# UltraWave 369 by Beervangeer ## Work and context UltraWave 369 #162 begins with an open centre. During inspection of its official original, pale gold-grey bands accumulated into nested spiral turns, their darker edges carrying fine gold frills. Later views approached a dark central point while preserving the outer circular boundary. The work belongs to AB5D at the fresh ownership check, alongside #128. Its collection context is verified through the complete linked-wallet profile, rather than inferred from an old preview or a remembered acquisition.[^S09][^S11] Beervangeer’s UltraWave 369 is a Playground edition of 369 works, project 157 on the Ethereum Art Blocks contract. The artist’s short project statement frames its 369 luminous units as a search for unity and understanding, balanced between order and chaos. That language is a proposition for viewing the work, not evidence that the algorithm models consciousness. The visible construction is concrete: particles move inward while following one another, leaving marks that gradually make the image.[^S01][^S02] This makes the original renderer especially important. A still can preserve the accumulated drawing, but cannot by itself show how an initially sparse circle becomes a dense field. The official recommendation to use live mode and fullscreen fits the work’s structure. Yet live does not mean an endless cycle. The program draws for a finite number of frames, after which the existing image remains. Its movement produces an object that can subsequently be contemplated at rest.[^S01][^S02] ## Conception On the artist’s own website, the Ultrawave entry under Autonomous describes a 2021 digital exhibition and a system of coupled oscillators or particles that influence one another. It relates changes in initial conditions and coupling to circular forms and patterns of natural growth. This primary account is more specific than the project’s spiritual vocabulary: it identifies interaction between units as a source of complexity. The individual unit is simple; the behaviour of the group gives the drawing its character.[^S03] The same account invokes broader scientific and natural analogies. Those should remain attributed interpretations. The inspected code does not justify declaring that every output embodies the golden ratio or a mathematically demonstrated fractal. What it does establish is a repeated local relationship around a ring, modulated by values drawn from the token hash. Describing that mechanism precisely preserves the interest of the artist’s analogy without turning evocative language into an unsupported theorem.[^S02][^S03] The number 369 operates at two levels: it is both the edition size and the number of moving agents within each output. The program uses it directly in distributing those agents and relating their positions to colour and wave modulation. No numerological explanation beyond the inspected artist statements is required to see its practical role. The collection repeats a shared population of marks while varying the conditions under which that population moves.[^S01][^S02] A later curatorial context reinforces the circular reading without establishing original intention. In the Crysalis exhibition account Ouroboros, Dagmar Carnevale Lavezzoli places UltraWave alongside Vortex, Entretiempos, and Inspirals. Circularity connects those works in the curator’s selection. The comparison shows one way UltraWave has been received and grouped; it does not prove that Beervangeer designed it in response to those other projects.[^S12] ## Construction The entire 6,092-byte artist script was read, and its fresh digest was checked against the official indexed source. It uses p5.js 1.0.0 and a two-dimensional canvas. The hash is split into 32 bytes. The first two control coefficients used in following and smoothing movement; the third maps to a rounded wave count from zero to nine. Six more bytes establish two RGB colours, while another selects between colourful and two monochrome modes. This is a direct parameter extraction scheme, rather than a long pseudorandom sequence selecting every individual point.[^S02] At setup, 369 agents are evenly spaced on a circle centred in the viewport. The radius is 45 percent of the smaller viewport dimension, and movement and point size are scaled relative to a 1,024-unit reference. The program uses the full window as its canvas. The circular drawing therefore retains a margin in its shorter dimension rather than being stretched to fill a rectangular display.[^S02] Every agent feels two directional contributions. One points towards the centre with a fixed base coefficient. The other points towards its predecessor in the ring and is scaled by the two agents’ force values. The accumulated direction is smoothed through interpolation before the position advances. These are sufficient ingredients for the inward drift and circulating relationship seen in the originals; there is no stored spiral image being uncovered underneath.[^S02] The implementation also makes a consequential ordering choice. Agents update sequentially. After the first agent follows the previous frame’s last agent, later agents read a predecessor that has already moved in the current frame. The group is therefore not computed as a perfectly simultaneous population. This detail belongs to the actual recipe and can affect its trajectory; it should not be replaced by a generic description of particle physics.[^S02] For nonzero wave counts, a sine function modulates the force around the ring. The zero branch instead interpolates between hash-byte values and passes the result through a sine transformation. Although the function is called `hashNoise`, it is not a call to p5’s Perlin noise. The same modulation also helps distribute the two chosen colours among the agents. This ties colour changes to the pattern of coupling rather than laying a separate decorative gradient over the result.[^S02] Each updated position deposits a small translucent ellipse. The background is not cleared between frames, so the drawing accumulates. In colour mode the marks’ alpha decreases towards zero across the drawing interval; the monochrome branches use a constant alpha. The limit is 2,000 frames. A requested frame rate of 100 does not establish a measured twenty-second duration: actual browser scheduling, especially in a background tab, can differ. The draw callback continues to exist after the limit, but its guarded drawing block stops adding marks.[^S02] No restart, pause, keyboard, pointer, audio, or resize handler appears in the artist program. Inspection showed drawing progress in five original renderers, with later views of four reaching or approaching their central point. No stopwatch timing or endless replay was observed. An archive should preserve this distinction: autoplay can expose the drawing process, while repeatedly reloading it would be an additional presentation decision rather than a loop authored in the code.[^S02][^S05][^S06][^S07][^S08][^S09] ## Mint and release The current official page gives 10 September 2021 as the release date and reports an edition of 369. The indexed actual invocation count and maximum both agree at 369. The first mint occurred earlier, on 7 September at 19:24:17 UTC, followed by activation on 9 September at 16:44:35 UTC. These events should remain distinct from the collection’s public release date.[^S01] The indexed start setting is 10 September at 19:00 UTC. The second recorded mint occurred at 19:45:07, and completion at 20:09:21. That is 24 minutes 14 seconds from second mint to completion, or 69 minutes 21 seconds from the start setting. Neither interval alone proves how the sale was announced, whether minting was available continuously, or why there was a gap before the second token. The final invocation, #368, has the completion timestamp in its freshly retrieved token record.[^S01][^S13] The present indexed price is 0.693 ETH. It is recorded as a current setting, not promoted to an original opening price. Historical changes, reserves, and the purpose of the earliest token were not resolved. Transaction hashes for the early and final tokens were retained, but the attempted transaction-page retrievals were inaccessible and cannot support claims about amounts paid.[^S01][^S13] ## Rights and preservation The project’s rights field says NFT License, without a version or linked terms. The official NFT License site’s version 2.0 was inspected as a candidate reference. Its conditional owner-use and display provisions are not a blanket grant for every public reproduction, and the project’s short label does not conclusively establish adoption of that exact version. The precise historical terms remain unresolved; verification of AB5D ownership does not itself establish copyright ownership.[^S01][^S04][^S11] The artist program has no separately established licence in this research. The exact p5.js 1.0.0 library licence is LGPL 2.1; that dependency permission is distinct from rights in the artist’s code and generated imagery. The research package records the source digest and mechanism while withholding raw artist-code redistribution. Likewise, the original prose’s CC0 designation applies to the essay, not to the artwork it discusses.[^S02][^S10] Preservation requires more than saving an attractive late-stage image. It should identify the original token and hash, retain the correct runtime dependency, and explain that the marks build over time. Browser speed can change the duration of that experience without changing the code’s frame limit. The inspected originals demonstrate a functioning current rendering path, but cross-browser pixel equality and long-term hosting durability have not been established.[^S02] ## Four outputs UltraWave 369 #0 first appeared as a faint dotted circle on pale rose-beige. In a later view it had become a substantial annulus of pale green and pink threads, with three broad lobes around a roughly triangular, rounded opening. Fine parallel strands made the band look braided, while irregular red loops ornamented its inner edge. These are observations of an evolving state. The centre was still open in the retained views, so that opening is not asserted to be the completed composition.[^S05] That qualification changes the reading. The attractive annulus is one moment in the work’s construction, not necessarily its fixed emblem. The small initial marks establish a population and a boundary; the later band makes their accumulated paths legible. Its three broad folds are visible consequences of a particular parameter set, while the more agitated edge registers local variation within that larger organisation.[^S02][^S05] UltraWave 369 #1 developed differently. Early views showed a sparse circle, then fine red, purple, and pink radial strokes surrounding a broad empty centre. Later inspection found that centre filled by delicate threads coiling into a small pinched whorl. The dominant impression was density and convergence rather than wide, ruffled ribbons. Reading only the early frame would have understated the extent to which the process reorganises the interior.[^S06] UltraWave 369 #10 began with dots on a beige field and developed broad green-pink twisting ribbons. Subsequent views reached the centre through nested spiral turns. Dark green and red ripple edges separated the pale bands, making the route inward unusually legible. Compared with #1, its layered regions remain more distinctly banded. Both retain evidence of many small marks, but one stresses a fine radial mesh while the other presents broader, curling passages.[^S07] UltraWave 369 #20 showed a green annulus with four broad folds and dark green frills. In successive views the opening contracted and the curled internal ribbon grew. Later, large irregular frills suggested leaf-like forms around the spiral, ending near an emerald point. That resemblance is a visual analogy rather than evidence of botanical modelling. It helps describe the change in apparent scale: tiny deposited dots collectively become shapes that seem much larger than their constituent marks.[^S08] The held #162 offers another comparison. Its pale gold-grey turns are narrower and more numerous, with gold frills tracing darker edges and a very dark brown centre in the later view. The images’ shared outer circle makes those differences easy to register. This five-work sample documents variation and temporal construction, not the frequency of every colour mode or wave value across the edition.[^S09] ## Significance and open questions UltraWave 369 makes accumulation itself visible. Each agent’s immediate action is modest: look towards the centre, follow a neighbour, move, and leave a point. The resulting field can appear woven, ribboned, or organic because earlier positions remain present beside later ones. Its image is a record of relationships unfolding, rather than a single shape drawn all at once.[^S02] The work’s spiritual framing and the program’s small set of operations can coexist without requiring a literal scientific equivalence. A viewer can understand the search for unity as an invitation while also seeing the exact limits of the mechanism. The finite drawing interval gives that invitation an unusual form: the process approaches a centre, stops adding visible history, and leaves the viewer with its accumulated trace.[^S01][^S02][^S03] Unresolved research questions: - Which contemporaneous announcement establishes the original mint price, price changes, reservations, and precise public opening? - What explains the first-token purpose and the gap between the indexed start and second mint? - Which NFT License version was adopted, and what permission supports permanent editorial display and artist-code reuse? - How does wall-clock drawing duration vary across devices, browser scheduling, and viewport conditions? [^S01]: Art Blocks / Beervangeer. [UltraWave 369 official collection and indexed project](https://www.artblocks.io/collection/ultrawave-369-by-beervangeer). Accessed 2026-09-18. [^S02]: Beervangeer. [UltraWave 369 entire artist program](https://artblocks-mainnet.hasura.app/v1/graphql). Accessed 2026-09-18. [^S03]: Beervangeer. [Ultrawave, Autonomous project statement](https://www.beervangeer.nl/). Accessed 2026-09-18. [^S04]: Dapper Labs. [NFT License version 2.0](https://www.nftlicense.org/). Published 2018-11-05. Accessed 2026-09-18. [^S05]: Beervangeer. [UltraWave 369 #0](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000000). Accessed 2026-09-18. [^S06]: Beervangeer. [UltraWave 369 #1](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000001). Accessed 2026-09-18. [^S07]: Beervangeer. [UltraWave 369 #10](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000010). Accessed 2026-09-18. [^S08]: Beervangeer. [UltraWave 369 #20](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000020). Accessed 2026-09-18. [^S09]: Beervangeer. [UltraWave 369 #162](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000162). Accessed 2026-09-18. [^S10]: Processing Foundation / p5.js. [p5.js 1.0.0 licence](https://raw.githubusercontent.com/processing/p5.js/1.0.0/license.txt). Accessed 2026-09-18. [^S11]: Art Blocks / AB5D. [AB5D current collector profile](https://www.artblocks.io/profile/ab5d). Accessed 2026-09-18. [^S12]: Dagmar Carnevale Lavezzoli / Crysalis. [Ouroboros curated collection](https://www.crysalis.art/crysalis-ai-art-research/ouroboros-curated-collection). Accessed 2026-09-18. [^S13]: Beervangeer / Art Blocks. [UltraWave 369 final invocation #368](https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/157000368). Accessed 2026-09-18.