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@Nothingxbt @slomburm @strangersolemn @Jdsears @justinaversano 🍃

@annartevo @slomburm @strangersolemn @Jdsears @justinaversano

slowburn (@slomburm) is a project, a hobby, in short a good excuse to bring together excellent people, great artists, good food and good cannabis it was conceived some time ago, when i created a chat with @Nothingxbt , @strangersolemn , @Jdsears and @justinaversano we had its first execution/experiment in london, but this time we will be testing it in brazil, specifically in floripa, known as the “ilha da magia”. i believe it will be quite enjoyable. i am rather fond of creating these parallel structures. this time with massive support from @Nothingxbt, and the construction of the project’s body as a whole. so we will be sharing more details soon

after 2 years, one edition of "Ether-Man II" finally hits the market mint cost was 2E, secondary available now for 2.25E. both artwork's chapters grant you private access to our X's group

from my personal collection, giuditta e oloferne - @woc_one

Everyone trying to assume and speculate why the sudden surge in positive sentiment in the NFT space has come back. Simple …… The collectors that are true lovers and believers in the art and community have returned. 2026 ❤️

The hard part is staying calm when everyone else goes mad.

We need more initiatives like this Kudos again to @ToledoMuseum being at the forefront of the digital art renaissance I predict in the future that there will be many The Levine Letters to read @batsoupyum showing what a true patron of the arts should be This is how we build

@hafftka 💗

@annartevo 🙏

IMO, no need to race against time manufacturing endless digital versus traditional debates, or these exhausting conversations around this is better than that, as though value must always be framed through opposition. just as the camera became something extraordinary, an extension of vision itself, and was once met with the very same suspicion, digital art, ai, defi, tech… all of this is already writing history. perhaps the focus should be less on comparison and more on learning how to communicate what we are building here, how to translate it. because, honestly, there is no need to force them to accept us. “digital art needs to be heard TODAY.” “the market is bad TODAY.” perhaps that is less an urgent truth and more a generational anxiety. look at the world. understand history, and the pattern reveals itself. because the space is communicating. clearly. today we already have executions such as @eli_schein with @ArtBasel and “Zero 10”. executions emerging around the @ToledoMuseum and the @MuseumModernArt . gatherings like @glitchmarfa, @redbeardnft bringing in so many new collectors, @AdamWeitsman positioning himself on so many fronts more recently, @hafftka alongside @iconic__culture and @RDToTheMoon so many artists in this space are executing serious, sophisticated things. honestly? just enjoy the flow. and YES people still return to these tired debates, digital vs traditional how dreadfully boring. the more interesting point is this: the principal art collectors still largely inhabit traditional circles. they are not consuming twitter. they are not operating inside the codes of this space. and many artists making extraordinary sales here have little name recognition outside of it, not for lack of value, but for lack of attention paid to translating what is being created here for the external market. and perhaps that is the most elegant mistake of all: trying to accelerate the process rather than learning how to communicate it

@spiritualdevils @natan_stein 🪄

@annartevo @natan_stein bringing worldwide magic to the island of magic

great conversation and an insane exchange of ideas today with @spiritualdevils, having his perspective on the current brazilian scene is 🔥 and equally, a brilliant exchange of ideas and shared interests with @natan_stein feels like ilha da magia

@skantoshi @spiritualdevils let me have a carioca line up some proper events references for you, @omentejovem 🤙🏻 i’ll be in floripa, what do you think about grabbing a coffee there? and enjoy rio for me, i’m intending to visit during this season

@annartevo @spiritualdevils am hitting rio in a week if there is a cypher art hangout to check

I’ve been trying to stay out of debates this past year, but I wanted to share some thoughts on the royalties discussion (Maybe i'm bored, maybe i'm inspired to do better). The idea of royalties, of shared upside, is a healthy one. An artist participating in the long-term value of their work can align incentives across the board. But the current implementation is flawed. A fixed percentage on every sale ignores the history of the asset. It doesn’t account for who took early risk or whether there was actually any upside; it turns into a flat transaction fee rather than a true sharing of gains. Part of the issue is that this is not an easy problem to solve. With multiple currencies, off-chain deals, and opaque transactions, it’s difficult to design a system that fairly tracks value without compromising the core principles of free ownership and transferability. But there’s a broader issue. Much of the ecosystem benefited from short-term gains and only started thinking about long-term structure once those gains disappeared. During the peak, we embraced ideas like autonomy and ownership, yet handed over critical control to platforms that optimized for their own incentives. OpenSea didn’t break the system. They operated within the power we collectively allowed them to have. We didn’t build alternatives that aligned with the ethos we claimed to value. I’d argue that a lot of artists who saw significant financial success never engaged with the underlying standards or proposals shaping this space. And if principles only matter when they benefit you, it’s not surprising when others act the same way. I've seen some positive things emerge recently, like @ripe0x releasing a self-owned auction contract as an alternative to platform auctions, and hope we can build an ecosystem that is excited again about building tools that benefit the full ecosystem. Not just build from our own perspective of needs but something that takes into account the full logic and principles of building on the world computer. I still believe building non-zero-sum systems is actually worth pursuing and I'll try to do better to add value wherever I can. world computer

@Ferdinandodeme2 @RDToTheMoon @hafftka @iconic__culture 👏🏻👏🏻👏🏻

This IS a very special mint. There’s not a more kind, friendly and all around great human than Michael @hafftka and to have an opportunity like this is once in a lifetime. LFG 🔥 @RDToTheMoon you’ve done a wonderful job here, 🙇 👏 , @iconic__culture is lucky to have you!

Looking forward to meeting @annartevo IRL The Magic Island of Floripa keeps getting more and more magic ✨

next week i’m arriving in brazil again for a new experiment, assuming an architect role across a few fronts. i’ve had incredible exchanges lately, especially with @palomalecheta, a founder building @Founder_Haus and @ipecity, now backed by +r$12 million, and with @skrrtey, a local artist who made an incredible introduction before i even landed in brazil floripa has been pulling my attention. since my last experiment in poços de caldas, where we tested institutional, political and collector coordination in a very real way, while building communication around an artist’s development, i’ve been studying brazil much more seriously. many conversations with @omentejovem and @spiritualdevils about the brazilian scene, and with @rocktoshi21 and other friends around these experiments. but i’d say floripa is about to become… rather interesting, ilha da magia, after all

I don’t own any of his work yet but I could see Deltasauce having a massive upward trajectory in the next bull. Visual aesthetic. Community building. Unique point of view.

To clarify my previous post: physical art isn't going anywhere. When I said it's losing ground, I meant we're shifting toward a more digital art landscape. The reason is scalability. For all the points mentioned, digital scales in ways physical simply can't. Our private collection would probably max out at 10 - 20 pieces if it were physical-only, limited by space to store and exhibit. Digital made it possible to expand that number 100 times, to the 2000+ works we currently hold. That's next-level art distribution and imo also the bumpy growth phase we're in. More art is being created and distributed than ever, but the recognition and liquidity aren't there yet. It'll be a process that plays out over years. A marketplace shutting down can feel like a step back, but it's actually the scene condensing into something more sustainable and future-focused. x.com/thisistolo/sta…

indeed, i quite agree. perhaps it was merely a matter of misunderstanding; nevertheless, your first post revealed another perspective hahaha and yes, i agree entirely. when one contemplates the digital space and the sheer breadth of its possibilities, it begins to feel almost immeasurable. i daresay that, at some point in history, the first scenario you mentioned may well become visible. though, at that juncture, we would inevitably begin drifting into cyberpunk territories, and from there, one finds oneself entangled in countless lines of debate, rather fun, in truth

@annartevo x.com/thisistolo/sta…

you have articulated, with admirable precision, the positive impact that only this space is capable of offering. yet, in my view, i do not consider that the traditional market shall lose its ground; they are entirely distinct approaches, audiences, collectors, and structures shaped by blood and history. digital art is, without question, a cultural evolution that continues to claim increasing territory. however, once more, i believe these are not domains that ought to be placed in opposition, nor measured by comparative hierarchies. rather, it is far more compelling to begin contemplating a path through which the digital sphere may expand its presence and establish meaningful dialogue, allowing historical density to emerge organically, for the transformation itself is already, unmistakably, history.