Episode Interview with Colborn, find his twitter colbornbell and check out his Museum of Crypto Art (MOCA)

Time Stamps

[1:01 – 2:10] Colborn’s intro to NFTs was with Moon Cats. When these later had a resurgence in the NFT scene he was able to go back and recover 17 from his original mission.

[2:58 – 4:13] First inspired by the Inhotim Museum in Brazil, when building MOCA Colborn looked to the history of physical museums. From this he adopted the rule to NOT participate in the commercial side of the artwork. Art and artists in the NFT scene often get overlooked and Colborn found it was important to favor them over the market.

https://verticalcrypto.art/a-recap-of-the-interview-with-colborn-bell-from-the-museum-of-crypto-art-and-micol-from-verticalcrypto-art

[4:13 – 5:36] Looking to use crypto currency as a tool for empowerment and a way to flatten identity biases. Just like the visual language of crypto, it is important for Colborn that the NFT scene has its own heroes. Along with this he also feels it is important that the scene is empowering creatives and pushing forth the melding of technology with creativity. 

[6:10 – 8:44] Colborn finds that through the curatorial nature of most traditional art spaces there is a certain level of sterility and that this can be combated by providing the audience with the tools to explore for themselves. Similar to Somnium Space, leaving the experience to the viewer’s eye is empowering. With MOCA Colborn looks to bend realities and possibilities in hopes to convey to others what can be possible and to get them thinking. 

[10:12 – 12:37] Art should not be put into a narrow category. When it comes to MOCA Colborn plans to include all forms of digital art as they all have their place within the history of NFTs. What worries Colborn is that the trend of profile pics feels a lot like the late stage 2017 ICO boom; people are making a lot of money but at some point the bottom will inevitably fall out. 

[13:54 – 15:40] People getting in just to flip doesn’t hold value. Colborn hopes the profile picture phenomenon is waning. He finds other new projects like Art Blocks to be unique and a valuable tool for creators.

[16:36 – 18:38] Created the MOCA token with the hopes to counter the traditional top-down approach in the arts and culture. Traditional sources of power generally push culture down but with crypto we have the opportunity to push people up. In this fight against high culture you have folk heroes of crypto like XCOPY who is working in a hyper contemporary style and whose work provides social critique.

[19:12 – 21:35] Looking towards what happens when people are done collecting, Colborn has projects like the

Interview with Deeze, find his twitter DeezeFi and his project Fractional

Time Stamps

[1:03 – 2:59] In 2017 Deeze was involved in crypto and had made some money through altcoins but didn’t know what an NFT was. By 2020 gets his own wallet, in September after the uniswap run he bought his first NFT. Recognized the value system at play with Punks and started to go down the rabbit-hole of NFTs.

[3:40 - 6:14] Punks: Deeze used to trade in order to make money and afford the ones he really wanted. Noting how much money he was able to make off flipping Punks made him realize that he should focus on trading NFTs instead of just crypto. 

Trading Punks is different now. Before you could sit in larvavalabs discord, watch the bot, and act off gut feeling. Now there are external bots that will always act before you can. In order to make money now you have to think on a longer time frame of holding then selling in a few months or more.

 [6:43 – 10:09] Deeze knew he was going to leave his normal job but made the leap once joining the Fractional team.

The main function of fractional.art is turning an ERC 721 or an NFT into ERC 20 tokens which are tradable and usable. Project took off when PleasrDAO managed to get ahold of some of the original doge meme pictures taken by Atsuko Sato. PleasrDAO had the idea of fractionalizing it as a way to give back to the community. Doge meme serves as a good example of how fractionalization can change collecting. 

[10:35 - 14:09] Fractional ownership feels better for Deeze. The market can be hard to access; more known projects are too expensive and lesser known ones too unpredictable. Factional NFTs help get people access to blue-chips.

[14:47 – 18:14] There are other fractional projects out there but they each have their own styles and mechanisms. The market will decide what works best. Fractional is working with PartyBid.

Deeze sees that a one-on-one in group ownership is going to be the way it goes instead of edition sizes. Editions are a set price and with partybid you can join with as little as you like. It just makes sense in both position allocation perspective and accessible buy-ins. 

[18:14 -  23:13] Coming soon there will be different fractionalization options such as the ability to turn ERC 721s into editions themselves or 1155s that will be tradeable and displayable. 

[23:32 – 26:55]  The learning process: Deeze didn’t realize how different the NFT market could be from the altcoin market and 2018 served as a lesson in risk management. Shifting from thinking solely in ethereum to considering USD values has also been a learning experience.  

[27:16 – 29:11] Deeze feels that the reason behind recent expansion and change in value is the combination between crypto natively rich and traditional art collectors, both...

Ryan Su is a well known international art lawyer based in Singapore - https://twitter.com/TheRyanSu

Special counsel at OC Queen Street

[01:19-03:22]Was a young law student and fell into art law by accident on exchange to Europe. A lot of pro-bono work on behalf of artists.

[03:22-09:45] Beeple’s $69million sale was the moment that Trad art took notice. Decided to write a contract for Artists getting into NFTs, and make if available on the latest issue of Art Asia Pacific, a ton of the traditional art artists that wanted to get into NFTs were very worried about IP issues and how to protect IP if they were to do a NFT. In Trad art world, usually the gallery makes every collector sign a contract, and usually that contract is to protect against flipping. And not the collector side, they want protection against fakes. However these issues are not really present in NFTs.

[09:45-15:46] Sabretooth argues that these concerns that are primary to trad art artists, are not actually that relevant in NFTs because you want a lot of reproduction and derivatives, and that resale royalties are a better way of capturing value than IP enforcements. Ryan explains the history of the artist resale right comes from artists like Robert Rauschenberg that affords artists resale royalties in some countries even if there was no explicit contract stating so.

[15:46-21:15] Discussion occurs on how sales contracts that are signed in meatspace will be enforced in NFTs since buyers and sellers are anonymous. Delve into the history of the how resale rights came about from the Siegelaub contract, which really relies on an honour system and many people just ignore it. Still feels there is a barrier for traditional artists to embrace NFTs because ownership data, legal contracts are in different places. Sabretooth explains that enforcement of resale rights work much better on the blockchain. And that because transactions are so transparent, artists will attempt to use whitelists and blacklists to encourage compliance with people who might want to circumvent the royalty.

[21:15-27:49] Ryan sees a clear segmentation of NFT buyers and Trad art buyers and very little overlap currently. Also sees the possibility of new norms being established int he NFT world that is different than the Art world, especially one to do with copyright and copyleft, where ownership of the original is more important than the IP. Ryan’s favourite artist is Andy Warhol.

Episode interview with Dennis Porter, find his twitter Dennis Porter

Time Stamps

[0:54 - 3:29]  Dennis got involved with Bitcoin in 2017 by starting with mining and trading. When the shutdowns occurred in 2020 he decided to join the new Clubhouse App and quickly became addicted to talking about Bitcoin. Soon after he started his podcast called Smart People. Then switched to Twitter full time. Dennis refers to himself as a Bitcoin maximalist and claims that NFT's themselves are not scams. Recently he held a debate with Udi Wertheimer.  Udi found one tweet where Dennis accidentally referred to NFT’s as a scam and thought Dennis’ view to be mute moving forward. 

[3:29 - 5:26] While what anyone says in one tweet is not really the basis for an argument. Dennis’ argument against the NFT being that you don’t own the copyright to the what NFT is. If you buy an NFT that an artist has released, you're just buying the NFT. The copyright always stays with the artist. He does not agree with the way it is being marketed. Dennis tries to educate the average investor so that they’re aware of what they are purchasing. 

[5:28 - 8:27 ] Sabretooth points out that the copyright on an NFT is not any different than other physical objects such as paintings, collectibles, comic books which all hold value without copyright. Dennis finds that the difference between digital art and physical art is that digital art can be copied perfectly by anyone at any time. He also points out that with digital art you can not control the actions of others. There are no rules when it comes to copying or uses. He believes that it is important to ensure that copyright and IP is included when buying these items to be able to ensure control. 

[8:28 - 13:16] Sabretooth discusses the framework of ownership being redefined for blockchain, cryptocurrencies, both fungible tokens and non fungible tokens. How ownership as a construct is purely man-made and has no meaning outside of what humans give it. Ownership in a cryptographic sense you have control of the the private key basically, that's what ownership means. He believes a large part of the disagreement is actually the usage of these words. Dennis' difficulties with ownership and NFTs lay where in order to have true ownership it needs to be enforced by the laws. 

[13:18 - 19:00] Sabretooth points out that the perfect replication of digital art is an advantage of NFTs over physical art because you can have perfect duplication without affecting the provenance of the original. With the ability to track things using a timestamp is truly a concept that does interest Dennis about NFT's. Just like with his tweet that Udi used against him, he takes back the tweet and apologizes to anybody who thinks that he is lying.  His position has evolved dramatically since that tweet went out. He thinks that it has potentially great work to be used as a utility and real world, but when talking about having the NFT, can it be similar to a physical item? Dennis is a firm believer that NFTs can not link to physical items. 

[21:23 - 28:36 ] Sabretooth talks about how NFTs are still constantly improving and is a work in progress, especially with respect to how the image is generated and stored. Dennis...

CryptYuna twitter https://twitter.com/cryptoyuna

Website: http://cryptoyuna.art/

Avatar project: https://lostavatars.art/

[0.55-03.25] Yuna first got into NFTs when she saw a tweet by OG $TRSH artist Robness on twitter.

[3:46-7:14] She orignially was an oil painter in traditional art and wanted to paint realism, but when she got into NFTs, realised that she had to switch to digital techniques, so started learning how to use Procreate on an iPAD. She became part of a artist community on Telegram that became the $TRSH Art group. She gets bored easily, so resisted having a "signature" style for a while in her career, but eventually she did develop a recognisable signature style.

[7:43-9:28] Yuna doesn't consider her Art "$TRSH art" anymore, sees it as a distinct time period in CryptoArt history. Was a reaction against people disparaging the artists, and sees a lot of the pieces as an inside joke that was remixed and shared amongst artists.

[9:57 - 13:37]Yuna along with Stina Jones, Angie Taylor and Sparrow started WOCA organised the first female NFT art show CryptoVoxels called She ART. This led to an even bigger all female exhibition organised by GraffitiKINGS and Darren Cullen and supported by WOCA that was featured in NBC News called Graffiti Queens that spanned 9 galleries and over 300 works.

[13:47 - 19:11] Yuna's kids kept asking her why she wasn't doing NFT game, and she saw a lot of other profile picture projects where she didn't like the art and wondered why Artsts were not doing these projects. So decided to push the boundaries and do Lost Avatars with GraffitiKings and Arnold Which is set to launch soon.

[19:32- 22:26] Yuna talks about future plans, including buying land in the Metaverse, holding concerts there for her avatars, doing exhibitions in China and Korea.

Episode interview with Max Osiris. Find his twitter Max Osiris Art and his blog at Max Osiris.

Time Stamps

[00:37 - 01:30] Max was bitten by the NFT crypto art bug in 2018 when, during his research on blockchain, he stumbled across SuperRare and the concept of art as NFTs on the blockchain.

“It [NFT crypto art] seemed naturally like the evolution of art. I had the intuitive sense that this is going to be big.”

[01:31 - 02:53] Max then started submitting artwork to SuperRare, describing it as a digital and modern fine art gallery. 

“They [SuperRare] looked like Sotheby’s.”  

[02:54 - 04:19] Describes himself as a transdimensional artist. Has been called a digital shaman, which he understands he might have earned through his interests in psychedelics and visionary states. 

[04:20 - 04:59] Some of Max’s favorite art is art that speaks to something (be it political issues or philosophical issues). Feels crypto art is a good vehicle for capturing the zeitgeist. 

[05:03 - 07:20] Feels that the democratization of art is one of the most exciting aspects of NFT crypto art. Resents the idea that there is an exclusive group of people like Kenny Schachter who have “great taste in art” and who, thus, dictate what great art is. 

[07:25 - 08:50] Loves that crypto art has disintermediated the art world, making traditional art galleries and curators less important than they used to be. Notes that individuals can now show off their NFT crypto art collections (like Robness, X Copy, etc) on sites like Cyber.

[08:51 - 12:14] Has had to mint art on different platforms like KnownOrigin, Rarible, and OpenSea because, at some point, he was kicked off another platform. Was kicked off SuperRare because he used portions of Hackatao in his “I1O I1O I1O [EDIT] LOVE” piece without Hackatao’s permission. Was kicked off KnownOrigin because he got doxxed. 

[12:15 - 13:27] When an Institut Gallery show in London demanded that Max’s submission be bound by the DMCA (Digital Millenium Copyright Act), Max refused and, instead, submitted a piece titled DMCA which was mostly whitespace with a paragraph talking about the absurdity of the DMCA.

[13:38 - 14:28] Displeased that Kim Dotcom was harassed over copyright issues and has been fighting...

Episode interview with Eric Paul Rhodes, find his twitter Second Realm and his blog at The Outer Realm

Time Stamps

[1:03 - 1:53] Eric fell down the NFT crypto art rabbit hole on twitter and was introduced to artists such as X Copy , Coldy, Robness, maxosiris, Jay Delay.

[2:10 - 4:12] Wanted to become a TRSH art historian because he saw the narrative was being shifted after the fact, he wanted to give an unbiased 5000 foot overview of the movement

https://www.theouterrealm.io/blog/a-short-history-of-nft-trash-art 

https://www.theouterrealm.io/blog/the-origins-of-trash-art 

Darren Kleine first wrote about it.

https://cointelegraph.com/magazine/2020/03/24/immutable-trash-crypto-art-censorship-meaning 

[4:26 - 9:31] TRSH art movement came about because the whales of SuperRare specifically led by Whaleshark were determining what was eligible to be on the platform. A lot of artists that didn't meet a certain aesthetic criteria was pushed off the platform. Eric felt that Superrare sided with the whales and not the artists. j1mmyeth was the one who coined the term $TRSH Art. Eric led a mass exodus of artists to the Rarible platform, having it gain in popularity.

[10:08 - 13:04] Trash art is a decentralised movement which has evolved and shaped the current NFT space. The idea of limited or no gatekeeping on platforms today is heavily because of trash artists pushed back and meme'd their way to victory. Comprises 3 main areas today, the idea of openness and onboarding as many people as possible into the NFT space, the meme of the trash can, and the aesthetics of glitchy appropriation art.

[13:19 - 16:43] Trash art movement's fight against gatekeeping will go into the history books alongside the impressionists movement and the dadaists movement. The similarities are that the terms Trash artist and Impressionist were both derogatory terms that were reclaimed. Even though the artists were only together for a short time, their impact were felt long after they had gone their separate ways. Case in point, today, SuperRare is full of trash art.

[17:17 - 19:51] Eric started out as an anon but chose to doxx himself as an artist because he didn't want to pretend to be a persona. The NFT space has opened to him a lot more...

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.

Show Notes;

• Artist Curated generative art rather than using the now popular Drop mechanic. His art is sold more traditionally similar to Fine Art NFTs.
• Manolo is able to generate generative works that are similar to the style of Kadinsky, Max Ernst, Delaunay, are the machines going to take over?
• Kizu makes fun of Sabretooth calling himself a serious collector
• Is generative art going to emerge as the defining art style of this era?

Manolo Gamboa Naon SuperRare;

https://superrare.com/manoloide

Artnome article on Manolo;

https://www.artnome.com/news/2018/8/8/generative-art-finds-its-prodigy

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.

Show Notes;

• Kjetil's Archetypes was Fidenza before Fidenza, his paper armadas drop sat for weeks without selling out.
• Kizu says his favourite Kjetil work is his self-curated "Dual" 1/1s, explores the difference between random curation ala art blocks and artist curation, old school vs new school generative art.

Kjetil Golid Twitter;

https://twitter.com/kGolid

https://generated.space/

Paper Armadas;

https://opensea.io/assets/art-blocks-playground?search[stringTraits][0][name]=Paper%20Armada&search[stringTraits][0][values][0]=All%20Paper%20Armadas

Archetype;

https://opensea.io/assets/art-blocks?search[stringTraits][0][name]=Archetype&search[stringTraits][0][values][0]=All%20Archetypes

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.

Show notes;

• Matt's drops Subscapes on Artblocks, but also drops companion pieces on HEN at the same time, one of the first instances of multi-platform drops.
• How Matt is a new breed of coders who come into NFTs not from a "maxi" tech background but more platform/chain agnostic.

Matt Deslauriers website;

https://www.mattdesl.com/

Subscapes on Opensea

https://opensea.io/collection/art-blocks?search[sortAscending]=true&search[sortBy]=PRICE&search[stringTraits][0][name]=Subscapes&search[stringTraits][0][values][0]=All%20Subscapes

Matt's HEN site

https://www.hicetnunc.xyz/tz/tz1XHADaUcMSkTN9gdmtRqcnrrZfs4tNkCPg

Subscapes companion pieces on HEN;

https://www.hicetnunc.xyz/objkt/72424

https://www.hicetnunc.xyz/objkt/72420