Announcing Glitchbox, the sculpture. SOUND ON 🔊 Premiering July 12 at @ToledoMuseum in Infinite Images: The Art of Algorithms, curated by @juliaxgulia Glitchbox began in 2021 as an early programmable NFT: a generative audiovisual system with parameters modifiable via on-chain transactions. Through an arduous transformation, at the cost of sweat and sanity, Glitchbox now takes a corporeal form of forged iron and electronics. A fully interactive audiovisual synthesizer, inviting audience members to touch and manipulate tactile controls in a real-time sensory experience. Glitchbox has many facets (some would say six) thematically that I'll try to get into over time: labour, craft, generative systems as cybernetic systems existing beyond purely digital/virtual as embodied sensual experiences, and the significance of these themes in an era of generative AI.

Getting ready 👾🏗️💥 @ArtBasel @_deafbeef

1/7 Ahead of @ArtBasel, Basel, our editor @knaack_nina put together a short series of artist spotlights. Today, we feature @_deafbeef – showing at Zero 10 curated by @eli_schein and @trevorpaglen – presented by @AspreyStudio ↓

Got this sick Deafbeef vinyl sent my way. Such a sweet cover! @heft_gallery

From coding iron forging in the studio to live conversations💡 During @artbasel in Basel, @0xdeafbeef will join other leading artists and thinkers for a series of talks examining the future of generative art, technology, and authorship, with his works presented by Asprey Studio at Booth Z3, Zero 10, Event Hall. 📍 Monday 15 June Digital Art Summit, DEAFBEEF speaking at 11 AM Kino Camera, Rebgasse 1, 4058 Basel Link via @artmetaofficial 📍 Wednesday 17 June Panel Talk ‘How’re You Supposed to Pay the Rent These Days?’ With Auriea Harvey, Rafael Lozano-Hemmer, and 0xDEAFBEEF 5:30-6:30 PM Event Halle, Messe Basel Link via @artbasel website Visit Asprey Studio at Booth Z3, Zero 10, Messe Basel 16-21 June Enquire for further information on the presented works. Video: 0xDEAFBEEF, Hashmasks, Forged Iron - making of process by the artist

1/7 Ahead of @ArtBasel, Basel, our editor @knaack_nina put together a short series of artist spotlights. Today, we feature @JanRobertLeegte – showing at Zero 10 curated by @eli_schein and @trevorpaglen – presented by @office_impart and @GalleryUpstream ↓

Counting down to @ArtBasel in Basel🇨🇭🔊 Presented by Asprey Studio, experience live generative sound, forged iron sculpture, and interactive systems by artist, engineer, and blacksmith @_deafbeef Featured works include Glitchbox, a participatory audiovisual installation that evolves in real time through audience interaction. Asprey Studio, Booth Z3, Zero 10 Messe Basel, Basel, Switzerland 16–21 June 2026

Before knowing what a hipster was, I moved to Toronto and squatted in a warehouse to record hundreds of local indie bands. From 2002-2005. many stories. One session with a Kurt Cobain derivative instructed me not to use any compressors because Steve Albini didn't do that. The drummer on the session had me promise never to tell anyone he was present, lest he lose his street cred. He was the original drummer in Arcade Fire before Win butler fired him for having ideas. He wanted someone who would "just play drums". was denied entry to hipsterdom for the sin of liking Steve Vai, zappa, prog rock or anything sincere or technical. Beefheart got a pass though.

Think digital and electronic art are a recent invention? Their origins date back to the 1950s💡 Asprey Studio’s presentation at @artbasel in Basel, booth Z3, draws from a wider history of electronic image-making and visual music with a solo booth by @_deafbeef DEAFBEEF’s ‘Synth Poems: Oscilloscopes’ draw parallels to not only pioneering experiments of mathematician and artist Ben Laposky (1914–2000), but also those of filmmaker Mary Ellen Bute (1906–1983), who worked extensively with oscilloscopes, electronic signals, and moving abstract imagery decades before the emergence of digital graphics. In the 1950s, Bute and collaborator Theodore Nemeth manipulated oscilloscopes directly through knobs, switches, wave generators, and electronic controls to “draw” with beams of light, translating sound and mathematics into moving image. Their experiments searched for visual forms capable of complementing music through rhythm, signal, and motion. Similarly, Laposky used analogue oscilloscopes to manipulate electronic waves into visual forms he called “Oscillons” — among the earliest examples of electronic visual art. Presented alongside 0xDEAFBEEF’s installation are two original Laposky prints, situating Synth Poems within this historical lineage of oscilloscopic image-making, visual music, and electronically generated abstraction. Images: - Ben Laposky, Oscillon 42, 1953, vintage gelatin print. Courtesy of DEAFBEEF and Asprey Studio. - Ben Laposky with oscilloscope, undated. Courtesy Cherokee County Archives. - Mary Ellen Bute observing an oscilloscope image. Courtesy Center for Visual Music. - DEAFBEEF, Synth Poem: Oscilloscope. Visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026

Starting the day with @_deafbeef gm

Forged, welded, ground, and assembled by hand. Premiering at @artbasel in Basel in less than two weeks. While rooted in generative systems and code, the never-before-seen sculptures within "Synth Poem: Oscilloscopes" are entirely handcrafted by @_deafbeef using traditional blacksmithing techniques at his studio in Toronto, Canada. Hammer marks and traces of labour remain visible throughout the works, introducing material presence and individuality into computational systems. The project resonates with Asprey Studio’s ongoing exploration of traditional craftsmanship and digital innovation. Visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026

Stacking Oscillons. Wait till the TCG people discover Ben Laposky. #45, 84, 126 join the collection. Silver 1/1 prints from 1953. #oscilloscope

Digital Art Summit 2026 | ACT 02 Craft in the Age of AI June 15, 2026 | 11:00 - 11:25 CET When generation becomes effortless, what is left of craft? Not as nostalgia, but as a live question between two practitioners who have located it in different places. 0xDEAFBEEF writes raw C from first principles — no libraries, no shortcuts — where the source itself is the work and constraint is the medium. Seth Goldstein composes with AI agents, where the craft moves upstream into the system itself: what gets generated, what gets shown, what gets refused. Both treat code as material. Both work the constraint. They differ in where the signal originates. Together they ask what craft demands when the hardest part is no longer the making. Speakers: ▫️ @_deafbeef, Artist (Canada) ▫️ @seth, Founder, @spiritagents (United States)

June has arrived - two weeks until the opening of @ArtBasel in Basel 2026 🔥 At the core of the presentation are ‘Synth Poems’ (2021-26) by @_deafbeef, a series of on-chain generative audiovisual works, each paired with one physical sculpture (‘Oscilloscope’) in forged iron by the artist himself. Each digital Synth Poem piece is created at the moment of minting from a unique hash, producing distinct combinations of tempo, timbre, pitch, and structure. While primarily sonic, each work is accompanied by a visualisation derived directly from its audio signal, referencing early vector displays and oscilloscope imagery. The physical sculptures are inspired by analogue oscilloscopes, a type of electronic test instrument introduced in the late 19th-century that graphically displays varying voltages of signals as a function of time. Oscilloscopes are used in many different disciplines, including medicine, engineering and telecommunications. For historical context, the ‘Synth Poem: Oscilloscopes’ are presented along with two original prints by mathematician and artist Ben Laposky (1914–2000), who in the 1950s used an analogue oscilloscope to manipulate electronic waves into visual forms, pioneering early experiments in signal-based abstraction. Read more via our website - link in bio - and visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026 Images: 0xDEAFBEEF, Synth Poem: Oscilloscope, 2026, Forged iron, electronics, generative art Ben Laposky, Oscillon 16, 1953, Vintage silver gelatin print. Courtesy of DEAFBEEF and Asprey Studio.

If you missed it at the show last night... we’re selling Limited Edition @_deafbeef vinyls in the gallery and at the link below. Join us for more shows and performances in our TRANSMISSIONS series, through this weekend until June 12 - book on our website (click TRANSMISSIONS). store.heftgallery.com/mercha…

I'm very proud of the @_deafbeef physical artefacts I collected over the years ... Each one is meaningful with his Art &Craft and myself : Sound/ComputerScience/Forge/Communication - LP vinyl - HASHMARK - PAYPHONE token - 2 zirconium rings - stickers !

“Invited to dive into the LACMA archives, I was immediately drawn to the chronophotographic work of Muybridge. In the 19th century, he developed new techniques to enable serial photography of people and animals in motion — images with an enigmatic quality that have been widely influential.” — @_deafbeef on his ‘Chronophotograph’ collection. Part of Asprey Studio’s presentation at @artbasel Zero 10 in Basel, opening on 16 June 2026, is ‘Chronophotographs’ by 0xDEAFBEEF, a series of procedurally generated images seeded by the block number, depicting figurative and abstract motion in different phases. Where pioneering English photographer Eadweard Muybridge (1830–1904) used sequential photography to analyse movement frame by frame, 0xDEAFBEEF translates this logic into blockchain-based systems. Blockchain, like chronophotography, operates as a time-based medium, with new blocks added approximately every twelve seconds.The block number at the precise moment of observation becomes the seed for the procedural generation of the image, producing snapshots of forms across phases of motion — digital chronophotographs embedded in time. This collection encourages reflections on the perception of time, consensus reality, photography and blockchain as markers of time, as sources of objective truth, and their limitations therein. Chronophotographs are each unique, randomly generated at the time of “observation”. The collection size is theoretically infinite — but our lifespans are finite. Read more via our website — link in bio — and visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Basel, Switzerland. 16–21 June 2026. Images: 1. 0xDEAFBEEF, Chronophotographs #226, 2023, 1/1 platinum-Palladium photographic print paired with 1/1 digital artwork minted on blockchain 2. Eadweard Muybridge, detail of ‘Bouquet’, Galloping, 1887. Collotype on paper. Courtesy of Rijksmuseum, Amsterdam, NL

They're kind of cute all bundled up