AARON at Tsukuba, #1 19-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-a72946b5-d4a7-4414-aaf4-a3dbcfa6e3c3

AARON at Tsukuba

AARON at Tsukuba, #3 19-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c4c972fa-e44f-4d35-8500-65eb18f13ecf

AARON at Tsukuba, #2 19-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-83ae918d-5d0e-421b-b123-e9fe22d65bd9

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"
Certificate: https://verisart.com/works/harold-cohen-09a36041-63e3-4b16-9ed9-1cd7e7fdbf96

AARON at Tsukuba, #8 23-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-089be95e-7e7e-4b70-a9d1-72ac91ba8b66

AARON at Tsukuba, #7 23-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5a0d5913-84bb-4fdc-8881-f20cac20bbe7

AARON at Tsukuba, #4 23-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-4b5126d1-ccc2-4a31-95b7-1c144c417691

AARON at Tsukuba, #2 23-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-45111dc7-7a79-4442-a322-b487e836abf1

AARON at Tsukuba, #1 23-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-458314f4-92a8-42df-a869-70a1f851ae44

AARON at Tsukuba, #9 25-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-560a4247-e866-4d15-918e-0a7024e3cafa

AARON at Tsukuba, #2 29-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-e54e50cb-7662-40e6-b749-a97897ba4e74

AARON at Tsukuba, #1 29-3-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5b3abbff-6d98-4a57-9098-972162098570

AARON at Tsukuba, #1 3-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-b34f7a8b-ad01-4452-9f15-340ddcc0a0d0

AARON at Tsukuba, #5 4-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-92e098ff-5e38-4699-8414-0cff108b9be4

AARON at Tsukuba, #4 4-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-0bfaa36f-0e5e-455a-bbbf-a139bdeb203d

AARON at Tsukuba, #3 4-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-a9949107-e212-4c71-b572-e61b1f884a4e

AARON at Tsukuba, #1 4-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-f6b5c9f2-34c8-492d-88ea-1d565794cf35

AARON at Tsukuba, #1 5-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-1f68a6ff-65e2-4be5-bd63-424e765b9663

AARON at Tsukuba, #4 7-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-08522247-a29a-44c2-966d-191180dd7993

AARON at Tsukuba, #2 7-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-67261a4e-a99a-415b-aed3-84bae16a7fde

AARON at Tsukuba, #7 8-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c5dc1fe5-4dc5-47d6-b125-dd495a04b24c

AARON at Tsukuba, #6 8-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-11d3a3a6-7a7a-4d2f-b14e-e6416a090bcc

AARON at Tsukuba, #3 8-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-97da28a2-f05b-47cc-a130-b7799ed7d81c

AARON at Tsukuba, #2 9-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-6e1aebb5-eda8-4658-a57d-9c21ccb0df98

AARON at Tsukuba, #7 11-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c8a70db9-0d44-41c4-9686-f845c4a0cfa4

AARON at Tsukuba, #5 11-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-0132034b-fc1e-4b1b-9441-53236aaa2459

AARON at Tsukuba, #1 11-4-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5a7a3416-54ad-4502-8888-205168ebbfa2

AARON at Tsukuba, #1 7-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-4ecb3856-3406-4c71-b7a3-a494dfd3898f

AARON at Tsukuba, #4 14-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-91be9322-945f-49a3-9bd7-c9c5d476d86c

AARON at Tsukuba, #3 14-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-0ab35ec6-0fba-4a38-9b51-f7c7ff158644

AARON at Tsukuba, #7 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-81d0c3d2-59e4-45cb-a1c9-ba69c25a14a8

AARON at Tsukuba, #6 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-41ae6082-cb7c-485d-b8e0-cd4c436de77c

AARON at Tsukuba, #5 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-7b3c527c-bd6b-4ad6-af44-7df32a2039f1

AARON at Tsukuba, #4 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-ab61033b-52f1-4ba3-88fb-ad843e30e40d

AARON at Tsukuba, #3 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-1156f56a-ad3a-4d5a-a624-e63201c2bb54

AARON at Tsukuba, #2 22-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c7715ecc-31fa-4ba8-8e0d-e301f03d10d1

AARON at Tsukuba, #3 23-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-09892969-d19f-453e-9c0b-c31afa819718

AARON at Tsukuba, #1 23-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-0c9a706a-b222-412d-9405-4490427361de

AARON at Tsukuba, #4 24-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-a5abfa65-bda0-491b-a4ad-a9b569064e23

AARON at Tsukuba, #1 24-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-2fd1e395-9755-406d-ae2f-ac576ee7e4b5

AARON at Tsukuba, #4 25-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-6ecf8503-b4e3-45da-85c0-8a675cdbc752

AARON at Tsukuba, #3 25-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-70330ddf-e9f8-46b0-97ba-9a1c6303bf99

AARON at Tsukuba, #4 26-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-cfd4afe4-68b6-4582-8a54-b871f8b2e71c

AARON at Tsukuba, #3 26-5-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-04a183b4-7bb5-499c-8227-f856c0283907

AARON at Tsukuba, #7 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-bf1df337-39d4-42eb-bfdc-55efa4297229

AARON at Tsukuba, #6 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-58dd9b73-bf48-4d1a-abe3-96c70c9e8b9c

AARON at Tsukuba, #5 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-26dd639a-b61f-4a39-829d-0332831b46fd

AARON at Tsukuba, #4 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9a2a8f49-9951-45b8-88ed-64f78afebb79

AARON at Tsukuba, #3 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-f64a74dc-d4cc-4a21-a9f1-94f4bd38477d

AARON at Tsukuba, #2 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-4112a353-ba8a-4de4-824c-1812cc0381a3

AARON at Tsukuba, #1 13-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-66ca3a5a-ae1b-42dd-9921-038ce59fbeca

AARON at Tsukuba, #2 24-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9133b86d-d967-401d-92f6-221b889b74b1

AARON at Tsukuba, #1 24-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5c5b7521-a5cc-401a-bb8b-04e4c9272fe9

AARON at Tsukuba, #6 29-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-528ca1f3-126f-45e7-a9bf-b6f43862a03c

AARON at Tsukuba, #5 29-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-55d8fa6b-d93e-4677-a293-f874a3e348c3

AARON at Tsukuba, #4 29-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-68c82331-05c9-49b4-98af-7a2ae3120c02

AARON at Tsukuba, #3 29-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5ad27226-e9d0-4005-b5bf-c88bc29d88a1

AARON at Tsukuba, #2 29-6-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-df3c17e2-352e-4cb0-9cdc-cbe5444e8b9e

AARON at Tsukuba, #2 2-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-41bd13ae-306d-4db7-b0f5-5e71a68870d4

AARON at Tsukuba, #1 2-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-a320a3b5-045e-4bb9-995e-83951dd970c4

AARON at Tsukuba, #8 6-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-bc759f7b-5693-498f-9aaa-e76cbdad6b54

AARON at Tsukuba, #7 6-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9eda16f3-7b51-4b72-878c-d7c32897982c

AARON at Tsukuba, #4 6-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-94b318c6-2b27-4542-9683-d0e1a38cdeff

AARON at Tsukuba, #2 6-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-43a63755-7c42-46e2-aacb-53d1ce3aa895

AARON at Tsukuba, #7 17-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-21c69696-5860-4e89-baf2-41321737fc65

AARON at Tsukuba, #4 17-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-e7864094-246f-4d76-bc8a-c84d88e455b1

AARON at Tsukuba, #3 17-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-97a06e17-53d9-4b71-8e67-8690f7dd7bd1

AARON at Tsukuba, #2 17-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-50b3e9d3-ec03-444b-a1b1-7cdc9a7700b1

AARON at Tsukuba, #1 17-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-539b0fde-09ff-46fc-a9ee-b1cd07361804

AARON at Tsukuba, #4 18-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c6114d1f-f593-4c15-8a69-6108fec62a6e

AARON at Tsukuba, #2 18-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-59b66543-166a-478d-ae9e-e5dcf71346ea

AARON at Tsukuba, #4 19-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-3c96767b-4da2-466e-afa1-44010b0c9dee

AARON at Tsukuba, #3 19-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-d92868c1-5969-482f-9f16-68552e669313

AARON at Tsukuba, #2 19-7-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-c96b5be3-cf88-4cc4-80cc-5461423fee1d

AARON at Tsukuba, #6 27-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-526539d8-1ab7-4272-b9b4-2caf9b8aae00

AARON at Tsukuba, #5 27-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-96937af9-707e-49b9-b244-e33d082b554b

AARON at Tsukuba, #4 27-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-2413504b-f214-481a-be1c-5345f1f10465

AARON at Tsukuba, #3 27-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-03810022-72db-44c9-8fd8-c920aa47f44e

AARON at Tsukuba, #10 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-63dc4b1c-ab01-46c1-b5e7-90fb91381a3c

AARON at Tsukuba, #9 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-35a4aa17-6b45-4a2b-922d-5ed00eb90db9

AARON at Tsukuba, #7 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-10c4f7fc-4dbc-4394-a36e-52aa496a62fa

AARON at Tsukuba, #6 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-88604800-7671-4aa0-99b1-6ac65c2b37c1

AARON at Tsukuba, #5 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-7fd0391e-9ddd-4d5d-98ae-748cc643411d

AARON at Tsukuba, #4 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9b3017be-a8e7-4000-b911-b077fa89bd27

AARON at Tsukuba, #3 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-31372a51-4765-47dd-be2e-5446ebacdc64

AARON at Tsukuba, #2 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-d5b1a939-628b-4565-987e-15e8c08112f5

AARON at Tsukuba, #1 28-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-f3097096-f122-4df1-a107-80277f4d1831

AARON at Tsukuba, #11 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-677bcc86-3572-4465-9c83-4efd25cc0aae

AARON at Tsukuba, #10 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-8b07d812-42ef-4512-844e-30466348e70f

AARON at Tsukuba, #9 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-69caf464-62df-4bca-bfde-603ee40734c7

AARON at Tsukuba, #7 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9d909a8e-3941-486e-a0fb-7788919b9ac0

AARON at Tsukuba, #6 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-62420823-8ce8-43b9-8163-fad7d8b09637

AARON at Tsukuba, #4 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-ae03cc98-c416-4bb7-9344-e808f8212fcb

AARON at Tsukuba, #3 29-8-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-848324b6-d6cd-4088-94a5-e4b6c7e8f360

AARON at Tsukuba, #1 2-9-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-916ad9e8-6d43-4cba-8258-4b23229b5c59

AARON at Tsukuba, #2 3-9-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-d11f95f2-0e4f-407e-b88d-68ce8a6ce863

AARON at Tsukuba, #1 3-9-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-985b4335-0e53-483c-9da8-964e9f5afe09

AARON at Tsukuba, #2 15-9-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-9b9919cf-bcad-4ac5-a40a-08dc21c6ce97

AARON at Tsukuba, #1 15-9-85 (Claim Deed Token)

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"
Certificate: https://verisart.com/works/harold-cohen-5a3a8f0b-94ef-47ea-b64d-3e538118badc

AARON at Tsukuba '85 - In collaboration with Gazelli Art House, Verisart and the Harold Cohen Trust.

Harold Cohen’s AARON at Tsukuba ’85 drawings are rare witnesses to the first sustained public presentation of autonomous computer art. Created live inside the U.S. Pavilion at the 1985 World’s Fair in Tsukuba, Japan, they were produced by Cohen’s artmaking programme AARON as visitors watched a mechanical plotter generate original ink drawings in real time. Guides explained that AARON “never draws the same drawing twice,” and the installation was singled out in the Pavilion’s report as one of its most popular exhibits.

Heads of state and royalty saw AARON at work. Prime Minister Yasuhiro Nakasone was photographed at the plotter, and Emperor Hirohito extended his official tour to ask questions, a rare protocol exception noted by Pavilion staff. Public response matched the VIP attention. In an open‑ended visitor survey conducted on site, AARON was the top specifically named favourite in the U.S. Pavilion.

What also set the Tsukuba works apart was their unusual inscriptions, which seemed to suggest the possibility of autonomous authorship. Contemporary Japanese press captured the moment with headlines about “computers as artists,” describing AARON as a system that “thinks while drawing.”

<ReadMore>

Signed by AARON
Self‑signed: Each sheet is inscribed in pen by AARON with its name and the date of creation, for example, “AARON 27-8-85”. This series is the only one known where the system signs the work itself rather than Harold Cohen, making autonomous authorship explicit.

Popularity
The live AI drawing performance in the U.S. Pavilion ran for 6 months between 17 March - 16 Sep, 1985 and was seen by about five million visitors. It was singled out in the Expo’s report as the most liked exhibit in the U.S. Pavilion.

VIPs
The Pavilion hosted 30 - 40 VIPs per day; Emperor Hirohito stopped for questions and overstayed his scheduled time; Prime Minister Yasuhiro Nakasone is pictured watching the plotter (see image on the next page), alongside visits from the King and Queen of Nepal, Princess Chichibu, Prince and Princess Hitachi, and a 55‑member People's Republic of China delegation including the Foreign Minister.

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."

Artworks