03:09:52+00:00", "mintDateMeaning": "First indexed mint", "artwork": { "project_id": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270-237", "token_id": "237000003", "invocation": 3, "owner_address": "0xdd19308a9731cdecb67e0d80ca6823394208c045", "preview_asset_url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003.png", "live_view_url": "/series/time-squared-by-steen-x-n-e-o/artwork.html", "canonicalUrl": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003", "mode": "live", "interactionNote": "Animation starts automatically. Flashing colours and moving patterns. Focus the artwork and press any key to pause or resume.", "copyrightStatus": "CC BY-NC 4.0", "copyrightUrl": "https://creativecommons.org/licenses/by-nc/4.0/", "displayBasis": "Remote official live renderer with verified collection ownership.", "canonicalLiveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003" } }, "observationImages": [ { "id": "E01", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000000", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000000", "sourceIds": [ "S01", "S05" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Burgundy ground with tan and green cells; broad dense bands and open channels change between frames.", "previewUrl": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000000.gif", "liveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000000" }, { "id": "E02", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000001", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000001", "sourceIds": [ "S01", "S06" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Red and blue-grey marks on charcoal; dots interrupt squares and diagonal concentrations shift.", "previewUrl": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000001.gif", "liveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000001" }, { "id": "E03", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000010", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000010", "sourceIds": [ "S01", "S07" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Fine pale blue-grey mesh on muted indigo; narrow dark seams and changing broad density bands.", "previewUrl": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000010.png", "liveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000010" }, { "id": "E04", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000020", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000020", "sourceIds": [ "S01", "S08" ], "selectionNote": "Early edition comparison chosen before visual inspection", "observationNote": "Vivid green red orange white and light blue on charcoal; dots and squares reorganise into changing diagonal concentrations.", "previewUrl": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000020.png", "liveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000020" }, { "id": "E05", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "237000003", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003", "sourceIds": [ "S01", "S09" ], "selectionNote": "Verified AB5D collection example", "observationNote": "Pale green and blues on navy; diagonal density bands. Keyboard pause held identical frames and second key resumed movement.", "previewUrl": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003.png", "liveUrl": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/237000003" } ], "publication": { "date": "2026-09-18", "url": "https://ab5d.xyz/series/time-squared-by-steen-x-n-e-o/", "authorization": "Phil requested website publication on 2026-09-17.", "reviewSnapshot": "/docs/series-essays/production/time-squared-by-steen-x-n-e-o/record.json", "unresolvedResearchQuestionsRetained": true } }