Limited collection: 114 artworks  Starting price: 0.08 ETH

Insta: https://www.instagram.com/ddd_donald.de.decker/ W: https://www.d-d-d.be/art 

Please read all the essential information below to better understand the project and its sale.

Acousma is the result of several years of research and creation.   The project explores the relationships between visual arts and acousmatic music, leading to the concept of "modulating reproducibilities".

These works are NOT the result of automatic AI generation.   Each artwork emerges from a unique artistic process combining drawing, algorithmic manipulation, and digital composition.

For further details, please refer to the “About Acousma” section below.

The launch of this NFT collection aims to unveil the current body of work, to support past research, but above all to sustain the continuation of the project.

This includes the research phase and the development of the first physical materializations, as well as the ongoing evolution of the artistic corpus.

Each acquisition therefore directly contributes to the viability and continuity of this artistic approach.

•  The visuals presented in the collection are photographic simulations intended to reveal one possible future physical materialization of the project. •  The NFTs nevertheless remain autonomous digital artworks: they are the project’s first expression, the foundational version that precedes and informs its future physical evolutions. •  This NFT collection is closed: no additional NFTs will be added (114 artworks in total). •  NFT size (photographic simulations): 1748 × 1240px / 300dpi / jpg

Each artwork in the Acousma collection has its own degree of rarity, defined through an objective analysis of its visual density (black/white ratio). The 114 artworks have thus been divided into four categories, according to their proportion of dark pixels.

This distribution is not arbitrary: it reflects the actual behavior of the creative process, which naturally gravitates toward certain density zones, revealing different levels of stratification and graphic intensity. These categories reflect how forms densify and transform within a shared experimental field.

As a result, the four categories do not contain the same number of artworks; the distribution strictly depends on visual analysis.

Release prices start at 0.08 eth., with prices varying according to each category.

Category 1 – Diaphanous Fields 16 artworks (14%) / 0.16 eth. The most evanescent pieces, revealing more distilled states of the artistic process, where lines unfold subtly through fewer layers. This category gathers works whose graphic experiments tend toward a minimalist white.

Category 2 – Intermediate States 8 artworks (7%) / 0.20 eth. Balanced works representing a stage in the process where lines and space stabilize, anchoring the composition in medium-density forms.

Category 3 – Amplified Diffusions 43 artworks (38%) / 0.12 eth. Complex works situated in a dynamic transitional zone, where graphic research gains vibration and intensity without yet reaching full saturation.

Category 4 – Extended Densities 47 artworks (41%) / 0.08 eth. High black density, where line work is pushed to its extreme, aiming toward near-total black.

This classification is not arbitrary and is based on: • an objective visual criterion (black /white density), • a rationale derived from the creative process, • a desire to make the project accessible to different types of collectors.

This project originates from the exploration of the relationship between visual arts and acousmatic music. Its development led to the concept of “ modulating reproducibilities ”.   Initially, several research avenues were developed, such as structural analogies, a dialogue between two artistic disciplines through a possible sensory equivalence ( synesthesia ), or the similarities between certain processes inherent in acousmatic music and their corresponding graphical techniques.   Each creation begins with the line. This line dictates the details of the project as it develops, through a process that combines both deliberate and unexpected compositions.   Through meticulous graphic manipulation, the line — or rather these lines — transform into visual material. This material is shaped, transformed, layered, and adjusted through the appropriation of algorithmic tools that craft these works. 

The various compositions gradually enrich a library of graphic abstractions, whose elements can serve as material for future creations. This process is akin to how acousmatic composers “ sculpt ” sounds from their sound banks to create compositions. 

Acousmatic music is actually considered “ music on fixed media ” because the pieces are created in an electroacoustic studio and fixed on an audio medium, to later be deployed in space using an acousmonium. This deployment aims to enhance the work ; it allows for faithful reproduction or adaptation to space. Thanks to this sound spatialization work, the composition and sound can then take on a different artistic dimension.   Another essential intention of the acousmatic concert is to foster the construction of mental images. Personal experience seems to suggest that the perception of sound is often linked to, or even dominated by, the visual aspect of a musical performance. …

This project plays with the idea of reversing this mechanism. The spectator is invited to question their ability to develop their sense of listening, their mental perception of sounds from an image, to perhaps detect a “ sonority ”.   As is often the case in acousmatic music, the digital environment is also used as the primary medium for creation. This environment represents fertile ground and is the ideal tool for experimentation. The reproducibility of the digital medium is used as an asset, a system that generates both variability and uniqueness, where each creation can be explored from multiple angles.   By favoring a digital format that enables adaptability across different media, these compositions can evolve beyond the digital sphere, materializing through different production techniques, in various locations and on different surfaces. 

In this context, the challenge does not lie solely in the transposition of a digital work into a physical object, but also concerns the way in which these forms can exist differently depending on their mode of appearance. 

A single composition may then reveal itself differently depending on how it is contextualized, produced, or reproduced. It may thus unfold across various media (sculpture, painting or animation ), generating new perceptions.   This variety of possible iterations and their adaptability to space gives rise to the concept of “ modulating reproducibilities ”. 

This concept plays with our relationship to the copy, to the replica, and questions, through this, the paradoxical and ambiguous nature of our conception of originality. …

These compositions being conceived as transformable structures, each creation functions as an evolving matrix, capable of generating a multiplicity of states, without any of these manifestations being considered original or derivative.   This logic of modulation is based on a set of operations ( cropping, scaling, distortion, deformation, addition, fusion… ) which, individually or in combination, allow new configurations to emerge from one or several initial matrices. It is, therefore, part of a dynamic of systematic exploration, in which the multiplication of variations produces compositions while constantly shifting their states.   Acousma thus questions the tension between reproducibility and singularity, by proposing structures capable of modulation while maintaining a distinct identity, within an open generative system.   These investigations contribute to an aesthetic of variation pushed to its furthest extent, where forms,…

…subjected to these processes of reconfiguration, tend toward states of densification or reduction, potentially leading to compositions reaching extreme thresholds, between saturation and erasure. They thus aim to explore the conditions under which a formal system can evolve to the point of testing its limits.   Since these creations initially exist in digital form, the NFT environment seems well suited to their dissemination. Photographic simulations represent one of the possible media. They allow the first phase of this artistic process to be revealed by contextualizing and presenting one of its visual possibilities.   They are autonomous digital artworks, constituting the project’s first expression, the foundational version that precedes and informs its future physical evolutions. This deployment in the form of NFTs therefore offers access to the creations prior to any physical production phase.

For more information on the conceptual development of the project, please refer to the PDF document available on this page: Correspondence – Conceptual framework of the project https://www.d-d-d.be/art#acousma-about

(!) The physical realization of an artwork may differ from its photographic simulation, as future materializations will evolve according to the concept of “modulating reproducibilities”.

Thank you for reading, your support will accompany and extend this artistic project through its future developments.

Limited collection: 114 artworks  Starting price: 0.08 ETH

Insta: https://www.instagram.com/ddd_donald.de.decker/ W: https://www.d-d-d.be/art 

Please read all the essential information below to better understand the project and its sale.

Acousma is the result of several years of research and creation.   The project explores the relationships between visual arts and acousmatic music, leading to the concept of "modulating reproducibilities".

These works are NOT the result of automatic AI generation.   Each artwork emerges from a unique artistic process combining drawing, algorithmic manipulation, and digital composition.

For further details, please refer to the “About Acousma” section below.

The launch of this NFT collection aims to unveil the current body of work, to support past research, but above all to sustain the continuation of the project.

This includes the research phase and the development of the first physical materializations, as well as the ongoing evolution of the artistic corpus.

Each acquisition therefore directly contributes to the viability and continuity of this artistic approach.

•  The visuals presented in the collection are photographic simulations intended to reveal one possible future physical materialization of the project. •  The NFTs nevertheless remain autonomous digital artworks: they are the project’s first expression, the foundational version that precedes and informs its future physical evolutions. •  This NFT collection is closed: no additional NFTs will be added (114 artworks in total). •  NFT size (photographic simulations): 1748 × 1240px / 300dpi / jpg

Each artwork in the Acousma collection has its own degree of rarity, defined through an objective analysis of its visual density (black/white ratio). The 114 artworks have thus been divided into four categories, according to their proportion of dark pixels.

This distribution is not arbitrary: it reflects the actual behavior of the creative process, which naturally gravitates toward certain density zones, revealing different levels of stratification and graphic intensity. These categories reflect how forms densify and transform within a shared experimental field.

As a result, the four categories do not contain the same number of artworks; the distribution strictly depends on visual analysis.

Release prices start at 0.08 eth., with prices varying according to each category.

Category 1 – Diaphanous Fields 16 artworks (14%) / 0.16 eth. The most evanescent pieces, revealing more distilled states of the artistic process, where lines unfold subtly through fewer layers. This category gathers works whose graphic experiments tend toward a minimalist white.

Category 2 – Intermediate States 8 artworks (7%) / 0.20 eth. Balanced works representing a stage in the process where lines and space stabilize, anchoring the composition in medium-density forms.

Category 3 – Amplified Diffusions 43 artworks (38%) / 0.12 eth. Complex works situated in a dynamic transitional zone, where graphic research gains vibration and intensity without yet reaching full saturation.

Category 4 – Extended Densities 47 artworks (41%) / 0.08 eth. High black density, where line work is pushed to its extreme, aiming toward near-total black.

This classification is not arbitrary and is based on: • an objective visual criterion (black /white density), • a rationale derived from the creative process, • a desire to make the project accessible to different types of collectors.

This project originates from the exploration of the relationship between visual arts and acousmatic music. Its development led to the concept of “ modulating reproducibilities ”.   Initially, several research avenues were developed, such as structural analogies, a dialogue between two artistic disciplines through a possible sensory equivalence ( synesthesia ), or the similarities between certain processes inherent in acousmatic music and their corresponding graphical techniques.   Each creation begins with the line. This line dictates the details of the project as it develops, through a process that combines both deliberate and unexpected compositions.   Through meticulous graphic manipulation, the line — or rather these lines — transform into visual material. This material is shaped, transformed, layered, and adjusted through the appropriation of algorithmic tools that craft these works. 

The various compositions gradually enrich a library of graphic abstractions, whose elements can serve as material for future creations. This process is akin to how acousmatic composers “ sculpt ” sounds from their sound banks to create compositions. 

Acousmatic music is actually considered “ music on fixed media ” because the pieces are created in an electroacoustic studio and fixed on an audio medium, to later be deployed in space using an acousmonium. This deployment aims to enhance the work ; it allows for faithful reproduction or adaptation to space. Thanks to this sound spatialization work, the composition and sound can then take on a different artistic dimension.   Another essential intention of the acousmatic concert is to foster the construction of mental images. Personal experience seems to suggest that the perception of sound is often linked to, or even dominated by, the visual aspect of a musical performance. …

This project plays with the idea of reversing this mechanism. The spectator is invited to question their ability to develop their sense of listening, their mental perception of sounds from an image, to perhaps detect a “ sonority ”.   As is often the case in acousmatic music, the digital environment is also used as the primary medium for creation. This environment represents fertile ground and is the ideal tool for experimentation. The reproducibility of the digital medium is used as an asset, a system that generates both variability and uniqueness, where each creation can be explored from multiple angles.   By favoring a digital format that enables adaptability across different media, these compositions can evolve beyond the digital sphere, materializing through different production techniques, in various locations and on different surfaces. 

In this context, the challenge does not lie solely in the transposition of a digital work into a physical object, but also concerns the way in which these forms can exist differently depending on their mode of appearance. 

A single composition may then reveal itself differently depending on how it is contextualized, produced, or reproduced. It may thus unfold across various media (sculpture, painting or animation ), generating new perceptions.   This variety of possible iterations and their adaptability to space gives rise to the concept of “ modulating reproducibilities ”. 

This concept plays with our relationship to the copy, to the replica, and questions, through this, the paradoxical and ambiguous nature of our conception of originality. …

These compositions being conceived as transformable structures, each creation functions as an evolving matrix, capable of generating a multiplicity of states, without any of these manifestations being considered original or derivative.   This logic of modulation is based on a set of operations ( cropping, scaling, distortion, deformation, addition, fusion… ) which, individually or in combination, allow new configurations to emerge from one or several initial matrices. It is, therefore, part of a dynamic of systematic exploration, in which the multiplication of variations produces compositions while constantly shifting their states.   Acousma thus questions the tension between reproducibility and singularity, by proposing structures capable of modulation while maintaining a distinct identity, within an open generative system.   These investigations contribute to an aesthetic of variation pushed to its furthest extent, where forms,…

…subjected to these processes of reconfiguration, tend toward states of densification or reduction, potentially leading to compositions reaching extreme thresholds, between saturation and erasure. They thus aim to explore the conditions under which a formal system can evolve to the point of testing its limits.   Since these creations initially exist in digital form, the NFT environment seems well suited to their dissemination. Photographic simulations represent one of the possible media. They allow the first phase of this artistic process to be revealed by contextualizing and presenting one of its visual possibilities.   They are autonomous digital artworks, constituting the project’s first expression, the foundational version that precedes and informs its future physical evolutions. This deployment in the form of NFTs therefore offers access to the creations prior to any physical production phase.

For more information on the conceptual development of the project, please refer to the PDF document available on this page: Correspondence – Conceptual framework of the project https://www.d-d-d.be/art#acousma-about

(!) The physical realization of an artwork may differ from its photographic simulation, as future materializations will evolve according to the concept of “modulating reproducibilities”.

Thank you for reading, your support will accompany and extend this artistic project through its future developments.

Limited collection: 114 artworks  Starting price: 0.08 ETH

Insta: https://www.instagram.com/ddd_donald.de.decker/ W: https://www.d-d-d.be/art 

Please read all the essential information below to better understand the project and its sale.

Acousma is the result of several years of research and creation.   The project explores the relationships between visual arts and acousmatic music, leading to the concept of "modulating reproducibilities".

These works are NOT the result of automatic AI generation.   Each artwork emerges from a unique artistic process combining drawing, algorithmic manipulation, and digital composition.

For further details, please refer to the “About Acousma” section below.

The launch of this NFT collection aims to unveil the current body of work, to support past research, but above all to sustain the continuation of the project.

This includes the research phase and the development of the first physical materializations, as well as the ongoing evolution of the artistic corpus.

Each acquisition therefore directly contributes to the viability and continuity of this artistic approach.

•  The visuals presented in the collection are photographic simulations intended to reveal one possible future physical materialization of the project. •  The NFTs nevertheless remain autonomous digital artworks: they are the project’s first expression, the foundational version that precedes and informs its future physical evolutions. •  This NFT collection is closed: no additional NFTs will be added (114 artworks in total). •  NFT size (photographic simulations): 1748 × 1240px / 300dpi / jpg

Each artwork in the Acousma collection has its own degree of rarity, defined through an objective analysis of its visual density (black/white ratio). The 114 artworks have thus been divided into four categories, according to their proportion of dark pixels.

This distribution is not arbitrary: it reflects the actual behavior of the creative process, which naturally gravitates toward certain density zones, revealing different levels of stratification and graphic intensity. These categories reflect how forms densify and transform within a shared experimental field.

As a result, the four categories do not contain the same number of artworks; the distribution strictly depends on visual analysis.

Release prices start at 0.08 eth., with prices varying according to each category.

Category 1 – Diaphanous Fields 16 artworks (14%) / 0.16 eth. The most evanescent pieces, revealing more distilled states of the artistic process, where lines unfold subtly through fewer layers. This category gathers works whose graphic experiments tend toward a minimalist white.

Category 2 – Intermediate States 8 artworks (7%) / 0.20 eth. Balanced works representing a stage in the process where lines and space stabilize, anchoring the composition in medium-density forms.

Category 3 – Amplified Diffusions 43 artworks (38%) / 0.12 eth. Complex works situated in a dynamic transitional zone, where graphic research gains vibration and intensity without yet reaching full saturation.

Category 4 – Extended Densities 47 artworks (41%) / 0.08 eth. High black density, where line work is pushed to its extreme, aiming toward near-total black.

This classification is not arbitrary and is based on: • an objective visual criterion (black /white density), • a rationale derived from the creative process, • a desire to make the project accessible to different types of collectors.

This project originates from the exploration of the relationship between visual arts and acousmatic music. Its development led to the concept of “ modulating reproducibilities ”.   Initially, several research avenues were developed, such as structural analogies, a dialogue between two artistic disciplines through a possible sensory equivalence ( synesthesia ), or the similarities between certain processes inherent in acousmatic music and their corresponding graphical techniques.   Each creation begins with the line. This line dictates the details of the project as it develops, through a process that combines both deliberate and unexpected compositions.   Through meticulous graphic manipulation, the line — or rather these lines — transform into visual material. This material is shaped, transformed, layered, and adjusted through the appropriation of algorithmic tools that craft these works. 

The various compositions gradually enrich a library of graphic abstractions, whose elements can serve as material for future creations. This process is akin to how acousmatic composers “ sculpt ” sounds from their sound banks to create compositions. 

Acousmatic music is actually considered “ music on fixed media ” because the pieces are created in an electroacoustic studio and fixed on an audio medium, to later be deployed in space using an acousmonium. This deployment aims to enhance the work ; it allows for faithful reproduction or adaptation to space. Thanks to this sound spatialization work, the composition and sound can then take on a different artistic dimension.   Another essential intention of the acousmatic concert is to foster the construction of mental images. Personal experience seems to suggest that the perception of sound is often linked to, or even dominated by, the visual aspect of a musical performance. …

This project plays with the idea of reversing this mechanism. The spectator is invited to question their ability to develop their sense of listening, their mental perception of sounds from an image, to perhaps detect a “ sonority ”.   As is often the case in acousmatic music, the digital environment is also used as the primary medium for creation. This environment represents fertile ground and is the ideal tool for experimentation. The reproducibility of the digital medium is used as an asset, a system that generates both variability and uniqueness, where each creation can be explored from multiple angles.   By favoring a digital format that enables adaptability across different media, these compositions can evolve beyond the digital sphere, materializing through different production techniques, in various locations and on different surfaces. 

In this context, the challenge does not lie solely in the transposition of a digital work into a physical object, but also concerns the way in which these forms can exist differently depending on their mode of appearance. 

A single composition may then reveal itself differently depending on how it is contextualized, produced, or reproduced. It may thus unfold across various media (sculpture, painting or animation ), generating new perceptions.   This variety of possible iterations and their adaptability to space gives rise to the concept of “ modulating reproducibilities ”. 

This concept plays with our relationship to the copy, to the replica, and questions, through this, the paradoxical and ambiguous nature of our conception of originality. …

These compositions being conceived as transformable structures, each creation functions as an evolving matrix, capable of generating a multiplicity of states, without any of these manifestations being considered original or derivative.   This logic of modulation is based on a set of operations ( cropping, scaling, distortion, deformation, addition, fusion… ) which, individually or in combination, allow new configurations to emerge from one or several initial matrices. It is, therefore, part of a dynamic of systematic exploration, in which the multiplication of variations produces compositions while constantly shifting their states.   Acousma thus questions the tension between reproducibility and singularity, by proposing structures capable of modulation while maintaining a distinct identity, within an open generative system.   These investigations contribute to an aesthetic of variation pushed to its furthest extent, where forms,…

…subjected to these processes of reconfiguration, tend toward states of densification or reduction, potentially leading to compositions reaching extreme thresholds, between saturation and erasure. They thus aim to explore the conditions under which a formal system can evolve to the point of testing its limits.   Since these creations initially exist in digital form, the NFT environment seems well suited to their dissemination. Photographic simulations represent one of the possible media. They allow the first phase of this artistic process to be revealed by contextualizing and presenting one of its visual possibilities.   They are autonomous digital artworks, constituting the project’s first expression, the foundational version that precedes and informs its future physical evolutions. This deployment in the form of NFTs therefore offers access to the creations prior to any physical production phase.

For more information on the conceptual development of the project, please refer to the PDF document available on this page: Correspondence – Conceptual framework of the project https://www.d-d-d.be/art#acousma-about

(!) The physical realization of an artwork may differ from its photographic simulation, as future materializations will evolve according to the concept of “modulating reproducibilities”.

Thank you for reading, your support will accompany and extend this artistic project through its future developments.