recently one of my favourite things about the onchain objects i create is the ability to update them after release. coming from physical media, where the point of publishing and sale is the end point for creation, this is huge.
in the software sector, this is of course nothing new, and utilised on the protocol level. so why not bring it to the media level too?
there are lots of potential unlocks here. for example, increasing the lifecycle of a mint. currently, when i mint work, it often ends up in an “archived” state, both as a consumer and producer. i rarely revisit what i collected, effectively reducing the lifecycle of the work to the point of minting.
this is partly a browsing and display issue in wallets, and partly a lack of incentive to revisit. introducing periodic novelty can foster a more continued engagement with a piece, similar to how games or other software are patched, and new content is added.
bence
b reels
mobile feed for scrn
scrn – a new platform for creative ip
[redacted client name]
onchain but cryptoless
september site update
form follows token
where screens serve as portals
august site update
where the ephemeral becomes eternal
beauty brand website wip with cae collective
beauty brand website wip with cae collective
a garden of whispers
personal sites, networks without engagement focus, single purpose pages. they help decentralise the internet and move it closer to its original vision of an open world, choose your own adventure gameplay.
we’ve been touching grass lately.
a smaller internet is like touching grass
minting is my love language
ai puzzle game, with cae collective
remote-worker-clock-2
remote-worker-clock-1
virgil abloh exhibition installation guide cover
in the exhibition space, the unit played his soundcloud mix ‘internationalism’ in collaboration with the chopstars.
direction
in the software sector, this is of course nothing new, and utilised on the protocol level. so why not bring it to the media level too?
there are lots of potential unlocks here. for example, increasing the lifecycle of a mint. currently, when i mint work, it often ends up in an “archived” state, both as a consumer and producer. i rarely revisit what i collected, effectively reducing the lifecycle of the work to the point of minting.
this is partly a browsing and display issue in wallets, and partly a lack of incentive to revisit. introducing periodic novelty can foster a more continued engagement with a piece, similar to how games or other software are patched, and new content is added.
patching onchain media
the new luxury
part of me thinks "this sounds like faux therapy talk"
for web3 social to have longevity, it will eventually have to depart from mirroring web2 frontends
a new set of economic relationships requires a new product experience
the feed as a corporate tool
the software unfolds itself before you as your needs and ambitions with it expand
progressive software experiences
we're focusing on health, scaling back, slowing down
all done with accelerating ai hardware
these things make me so excited to not use an iphone
ambient capture
node
my destiny is written in solidity
i mint therefore i am
luxury software
creator crypto (rock)
creator crypto
three symbols,
distribution, onchain,
onchain,
from my wallet,
directly to yours,
onchain but cryptoless
onboard using fiat and email
apply web2 skeuomorphism to the dapp
introduce interoperability early
expose financial benefits
make it easy to withdraw in fiat
the culmination of these is called
onchain but cryptoless
somewhere between
memes and monuments
word and image
blockchains and balenciaga
brand and product
forms of resistance
EC – – EUROPEAN CONFORMITY
Triple Action Mint (alt version)
Triple Action Mint
Essence Pareidolia
the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern
ONCHAIN OBJECTS ORB
ONCHAIN OBJECTS DIAGRAM
This mode of curation sets the tone and format for a specific type of legacy narrative and spatial relationship.
What other types of objects (apart from artworks) does the cultural layer of Ethereum contain?
How else can these objects be collated, assembled and disassembled?
II. The art-work is only incidentally a document.
III. The art-work is a masterpiece.
IV. On art-works, artists learn their craft.
V. Art-works are remote from each other in their perfection.
VI. In the art-work content and form are one: meaning.
VII. Meaning is the outcome of experience.
VIII. In the art-work subject matter is a ballast jettisoned during contemplation.
IX. In the art-work the formal law is central.
X. The art-work is synthetic: anenergy-centre.
XI. The impact of an artwork increases with repeated viewing.
XII. The virility of works lies in assault.
XIII. The artist sets out to conquer meanings."
Walter Benjamin