🙏 Ask for a prayer from me. - Health - 🏥 Wealth - 💰 A death - ☠️ A birth - 👶 Sin - 👿 (I use emoji because women are not permitted to read) Down for refurb
'Balloons In The Sky' is a reminder of what early GANs could actually do.
A StyleGAN trained on 3,700 photographs of hot air balloons over New Mexico. An infinite stream of images that only exists because the artists built this specific dataset.
And as we work to place the installation where the public can continue to interact with it, it's worth remembering that the GAN era hasn't passed.
It's still happening. And it's worth showing everyone.
https://t.co/LQmIJ9MM9p
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The honest truth is that almost nobody outside the NFT space has ever seen GAN art. The only exception perhaps being @refikanadol’s work.
The mainstream discovered "AI art" in 2022 through MidJourney and Stable Diffusion.
By then, a whole era of creative experimentation had already happened and it was sitting inside wallets and on-chain contracts that most people have never visited.
It’s important to note that these works aren't legacy, they're foundational. They represent the birth of the medium and somehow they've not truly been experienced outside of our niche.
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GANs - generative adversarial networks - were the first models that could produce images that felt fluid and alive.
Instead of prompted, the output was trained on thousands of images the artist collected, curated, and fed in.
Artists like Ionson, Robbie Barratt, @quasimondo and @NeuralBricolage were doing this on-chain as early as 2018/19. The work was extraordinary but the audience was tiny.
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GANs - generative adversarial networks - were the first models that could produce images that felt fluid and alive.
Instead of prompted, the output was trained on thousands of images the artist collected, curated, and fed in.
Artists like Ionson, Robbie Barratt, @quasimondo and @NeuralBricolage were doing this on-chain as early as 2018/19. The work was extraordinary but the audience was tiny.
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For years, before the diffusion model wave, a small community of artists was already doing something genuinely radical: training generative adversarial networks on their own image worlds and minting the results on the blockchain.
That era of experimentation, however, was pretty much restricted to the digital art space.
It was barely, if at all, experienced by the general public.
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At @NFCsummit last week, visitors pressed a red button to freeze an AI stream and walk away with a 1/1 print and NFT.
@BardIonson and Jennifer Ionson's 'Balloons In The Sky' installation was a hit with Art Factory visitors.
It’s powered by a StyleGAN, the evolution of one of the earliest architectures that made generative image-making possible.
'Balloons In The Sky' is a reminder that AI art has a longer history than most people know.
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Our exhibition at @NFCsummit is coming to an end but we had a fantastic time showing @BardIonson’s work in Lisbon this week.
Thank you to everyone who came to learn about the installation, press the red button and take a signed print home.
Very proud to present the ‘Balloons In The Sky’ installation by @BardIonson and photographer Jennifer Ionson.
We’re in the Art Factory, Ground Floor, until tomorrow.
If you’re in Lisbon, come press the red button!
BALLOONS IN THE SKY - HOW TO MINT
If you're attending @NFCsummit in Lisbon from 4-6 June and would like to learn how to mint and print a Balloons In The Sky 1/1, we've got you.
Opens in 3 days.
@BardIonson
Balloons in perpetual ascension.
@BardIonson’s custom StyleGAN architecture navigates a multi-dimensional latent space in perpetual motion, projecting an infinite stream of generative balloon imagery.
Balloons In The Sky - installation
June 4-6 @NFCsummit
https://t.co/LQmIJ9NjYX
'Balloons In The Sky' is the third and final act of 'The Simulation Trilogy' by @BardIonson - following 'Painting With Fire' and 'Bones In The Sky' (shown at Art Blocks Marfa Weekend 2025). It premieres at @NFCsummit in Lisbon, in June.
Presented by Hash Gallery, the self-sustaining generative installation is built on a smart contract designed to fund its own maintenance, shipping, and educational programming indefinitely.
Under the proposed acquisition model:
▫️a collector purchases the work;
▫️donates it to an institution;
▫️the institution permanently receives 45% of every future mint generated by visitor interaction.
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