Chike

WHY I KEEP COLLECTING FLOWERS I didn't plan to collect this many flowers. @IOivm Polypaths. @solaas Delirium Blooms. @LindaDouniaR Flore Perdue. @snellicious_ Cattleya. @mpkoz Chimera. @MonicaRizzolli Fragments of an Infinite Field, Underwater. @AnaPetArt Fleur. @sterlingcrispin Neophyte. @SarahMeyohas Infinite Petals. @rvig_art Flowers. And more. All flowers or flora. All code. 1/5 —- From top left, clockwise: Flore Perdue #40 (Linda Dounia) Cattleya #25 (Ben Snell) Fragments of an Infinite Field #608 (Monica Rizzolli) Delirium Blooms #44 (Leonard Solaas)

@Olamide0fficial very honest. respect.

“I initiated the divorce because I felt like Mr Mariah Carey. There was a huge money gap and fame gap, this is a woman that’s way out of my league and i didn’t think about it before getting married” - Nick Cannon explained why he divorced Mariah Carey 🤔

Gardner believed the arrangement was sacred — that how you display art IS the art. She didn't just collect. She created an immersive context that gave every piece meaning through its neighbors. I've been thinking about what that means for digital collectors. A wallet is a record — but it's not a museum. Not yet. Digital art still needs its own version of the Gardner. Physical spaces where the work can be felt, not just verified. The @museumartlight is one answer. @ToledoMuseum is another. @LACMA is yet another. But there is still much work left to be done. 5/5

There are probably thousands of significant private collections around the world that no one will ever see. Collections that shaped their local communities, influenced local artists, changed how people in one city thought about beauty — and then the collector died and the collection scattered or went into storage. Digital art changes this. My wallet is public. Anyone with a browser can see the full collection. I don't need a palazzo in Boston or a museum in Kansas. The visibility is built in. But visibility isn't experience. Seeing a list of holdings on a blockchain explorer isn't the same as standing in the Gardner and feeling the weight of those empty frames. 4/5

I was in Boston this weekend and someone told me about the Isabella Stewart Gardner Museum. This has materially changed how I think about my own collection. Isabella Gardner built a 15,000-piece collection, arranged every object herself inside a Venetian palazzo she built in Boston, and then wrote a will that said if anything is ever moved, the entire collection goes to Harvard. 1/5

@McCormJ123 @virtualmage17 same! koopa all day on the ghost ship.

@drCCO @virtualmage17 I remember repeatedly running the ghost ship on time trial! I had that course down to perfection! I race my ghost nonstop until o beat it again. I will always love the OG Mario Kart!

Super Mario Kart (SNES) 🍄🏎️ The original… Better than modern Mario Kart… or no chance? 👀

@virtualmage17 however Battle Mode on Mario Kart 64 is also unmatched.

@virtualmage17 it’s the best one. SNES time trial mode is unmatched!

Subscapes #70 by @mattdesl Matt DesLauriers uses a generative algorithm to draw landscape impressions from a multitude of possibilities. The unique seed from each token drives the parametric assortment of lines, colors, and forms into a constructed composition, exploring the nuance of randomness, emergence, and infinity.

The last time I felt this way about a medium, I was wrong about the timeline but right about the direction. That's the thing about the pariah years — they feel longer than they are, and you only know they're over after the fact. I'm not in a rush. 🧘

‘don’t blow up’

WE'RE IN THE PARIAH YEARS The window between "too early to take seriously" and "too obvious to deny." This is where conviction gets tested — not by the market, but by silence. The people who are still here aren't here because the numbers work. We are here because the work works.

@Twinwar @ObsoleteSony yes

@ObsoleteSony My 3 favorite games of all time.

What are your top 3 must-play PS1 games for someone who has never experienced the console before?

@remiaxyz 💯

@drCCO digital displays need to bridge that gap

The gap between owning digital art and experiencing it daily has always been the weakest part of the collector experience. Nothing currently 100% solves that.

GM 🎞️ Moments of the Unknown. 349 March 21st at 09:17 in Cairo, Egypt

@16bitnostalgia final fantasy >>>> zelda

A gaming opinion that has you like this...

Shooting: The Fire is on the cover of @museumartlight membership magazine! I’d like to thank the Museum for this honor. When I made this piece in 2023, I didn’t know that world peace would get even more fragile. Please read Director Erin Dragotto’s poignant statement. Thanks to @iconic__culture for helping first introduce this work to the world!

I keep coming back to the title. "Siempre en mí, siempre en ti." Always in me, always in you. The disease erases memory, but the person remains — in the people around them, in the code that carries their story. This is one of the pieces in my collection I look at differently depending on the day. Some days it's about loss. Some days it's about what persists. I think that's the point. 4/4

Soria-Rodríguez studied telecommunications engineering and signal processing in Madrid. He co-founded a global data practice at BBVA, then left corporate work during the pandemic to make art full time. He'd been coding in Processing since 2004 — almost two decades before the piece that landed him in a museum. That timeline matters. The overnight successes in generative art are usually twenty years in the making. 3/4

MARCELO SORIA-RODRÍGUEZ: "SIEMPRE EN MÍ, SIEMPRE EN TI" @msoriaro is currently showing at the Museum of Art + Light. I love his "siempre en mí, siempre en ti" It's about Alzheimer's. Faces that fade, wave, become unstable — some smiling, some sad. The illness is in his family. He coded it in Processing, the language Casey Reas and Ben Fry built. 1/4 —- siempre en mí, siempre en ti #69, #38