AARON at Tsukuba, #4 19-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2050
Signed: "Aaron 19-3-85"
<a href="https://verisart.com/works/harold-cohen-a72946b5-d4a7-4414-aaf4-a3dbcfa6e3c3" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba

AARON at Tsukuba, #3 19-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2049
Signed: "Aaron 19-3-85"
<a href="https://verisart.com/works/harold-cohen-c4c972fa-e44f-4d35-8500-65eb18f13ecf" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 19-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2048
Signed: "Aaron 19-3-85"
<a href="https://verisart.com/works/harold-cohen-83ae918d-5d0e-421b-b123-e9fe22d65bd9" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 19-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2047
Signed: "Aaron 19-3-85"
<a href="https://verisart.com/works/harold-cohen-09a36041-63e3-4b16-9ed9-1cd7e7fdbf96" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #8 23-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2069
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-089be95e-7e7e-4b70-a9d1-72ac91ba8b66" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 23-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2068
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-5a0d5913-84bb-4fdc-8881-f20cac20bbe7" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 23-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2065
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-4b5126d1-ccc2-4a31-95b7-1c144c417691" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 23-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2063
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-45111dc7-7a79-4442-a322-b487e836abf1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 23-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2062
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-458314f4-92a8-42df-a869-70a1f851ae44" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #9 25-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2070
Signed: "Aaron 23-3-85"
<a href="https://verisart.com/works/harold-cohen-560a4247-e866-4d15-918e-0a7024e3cafa" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 29-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1830
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-e54e50cb-7662-40e6-b749-a97897ba4e74" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 29-3-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1829
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-5b3abbff-6d98-4a57-9098-972162098570" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 2-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1845
Signed: "Aaron 31082"
<a href="https://verisart.com/works/harold-cohen-af941ef0-33df-4472-9f91-e662ba2d0949" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 3-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1851
Signed: "Aaron 31110"
<a href="https://verisart.com/works/harold-cohen-b34f7a8b-ad01-4452-9f15-340ddcc0a0d0" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 4-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1861
Signed: "Aaron 31141"
<a href="https://verisart.com/works/harold-cohen-92e098ff-5e38-4699-8414-0cff108b9be4" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 4-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1860
Signed: "Aaron 31141"
<a href="https://verisart.com/works/harold-cohen-0bfaa36f-0e5e-455a-bbbf-a139bdeb203d" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 4-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1859
Signed: "Aaron 31141"
<a href="https://verisart.com/works/harold-cohen-a9949107-e212-4c71-b572-e61b1f884a4e" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 4-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1857
Signed: "Aaron 31141"
<a href="https://verisart.com/works/harold-cohen-f6b5c9f2-34c8-492d-88ea-1d565794cf35" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 5-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1868
Signed: "Aaron 31171"
<a href="https://verisart.com/works/harold-cohen-1f68a6ff-65e2-4be5-bd63-424e765b9663" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 7-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1878
Signed: "Aaron 31232"
<a href="https://verisart.com/works/harold-cohen-08522247-a29a-44c2-966d-191180dd7993" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 7-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1876
Signed: "Aaron 31232"
<a href="https://verisart.com/works/harold-cohen-67261a4e-a99a-415b-aed3-84bae16a7fde" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 8-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1892
Signed: "Aaron 31263"
<a href="https://verisart.com/works/harold-cohen-c5dc1fe5-4dc5-47d6-b125-dd495a04b24c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 8-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1891
Signed: "Aaron 31263"
<a href="https://verisart.com/works/harold-cohen-11d3a3a6-7a7a-4d2f-b14e-e6416a090bcc" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 8-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1888
Signed: "Aaron 31263"
<a href="https://verisart.com/works/harold-cohen-97da28a2-f05b-47cc-a130-b7799ed7d81c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 9-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1900
Signed: "Aaron 31294"
<a href="https://verisart.com/works/harold-cohen-6e1aebb5-eda8-4658-a57d-9c21ccb0df98" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 11-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1913
Signed: "Aaron 31355"
<a href="https://verisart.com/works/harold-cohen-c8a70db9-0d44-41c4-9686-f845c4a0cfa4" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 11-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1911
Signed: "Aaron 31355"
<a href="https://verisart.com/works/harold-cohen-0132034b-fc1e-4b1b-9441-53236aaa2459" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 11-4-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1907
Signed: "Aaron 31355"
<a href="https://verisart.com/works/harold-cohen-5a7a3416-54ad-4502-8888-205168ebbfa2" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 7-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1637
Signed: "Aaron 31233"
<a href="https://verisart.com/works/harold-cohen-4ecb3856-3406-4c71-b7a3-a494dfd3898f" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 14-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1668
Signed: "Aaron 14-5-85"
<a href="https://verisart.com/works/harold-cohen-91be9322-945f-49a3-9bd7-c9c5d476d86c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 14-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1667
Signed: "Aaron 14-5-85"
<a href="https://verisart.com/works/harold-cohen-0ab35ec6-0fba-4a38-9b51-f7c7ff158644" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1721
Signed: "Aaron 22-5-85"
<a href="https://verisart.com/works/harold-cohen-81d0c3d2-59e4-45cb-a1c9-ba69c25a14a8" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1696
Signed: "Aaron 22-5-85"
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AARON at Tsukuba, #5 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1695
Signed: "Aaron 22-5-85"
<a href="https://verisart.com/works/harold-cohen-7b3c527c-bd6b-4ad6-af44-7df32a2039f1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1694
Signed: "Aaron 22-5-85"
<a href="https://verisart.com/works/harold-cohen-ab61033b-52f1-4ba3-88fb-ad843e30e40d" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1693
Signed: "Aaron 22-5-85"
<a href="https://verisart.com/works/harold-cohen-1156f56a-ad3a-4d5a-a624-e63201c2bb54" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 22-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1692
Signed: "Aaron 22-5-85"
<a href="https://verisart.com/works/harold-cohen-c7715ecc-31fa-4ba8-8e0d-e301f03d10d1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 23-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1699
Signed: "Aaron 23-5-85"
<a href="https://verisart.com/works/harold-cohen-09892969-d19f-453e-9c0b-c31afa819718" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 23-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1697
Signed: "Aaron 23-5-85"
<a href="https://verisart.com/works/harold-cohen-0c9a706a-b222-412d-9405-4490427361de" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 24-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1685
Signed: "Aaron 24-5-85"
<a href="https://verisart.com/works/harold-cohen-a5abfa65-bda0-491b-a4ad-a9b569064e23" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 24-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1682
Signed: "Aaron 24-5-85"
<a href="https://verisart.com/works/harold-cohen-2fd1e395-9755-406d-ae2f-ac576ee7e4b5" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 25-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1730
Signed: "Aaron 25-5-85"
<a href="https://verisart.com/works/harold-cohen-6ecf8503-b4e3-45da-85c0-8a675cdbc752" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 25-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1729
Signed: "Aaron 25-5-85"
<a href="https://verisart.com/works/harold-cohen-70330ddf-e9f8-46b0-97ba-9a1c6303bf99" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 26-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1740
Signed: "Aaron 26-5-85"
<a href="https://verisart.com/works/harold-cohen-cfd4afe4-68b6-4582-8a54-b871f8b2e71c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 26-5-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1739
Signed: "Aaron 26-5-85"
<a href="https://verisart.com/works/harold-cohen-04a183b4-7bb5-499c-8227-f856c0283907" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1764
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-bf1df337-39d4-42eb-bfdc-55efa4297229" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1763
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-58dd9b73-bf48-4d1a-abe3-96c70c9e8b9c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1762
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-26dd639a-b61f-4a39-829d-0332831b46fd" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1761
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-9a2a8f49-9951-45b8-88ed-64f78afebb79" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1760
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-f64a74dc-d4cc-4a21-a9f1-94f4bd38477d" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1759
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-4112a353-ba8a-4de4-824c-1812cc0381a3" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 13-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1758
Signed: "Aaron 13-6-85"
<a href="https://verisart.com/works/harold-cohen-66ca3a5a-ae1b-42dd-9921-038ce59fbeca" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 24-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1779
Signed: "Aaron 24-6-85"
<a href="https://verisart.com/works/harold-cohen-9133b86d-d967-401d-92f6-221b889b74b1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 24-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1778
Signed: "Aaron 24-6-85"
<a href="https://verisart.com/works/harold-cohen-5c5b7521-a5cc-401a-bb8b-04e4c9272fe9" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 29-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1796
Signed: "Aaron 29-6-85"
<a href="https://verisart.com/works/harold-cohen-528ca1f3-126f-45e7-a9bf-b6f43862a03c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 29-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1795
Signed: "Aaron 29-6-85"
<a href="https://verisart.com/works/harold-cohen-55d8fa6b-d93e-4677-a293-f874a3e348c3" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 29-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1794
Signed: "Aaron 29-6-85"
<a href="https://verisart.com/works/harold-cohen-68c82331-05c9-49b4-98af-7a2ae3120c02" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 29-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1793
Signed: "Aaron 29-6-85"
<a href="https://verisart.com/works/harold-cohen-5ad27226-e9d0-4005-b5bf-c88bc29d88a1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 29-6-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1792
Signed: "Aaron 29-6-85"
<a href="https://verisart.com/works/harold-cohen-df3c17e2-352e-4cb0-9cdc-cbe5444e8b9e" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 2-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1940
Signed: "Aaron 31085"
<a href="https://verisart.com/works/harold-cohen-41bd13ae-306d-4db7-b0f5-5e71a68870d4" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 2-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1939
Signed: "Aaron 31085"
<a href="https://verisart.com/works/harold-cohen-a320a3b5-045e-4bb9-995e-83951dd970c4" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #8 6-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1973
Signed: "Aaron 31205"
<a href="https://verisart.com/works/harold-cohen-bc759f7b-5693-498f-9aaa-e76cbdad6b54" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 6-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1972
Signed: "Aaron 31205"
<a href="https://verisart.com/works/harold-cohen-9eda16f3-7b51-4b72-878c-d7c32897982c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 6-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1969
Signed: "Aaron 31205"
<a href="https://verisart.com/works/harold-cohen-94b318c6-2b27-4542-9683-d0e1a38cdeff" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 6-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-1967
Signed: "Aaron 31205"
<a href="https://verisart.com/works/harold-cohen-43a63755-7c42-46e2-aacb-53d1ce3aa895" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 17-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2009
Signed: "Aaron 17-7-85"
<a href="https://verisart.com/works/harold-cohen-21c69696-5860-4e89-baf2-41321737fc65" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 17-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2006
Signed: "Aaron 17-7-85"
<a href="https://verisart.com/works/harold-cohen-e7864094-246f-4d76-bc8a-c84d88e455b1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 17-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2005
Signed: "Aaron 17-7-85"
<a href="https://verisart.com/works/harold-cohen-97a06e17-53d9-4b71-8e67-8690f7dd7bd1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 17-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2004
Signed: "Aaron 17-7-85"
<a href="https://verisart.com/works/harold-cohen-50b3e9d3-ec03-444b-a1b1-7cdc9a7700b1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 17-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2003
Signed: "Aaron 17-7-85"
<a href="https://verisart.com/works/harold-cohen-539b0fde-09ff-46fc-a9ee-b1cd07361804" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 18-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2019
Signed: "Aaron 18-7-85"
<a href="https://verisart.com/works/harold-cohen-c6114d1f-f593-4c15-8a69-6108fec62a6e" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 18-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2017
Signed: "Aaron 18-7-85"
<a href="https://verisart.com/works/harold-cohen-59b66543-166a-478d-ae9e-e5dcf71346ea" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 19-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2029
Signed: "Aaron 19-7-85"
<a href="https://verisart.com/works/harold-cohen-3c96767b-4da2-466e-afa1-44010b0c9dee" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 19-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2028
Signed: "Aaron 19-7-85"
<a href="https://verisart.com/works/harold-cohen-d92868c1-5969-482f-9f16-68552e669313" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 19-7-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2027
Signed: "Aaron 19-7-85"
<a href="https://verisart.com/works/harold-cohen-c96b5be3-cf88-4cc4-80cc-5461423fee1d" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 27-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2206
Signed: "Aaron 27-8-85"
<a href="https://verisart.com/works/harold-cohen-526539d8-1ab7-4272-b9b4-2caf9b8aae00" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 27-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2205
Signed: "Aaron 27-8-85"
<a href="https://verisart.com/works/harold-cohen-96937af9-707e-49b9-b244-e33d082b554b" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 27-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2204
Signed: "Aaron 27-8-85"
<a href="https://verisart.com/works/harold-cohen-2413504b-f214-481a-be1c-5345f1f10465" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 27-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2203
Signed: "Aaron 27-8-85"
<a href="https://verisart.com/works/harold-cohen-03810022-72db-44c9-8fd8-c920aa47f44e" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #10 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2081
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-63dc4b1c-ab01-46c1-b5e7-90fb91381a3c" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #9 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2080
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-35a4aa17-6b45-4a2b-922d-5ed00eb90db9" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2078
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-10c4f7fc-4dbc-4394-a36e-52aa496a62fa" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2077
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-88604800-7671-4aa0-99b1-6ac65c2b37c1" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #5 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2076
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-7fd0391e-9ddd-4d5d-98ae-748cc643411d" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2075
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-9b3017be-a8e7-4000-b911-b077fa89bd27" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2074
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-31372a51-4765-47dd-be2e-5446ebacdc64" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2073
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-d5b1a939-628b-4565-987e-15e8c08112f5" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 28-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2072
Signed: "Aaron 28-3-85"
<a href="https://verisart.com/works/harold-cohen-f3097096-f122-4df1-a107-80277f4d1831" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #11 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2099
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-677bcc86-3572-4465-9c83-4efd25cc0aae" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #10 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2098
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-8b07d812-42ef-4512-844e-30466348e70f" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #9 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2097
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-69caf464-62df-4bca-bfde-603ee40734c7" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #7 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2095
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-9d909a8e-3941-486e-a0fb-7788919b9ac0" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #6 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2094
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-62420823-8ce8-43b9-8163-fad7d8b09637" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #4 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2092
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-ae03cc98-c416-4bb7-9344-e808f8212fcb" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 29-8-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2091
Signed: "Aaron 29-3-85"
<a href="https://verisart.com/works/harold-cohen-848324b6-d6cd-4088-94a5-e4b6c7e8f360" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #1 2-9-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2117
Signed: "Aaron 31087"
<a href="https://verisart.com/works/harold-cohen-916ad9e8-6d43-4cba-8258-4b23229b5c59" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #3 3-9-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2119
Signed: "Aaron 31087"
<a href="https://verisart.com/works/harold-cohen-d11f95f2-0e4f-407e-b88d-68ce8a6ce863" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 3-9-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2118
Signed: "Aaron 31087"
<a href="https://verisart.com/works/harold-cohen-985b4335-0e53-483c-9da8-964e9f5afe09" target="_blank" rel="nofollow">View Certificate</a>

AARON at Tsukuba, #2 15-9-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2176
Signed: "Aaron 15-9-85"
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AARON at Tsukuba, #1 15-9-85

Developed by Harold Cohen, AARON is one of the world’s first cybernetic systems capable of autonomously generating paintings. Remarkably, Cohen embarked on this groundbreaking project without any formal background in computing. Cohen was a prominent painter who represented Britain in the 1966 Venice Biennale. After settling in San Diego, he became interested in the emerging new field of computer programming. It was still performed on punch cards, but Cohen began to teach a computer to paint, modeling the decisions made by an experienced artist. He treated it as though he were teaching a particularly dense art student. “The vast majority of us follow rules that somebody else taught us when we were growing up and going to art school,” Cohen says. “Nobody really invents art from scratch. The computer can, in principle, enact whatever rules you’re capable of enunciating, but enunciating those rules in a computer language is a nontrivial issue.” Cohen taught AARON to paint black-and-white abstractions, then added color, then figuration. He taught it that human bodies fall within a spectrum, how certain types of plants grow, and more. Looking at its paintings, it’s hard to believe that the painter “felt” nothing while making them. Edward Feigenbaum, one of the pioneers of artificial intelligence, considers AARON a remarkable example of AI displaying genuine creativity. “What you call a creative act, it’s actually a behavior that you observe,” he says. “It elicits a kind of emotion of, ‘How did he or she or it think of that?’” Yet Cohen himself disagrees; he considers AARON, into which he has poured 40 years of his life, not to be creative. “I think creativity has to involve self-modification. The creative act has to leave the creator with a different world model than it had before,” he argues. AARON is knowledgeable, but “having a brain and having a life are two different things.”

AARON at Tsukuba ’85 is presented in collaboration with Gazelli Art House, Verisart, and the Harold Cohen Trust.

This Token is a non-fungible, uniquely identified digital token issued by Fellowship, corresponding one-to-one with a specific AARON at Tsukuba, 1985 plotter drawing by Harold Cohen. It represents the right to redeem one authenticated physical Work, which is held in custody by Fellowship until initial redemption. Upon redemption and delivery confirmation, the Token is transferred to a custodial wallet controlled by Gazelli Art House or the Harold Cohen Trust, marking the Work’s “Claimed” state. The Token serves solely as a claim mechanism, does not constitute the Work, a Certificate of Authenticity, or evidence of legal title, and confers no intellectual property rights. It may not be used for any financial mechanics, such as fractionalization or staking. It is a digital claim mechanism only. Subsequent redemptions may be made with Fellowship, Gazelli Art House or the Harold Cohen Trust.

Inventory ID: i23-2175
Signed: "Aaron 15-9-85"
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Harold Cohen

AARON at Tsukuba '85

Overview

“Well, I guess if it ever signed a painting on its own, that would signal the end of all debate on the matter of its intelligence.“

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