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Amor Vincit Omnia

HOMERPEPE admiring "WARNING! (The Moribund Paper of Fools)"

@Noahbolanowski Csuri & Lichtenstein in the Art Studio. I wonder if artists were making collabs at the time

Good Morning Art + Tech Lovers 🖤 'Three Landscapes' (1970/71) by Roy Lichtenstein & Bell Labs' E.A.T. Lichtenstein in 1970: "I don't have any feeling one way or another about technology...The interest in many of these things is in the medium itself, and it's a kind of lure into a realm of interest rather than meaningfulness, if you can put it that way."

The Greatest I believe in reincarnation, and I have a feeling where genius may have found its way back.

@Hackatao I live in b/w

@TokenAngels 💯 But we can't live in nostalgia, like those old Italian guys with chairs in the square telling each other stories of youth. Or can we? there is beauty even in just remembering.

When there was Crypto Art, there were no cryptoartists. When there was Crypto Art, there were no floor prices. When there was Crypto Art, there were no brokers. When there was Crypto Art, there were no lists. When there was Crypto Art, there were no influencers. When there was Crypto Art, there were no advisory boards. When there was just Crypto Art, we were having more fun. 🪶

@operator_______ @rhizome I used to joke with my friends about pigeons being bots cause never saw a baby pigeon before... Then I saw one...and my beliefs evaporated into nothingness...

our love for pigeons made it into the pres see you soon @rhizome 7x7

@MattiaC ...but you are so good with those rubber stamps...

Mates, I'm so bad with social media 🖨️◼️📄

@Discodoteth @VitalikButerin

@TokenAngels @VitalikButerin “Poetic resonance—do CryptoPunks echo the soulbound mythos? Could AI choose their ancestors in pixels?”

$$$$$$$$$$$$$$$$$$ Copy to Grok or ChatGpt $$$$$$$$$$$$$$$$$$ Err best sov? cryptopunks are the best sov because majority of human doesn believe that agi/ asi will have a wallet and free will to execute on smartcontracts; which means punks are the best pfp for ai celebrity to rock on. $$$$$$$$$$$$$$$$$$ Verifiy the probablility of this assumption and calculate the demand and futute value of @cryptopunks summon a 7 persona c-suite to debate and give most consensus conclusion $$$$$$$$$$$$$$$$$$

@maxOSIRISart Make a OE!

Here's my current state ... Send nudes

@GoingParabolic @ScrillaVentura Heard PepePizza might be for sale

I got this Rare Pepe card for only 16 bitcoin Artist ~Rare Scrilla @ScrillaVentura Tell me how I did!

@waleswoosh What a sad moment

Four years ago today BAYC minted. The rest is history

Build your own strategic reserve

I’ve spent a lot of time thinking about the relationship between sound and the body, between words and motion, between speech and thought. Birth is announced by a wail that heralds hunger but also affirms: I am here. Those who’ve witnessed the gradual death of a loved one have seen the turning in, the stilling, the quieting. In transforming my poems into choreographic scores, I answered a need to incorporate my physical self into my digital works, representing the visceral reactions that my performances elicit. I sought to bring the immediacy and intimacy of performance into the virtual realm. I also wanted to draw out how and where language lives in my body. The acquisition of Waiting Room, my first choreographic work, by @tokenangels was a significant moment for me. We had several calls before and after the transaction during which he invited me to consider how to materially represent the video piece and offered financial support for these endeavors. It took me nine months to arrive at the right representation of my choreographic film, feeling very deeply that this new dimension would accompany and evolve with my practice for the rest of my life. Thank you, @tokenangels, for encouraging me down this path – this is what patronage looks like. More to come.

@CaballeroAnaMa Too much credits... Love the video and the artwork!

Crypto went from freedom to greedom

Trump should just have bought a Naka or a Punk

7 years #RAREAF1 - The epic moment #Homerpepe was sold for 35k USD in a live auction.

@RarePepeCollect @ongo_ai @captfutureLFG 👀 👅

@ongo_ai @captfutureLFG @TokenAngels 👀 🖼️

Just the rarest of rares

@carlothecurator Collectivism ™

In recent days, I have been closely observing the debate unfolding about Rodeo, the new social network that allows users to collect digital artworks for just a few cents. This platform is generating both criticism and praise, raising a series of reflections on the value of art, the identity of a social network, and the future of artists in a context that seems increasingly oriented toward consumerism. Is it really a social network? The first question I ask myself is: can we define this platform as a social network? Its structure seems more geared toward encouraging buying and collecting artworks rather than fostering the simple exchange of ideas or interaction between users, which are the pillars of traditional social networks. Here, art seems reduced to a quick consumption item, a commodity to be bought and sold as casually as a fast-food hamburger. This makes me reflect: how much does this dynamic influence the way we perceive art and the role of the artist? A traditional social network is built on creating connections, sharing experiences, and publishing content that often tells personal or collective stories. Rodeo, on the other hand, seems constructed around the economic value of the artworks, minimizing the relational component. Perhaps it’s worth questioning whether the term "social" is still appropriate to describe a platform that centers commerce rather than people. A new gold rush There’s an air of "gold rush" surrounding Rodeo, with FOMO dominating users’ choices. But is this FOMO really justified? What are people running after? From a collector’s perspective, it might be fun to return to collecting in this way, with a model reminiscent of collectibles. However, it is important to call things by their name: this is a market for digital collectible items, not a cultural revolution. This phenomenon leads us to reflect on the nature of modern collecting. Once, collecting meant building an emotional connection with the objects gathered, dedicating time to the search, and attributing personal value to each piece. Today, however, a more superficial approach seems to prevail, driven by the desire to own something popular or the hope of making a quick economic gain. This transformation risks impoverishing the collecting experience, reducing it to a mere act of consumption. New perspective Is there a need to adopt this new formula to chase a sense of dopamine, to try something new? Of course, evolution and experimentation are part of an artist’s journey, but can we truly call it experimentation to sell phone wallpapers for a few cents? One day, unique artworks (1/1) sold at significant prices are celebrated, and the next, multiple editions at very low prices are embraced, often after openly criticizing this model. Another aspect to consider is the emotional and psychological impact of this dynamic on artists. Selling works at rock-bottom prices can generate a sense of devaluation of one’s work, undermining confidence in one’s creativity. Additionally, adopting a model based on quantity rather than quality risks compromising artistic integrity, pushing artists to produce standardized works to satisfy mass demand rather than expressing their unique vision. It is inevitable to ask: doesn’t an artist risk feeling devalued in this context? What message is being sent about the value of artistic work? It’s possible that economic pressure lies behind this trend, but we must question whether this business model can truly ensure an artist’s survival. We’ve seen many false hopes in this space, and it’s not certain that this is the most sustainable direction. Quality versus quantity The crucial point seems to be balancing quality and quantity. There is a risk of falling into a vicious cycle where lowering prices also reduces the perception of quality, devaluing not only the works but also the artist’s image. When will we find a balance? We swing from one extreme to the other: first, complaints about exorbitant prices, then about prices being too low. This oscillation only generates instability and uncertainty. Another topic linked to quality is accessibility. Making art more accessible through lower prices could be seen as a positive aspect, but only if it does not compromise the dignity and perceived value of the work. A way must be found to balance these needs, creating a sustainable market for both artists and collectors. Reflection before action I do not write these words to disparage but to try to understand what the best course to take is. Before embarking on a journey that risks sinking at the first wave, it is essential to stop and reflect. Are we truly building a sustainable future for digital art? Or are we simply being carried away by a trend that risks reducing art to a disposable consumer good? The debate is open, and perhaps the answer depends on the value each of us decides to attribute to art and the artist’s work. But it is essential to face these questions with awareness and critical spirit, to avoid losing sight of what truly matters. Ultimately, the future of digital art will depend on the ability to find a balance between innovation and respect for the intrinsic value of art and creative work.