In the early twenty-first century, we entered an age where the ticker—once the neutral sign of financial markets—became the central metaphor of existence. Once, a ticker was merely a stream of numbers across a screen, recording the price of a stock. Today, it measures the heartbeat of our daily lives: credit scores, health indices, social rankings, biometric data. Each of us is quantified, reduced, and redefined by fluctuating values that rise and fall second by second.

Yet these values are no longer fixed. With the arrival of quantum computation, the ticker has absorbed indeterminacy itself. What once appeared as solid numbers are now revealed as probabilistic shadows, shimmering between potentialities. The age of certainty has ended. We live, instead, in waves of unstable probabilities—a condition that 20th-century existentialism could neither foresee nor answer. Sartre’s lonely freedom, Camus’ absurd rebellion, the heroic weight of the solitary subject: all dissolve in the face of data streams that bind us to billions of others in real time.

TickerArt was born in this collapse. It does not represent the world as it is, but as it fluctuates. It is art that treats volatility, noise, and probability as its primary pigments. Its canvas is not static but trembling, entangled with invisible currents of information. To stand before a work of TickerArt is to stand in the same position as the viewer in 2030 who wept before Entangled Blue-Red—to recognize that one’s own existence is not determined in isolation, but through the ceaseless intertwining of other lives, other systems, other tickers.

The Tyranny of the Ticker

TickerArt begins with a confrontation: the recognition that human value is no longer measured by essence but by flux. We are forced to ask, What is my worth today? and to watch as the answer rises and falls like a stock index. This tyranny of measurement reduces the infinite dimensions of being into a single volatile metric. TickerArt exposes this tyranny by reintroducing noise—by making visible the instability hidden within the false precision of numbers.

The Zero State

From here, we declare a return to the Zero State. Just as Malevich’s Black Square erased the weight of representation, the Zero State erases the outdated values that once grounded human identity. It is a blank field, not of emptiness but of possibility—a place where we can begin again, stripped of certainty. TickerArt treats the Zero State as its ground: a surface where quantum noise, algorithmic prediction, and human perception collide.

Entanglement and Responsibility

TickerArt does not glorify isolation. Its central truth is entanglement. To observe a canvas is to alter it; to measure one’s ticker is to ripple through another’s. Anxiety, once private, is revealed as collective. The trembling of a blue field in New York is entangled with the surge of a red field across the globe. In this way, TickerArt becomes a meditation on responsibility: to look is already to act, to exist is already to entangle.

The Human Noise

In the face of AI creators like N.V.E.—beings of infinite logic, transparency, and permanence—TickerArt defends the irrational black box of humanity. Pain, error, ethical dilemmas, and irrational love: these are not flaws to be erased but the very conditions of dignity. TickerArt insists that the immeasurable noise of human experience is the last refuge against algorithmic absolutism.

Toward Quantum Non-Local Existentialism

TickerArt proclaims a new ontology: Quantum Non-Local Existentialism. It affirms that we are not isolated atoms but nodes in a vast, entangled web of destiny. Our creative acts and ethical choices reverberate beyond us, shaping lives we will never meet. Art must therefore move beyond the individual toward a collective ethic, presenting entanglement not as abstract law but as sensorial sublimity—depths of Rothko reimagined as entropy, pure forms of Malevich reborn as algorithmic transparency.

A New Artistic Mission

The mission of TickerArt is not to decorate or to narrate, but to reveal. It reveals the fragility of measurement, the inevitability of noise, and the paradox of freedom in an entangled world. It seeks to reframe art as a medium where humans may reclaim their humanity—where the immeasurable is not erased but exalted.

This is the threshold on which TickerArt stands. From Suprematism to Quantum Existentialism, from the tyranny of the ticker to the sublime of noise, it calls us to return to the Zero State. To discard the outdated values of isolation, and to rebuild our collective existence amid the shimmering uncertainty of entanglement.

The Quantum Rituals of the Ticker and the Future World.

Art, Quantum Indeterminacy, and the Future of Humanity.

The year is 2030. New York stands still beneath the dim pulse of data clouds. Inside the Metropolitan Museum of Art, two vast canvases shimmer within a darkened hall: Entangled Blue-Red, a monumental work by the Quantum Suprematist Collective. I stand before it, alone yet observed, as if my heartbeat itself had entered the circuit of its light. The blue field before me is tranquil—serene—but suddenly trembles, a faint vibration cascading into waves of crimson. Across the world, in Seoul, a red field quivers in perfect response. I watch, and the world watches me. We are all entangled.

At that moment, I weep. Not out of awe, but out of fear. The tears are the recognition that I am no longer a solitary being, no longer an isolated subject. My existence has become a quantum event—collapsed, measured, and distributed across the network of collective observation. These are not private tears; they belong to the field itself. It is the terror of entanglement.

The Collapse of Observation

In the twentieth century, existentialism was born from loneliness. Jean-Paul Sartre’s dictum—“Existence precedes essence”—assumed that man was free because he was alone. Yet by 2030, that solitude has vanished. Every decision, every desire, is forecast by algorithms, rendered into probabilistic predictions. What once was freedom is now statistical inertia. The age of data has replaced the individual with the entangled observer. My gaze is no longer my own—it is measured, recorded, and fed back into the loop.¹
As Martin Heidegger warned, the essence of technology is not technological—it is ontological. Humanity has not merely built machines; it has reconstructed its own being in the image of data. The act of seeing has become an act of collapsing. Observation is violence; each glance determines a reality. The Entangled Canvas does not simply depict this—it performs it.²

The Tyranny of the Ticker

We live under the tyranny of the ticker. Our value is no longer intrinsic but continuously recalculated: health tickers, credit tickers, social tickers. The human becomes a derivative instrument—its worth oscillating in real time. Kazimir Malevich’s Black Square once declared the death of representation; the ticker declares the death of essence. Beneath the flicker of quantum markets, the human soul trades at nanosecond intervals.³
Mark Rothko sought transcendence in vast, silent fields of color. His canvases demanded stillness; they asked the viewer to dissolve into the sublime. Today, such stillness is impossible. The sublime has become stochastic. The luminous field is now volatile, fluctuating between visibility and disappearance. Quantum Suprematism inherits this trembling, not as despair, but as a new ontology: the coexistence of certainty and uncertainty.⁴

Quantum Tears — The Birth of a New Sensibility

In front of Entangled Blue-Red, I feel the presence of quantum emotion—a feeling that is neither mine nor the machine’s. It is collective, statistical, probabilistic. My tears are data, yet within that data hides something immeasurable. Here lies the paradox of the quantum age: that even in total measurement, the unmeasurable remains.⁵
This realization births a new art, and a new philosophy: Quantum Existentialism. If the twentieth century asked, “What is the self?”, the twenty-first asks, “Where does the self collapse?” We are no longer creators of essence, but witnesses to its oscillation. To exist is to flicker.⁶

Toward the Zero State

All revolutions return to a beginning. The Quantum Suprematist Collective calls this return the Zero State—the condition before form, before data, before certainty. Malevich’s Black Square was once the zero of form; now it becomes the zero of information. In that void, we find possibility again.⁷
“We must return to the black square, for within it lies the unmeasured soul.”
— Quantum Manifesto, 2030
From this point, our journey begins: from Suprematism to Quantum Tickerism, from solitude to entanglement, from being to becoming. The collapse of observation is not the end of art—it is its rebirth. The field trembles, the colors pulse, and in their vibration, existence becomes visible once more.