Twenty-one 1/1 works. Each one is minted whole — a finished, intact artwork on an ERC-7160 contract, which means the token can carry more than one metadata state at once.
That second part is the point. When you collect a piece from this series, you are also collecting the license to destroy it. Not metaphorically: the destruction engine takes your work apart — samples its pixels, its colors, its regions of motion — and rebuilds it as ruins. What you make in the engine gets written back into the token, alongside the original, permanently.
The original is never lost. The token ends up holding both states: the thing, and what you did to it. Which one the world sees is a choice the array remembers.
every destruction is seeded and hashed. it can be reproduced exactly, and it can be verified. ruin, with provenance.
You are being handed a tool and trusted with a finished work. The expectations are few, and they are real.
Destroy your own work. The engine will process anything you feed it, but only destructions of the piece you hold will be countersigned into its token. The manifest records the source; the hashes make it checkable.
Decide, don't accumulate. Three slots is the ceiling, not the goal. A single committed destruction is a complete participation. The constraint is part of the work.
Submit finished states. What you transmit is what gets pinned. Once countersigned, a destruction is permanent in the array — it can be un-displayed, but not un-made.
The original stays sacred. Nothing you do in the engine alters the minted artwork. You are adding states, never overwriting one. That's the deal the contract enforces and the release depends on.
there is no deadline. some collectors will destroy their piece the hour they mint it. some will hold an intact work for years first. both are correct readings.
Bitflow cuts your work apart and rearranges it against a void. Everything it paints is sampled from the piece itself — crops of the image, mosaics crushed from its pixels, filmstrip repeats, barcode strips sliced from single pixel columns, and color blocks drawn from the work's own dominant palette. Nothing foreign enters the frame.
Arrangements are cut on a seeded timeline: ten named layouts sequence and swap at a rhythm you control. Mono treatment pushes fragments toward hard monochrome, threshold and inversion; void opens black space behind the ruins; grain settles film texture into the fragments; posterize, tears and rgb offset corrupt the plate further.
The analyzer watches your work the way a machine does. Every frame, it computes a field from luminance, edge strength and motion — where the image is bright, where it changes sharply, where it moves — and extracts regions from that field: the parts of the work the machine considers significant.
Those regions feed everything else. Bitflow aims its crops at them. Detection draws its targets around them. The debug / reference window shows you the raw mask — the work as the engine actually sees it, stripped to signal.
Detection renders the machine's attention back onto the frame: jittering target boxes with corner brackets, rotating classification labels, coordinates and confidence values, drifting scan lines. It treats your artwork like a subject under observation — because inside the engine, it is one.
Box jitter, panel opacity and labels are yours to tune. A classic-colors toggle trades the engine's palette for the original surveillance green and red.