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Excited to share that I have been selected for a virtual artist residency 𝘐𝘯𝘧𝘪𝘯𝘪𝘵𝘦 𝘎𝘢𝘳𝘥𝘦𝘯 𝘈𝘳𝘵𝘪𝘴𝘵 𝘊𝘰𝘩𝘰𝘳𝘵 organized by the Ethereum Foundation!!
Have been developing new work over the past 8 weeks that will be exhibited at ETH Devcon next week in Mumbai in the coming days
✉️ ✉️ ✉️
Have been developing new work over the past 8 weeks that will be exhibited at ETH Devcon next week in Mumbai in the coming days
✉️ ✉️ ✉️
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Gm ✉️
A peek at The Right to Know (2026)
A series of three 1/1 works I am debuting next week
At the printers last week ↴
A peek at The Right to Know (2026)
A series of three 1/1 works I am debuting next week
At the printers last week ↴
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Plutonium F. retweeted
GM EVERYONE!
So so so excited to finally officially announce and show my upcoming project with Fellowship:
S E C T I O N S
A fully onchain generative interactable work built in my aesthetic language. Lets dive in just briefly:
👇 1/
So so so excited to finally officially announce and show my upcoming project with Fellowship:
S E C T I O N S
A fully onchain generative interactable work built in my aesthetic language. Lets dive in just briefly:
👇 1/
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Plutonium F. retweeted
Late night stop at GoodMorning Market
It is my most ambitious artwork to date. A 1 of 1 made to live both physically and on-chain.
This year has been about exploring this bridge: finding the connection between two worlds.
My biggest issue to this day with physical art and NFTs . These works are not actually connected. Visually, sure. But not actually connected. I first experienced this in early 2021, when I bought my Beeple and it came with a physical. I later sold the NFT for 89 ETH. And the physical? It is still in my basement.
Hanko certified means one thing: the physical verification of trust.
In Japan, a hanko is a personal seal. It stands in for your signature on contracts, at the bank and on official papers. Pressing it says: this is me, and I stand behind this.
In the Netherlands, we sealed with wax. In the Golden Age, letters, contracts and trade documents were closed with a seal pressed into warm wax: a mark of who sent it, and of care.
The two countries share an old bridge. For more than two hundred years, the Dutch were the only Europeans allowed to trade with Japan, through the small island of Dejima in Nagasaki. Goods, books and ideas crossed between the two through that one door.
My Hanko brings these traditions together. A Japanese seal, pressed into Dutch wax, by hand. No two are exactly alike. Shoutout to @baiweiart for making mine.
In a Hanko certified artwork, the wax seal holds a cryptographic chip. Once the contract is live, it connects the artwork to the chain: scan it, and it shows its on-chain proof of provenance.
See the preview: tapping the Hanko on Lawson Shimoda, an ink study from the Konbini series.
Inspired by the CryptoPunks contract, I went to work on an entire marketplace inside the contract. It will let the holder of the artwork tap directly into the Dutchtide market, and find and engage with fellow collectors.
The contract holds a fully trustless art market inside of it, built so the NFT can only be sold if the physical comes with it. Over the past six months I have refined and tested this system, so that two people can buy and sell through the chain without ever touching crypto. While still being fully on-chain.
Euros, dollars, ETH: they will be interchangeable. Holders will be able to buy more Dutchtide art pieces through their own market, or sell through it.
The artwork's animated counterpart will be inscribed on-chain. For me, NFTs have always been about doing things physical art cannot, and animation with sound is that exact idea. Linking and inscribing its digital counterpart using @lphaCentauriKid's inscription standard is something I am incredibly excited about.
The contract goes live before the 1/1 changes hands, and the inscription follows with it.
I am proud to say collectors can already find their entire Dutchtide collection on their collector profile on my website.
The 1/1 is available on enquiry. It will set a precedent for me as an artist, with my most ambitious work to date.
Stay breezy. Stay bullish🍃
It is my most ambitious artwork to date. A 1 of 1 made to live both physically and on-chain.
This year has been about exploring this bridge: finding the connection between two worlds.
My biggest issue to this day with physical art and NFTs . These works are not actually connected. Visually, sure. But not actually connected. I first experienced this in early 2021, when I bought my Beeple and it came with a physical. I later sold the NFT for 89 ETH. And the physical? It is still in my basement.
Hanko certified means one thing: the physical verification of trust.
In Japan, a hanko is a personal seal. It stands in for your signature on contracts, at the bank and on official papers. Pressing it says: this is me, and I stand behind this.
In the Netherlands, we sealed with wax. In the Golden Age, letters, contracts and trade documents were closed with a seal pressed into warm wax: a mark of who sent it, and of care.
The two countries share an old bridge. For more than two hundred years, the Dutch were the only Europeans allowed to trade with Japan, through the small island of Dejima in Nagasaki. Goods, books and ideas crossed between the two through that one door.
My Hanko brings these traditions together. A Japanese seal, pressed into Dutch wax, by hand. No two are exactly alike. Shoutout to @baiweiart for making mine.
In a Hanko certified artwork, the wax seal holds a cryptographic chip. Once the contract is live, it connects the artwork to the chain: scan it, and it shows its on-chain proof of provenance.
See the preview: tapping the Hanko on Lawson Shimoda, an ink study from the Konbini series.
Inspired by the CryptoPunks contract, I went to work on an entire marketplace inside the contract. It will let the holder of the artwork tap directly into the Dutchtide market, and find and engage with fellow collectors.
The contract holds a fully trustless art market inside of it, built so the NFT can only be sold if the physical comes with it. Over the past six months I have refined and tested this system, so that two people can buy and sell through the chain without ever touching crypto. While still being fully on-chain.
Euros, dollars, ETH: they will be interchangeable. Holders will be able to buy more Dutchtide art pieces through their own market, or sell through it.
The artwork's animated counterpart will be inscribed on-chain. For me, NFTs have always been about doing things physical art cannot, and animation with sound is that exact idea. Linking and inscribing its digital counterpart using @lphaCentauriKid's inscription standard is something I am incredibly excited about.
The contract goes live before the 1/1 changes hands, and the inscription follows with it.
I am proud to say collectors can already find their entire Dutchtide collection on their collector profile on my website.
The 1/1 is available on enquiry. It will set a precedent for me as an artist, with my most ambitious work to date.
Stay breezy. Stay bullish🍃
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The last 2 years I failed to submit a proposal
This is the year I will finally submit a proposal
Misuse and Permanence are calling out to me
𓆉𓆉𓆉
This is the year I will finally submit a proposal
Misuse and Permanence are calling out to me
𓆉𓆉𓆉
⛳️Rhizome microgrants are open! Apply by November 20 for grants between $500- 1500!
We invite proposals in the following categories: PERMANENCE, in partnership with @larvalabs,🛠️MISUSE, ✋HANDMADE & 💬CO-OP. Visit microgrants.rhizome.org for more details + to apply!
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Plutonium F. retweeted
On the heels of another incredibly stimulating Art Blocks weekend, I wrote an essay to parse out my thoughts. Cheers to the team for their tireless work and always meeting us all with smiles and warmth. And so cool to see so many new faces 6 years in.
pixelpete.gallery/writing/art-is…
pixelpete.gallery/writing/art-is…
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Plutonium F. retweeted
Exciting news!! I’ve been awarded support from @ace_national to develop my curatorial research and practice over the next year.
I’ll be exploring two main threads:
-How are public-private partnerships, philanthropy, and patronage reshaping the cultural infrastructures that re emerging technologies reshaping artistic practice, collaboration, and aesthetics?
If you’re working across museums, technology, philanthropy, cultural policy or research, I’d love to connect, collab, and exchange ideas.
@thebyteproject will be changing and evolving over the next few months 👀
I’ll be exploring two main threads:
-How are public-private partnerships, philanthropy, and patronage reshaping the cultural infrastructures that re emerging technologies reshaping artistic practice, collaboration, and aesthetics?
If you’re working across museums, technology, philanthropy, cultural policy or research, I’d love to connect, collab, and exchange ideas.
@thebyteproject will be changing and evolving over the next few months 👀
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Plutonium F. retweeted
Rutherford Chang’s We Buy White Albums is now on view at GOLD in Hong Kong, occupying the entire “Side B” as one of the exhibition’s two main poles.
WBWA was built over nearly twenty years and consists of 3,417 numbered first pressings, transforming an icon of mass production vidual histories. It has toured the globe and maintains an enthusiastic fanbase. Chang's limited edition composite album is highly sought-after collector's item.
GOLD is a new interdisciplinary cultural space in Wong Chuk Hang, Hong Kong’s leading contemporary-art district. The show extends Chang's visibility across Asia, with coverage already appearing throughout Hong Kong and Taiwan.
WBWA was built over nearly twenty years and consists of 3,417 numbered first pressings, transforming an icon of mass production vidual histories. It has toured the globe and maintains an enthusiastic fanbase. Chang's limited edition composite album is highly sought-after collector's item.
GOLD is a new interdisciplinary cultural space in Wong Chuk Hang, Hong Kong’s leading contemporary-art district. The show extends Chang's visibility across Asia, with coverage already appearing throughout Hong Kong and Taiwan.
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Plutonium F. retweeted
Quietus Machine
A machine that computes; measuring its own temperature and the signals around it.
Oct 24 at Art Blocks Gallery, Marfa
A machine that computes; measuring its own temperature and the signals around it.
Oct 24 at Art Blocks Gallery, Marfa
⬜︎ Quietus Machine ⧉
A machine that computes.
Generative art not as images that keep changing on a screen, but as the physical object that performs computation itself
Takens Theorem @takenstheorem
rudxane @rudxane1
Satoshi Aizawa @satoshi_aizawa
🗓️ Quietus Machine, Sat llery, Marfa, TX
Part of Marfa Weekend by @artblocks_io
two.neort.io/exhibitions/qu…
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So RSI confirmed..?
We’re committing a portion of Anthropic’s shares to the Anthropic Public Benefit Fund, a new wholly owned entity dedicated entirely to the public benefit.
It will start off with 5% of our shares. For every 50% increase in the company’s value over a set baseline, we can contribute up to an extra 2%, subject to our board’s discretion.
In total, this means that roughly 20% of Anthropic’s shares are committed to the public good. Our co-founders have already pledged to donate 80% of their equity, and around half our employees are donating a portion of their equity as part of a donation matching program we’ve run since our founding.
In the post below, we share more details about our new fund.
anthropic.com/news/public-be…
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new rudxane rant just dropped and I fucking love it
we live in a world where a handful of corporations control how we communicate, banks decide who gets to participate in the economy, and governments can make entire populations financially invisible overnight. we've somehow accepted that our digital existence depends on a collection of very large computers owned by people we've never met, and we're just hoping they remain nice. and then we figured out how to build some of this differently. permissionless systems, verifiable ownership, infrastructure that doesn't necessarily belong to a single institution or state. obviously far from perfect, but the implications seem pretty extraordinary to me. especially now, when power is becoming increasingly concentrated and the ability to exclude people is becoming increasingly automated. yet most of our attention seems to go towards increasingly sophisticated ways of moving money around. billions in transactions, thousands of tokens, entire ecosystems built around making numbers go up. i'm not even against any of it. i love the absurdity, the art, the experiments, the completely unnecessary things people build just because they can. i'm participating in the nonsense too. but sometimes it feels like we've invented something with the potential to fundamentally change how people interact with power and decided the most interesting application is figuring out which cartoon animal will appreciate in value next week.
i keep thinking about how much bigger the ambition could be. systems that don't really care where you're born, which passport you hold, or whether some institution approves of your existence; infrastructure that makes it harder to censor, exclude, erase, or confiscate. not because decentralization magically solves all these problems, but because having alternatives seems increasingly important. especially for people who don't have the luxury to treat these things as abstract philosophical discussions. i genuinely don't know how we get there, i don't know what the applications should look like, how we get people to use them, or how much of this is even realistic to achieve. maybe we're still incredibly early, maybe the financial speculation is a necessary part of figuring things out, maybe i'm underestimating how difficult it is to turn these ideas into something actually useful.
probably all of the above.
but i can't get rid of the feeling that we're aiming for something much smaller than what might actually be possible. there's an entire network of incredibly intelligent people working on cryptographic systems that would have seemed unimaginable not that long ago, and somehow a big part of the conversation is still about which number will go up next. i don't think the answer is to stop making weird things or pretend everything needs to serve some grand social purpose. please keep making the weird things. i just wish we were a bit more ambitious about what all this could eventually mean outside our own little corner of the internet.
maybe i have no idea what i'm talking about. i just find it hard to believe that the finish line for permissionless, stateless infrastructure is a slightly more entertaining stock exchange.
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Plutonium F. retweeted
New Acquisition: MoMA📍
I am thrilled to announce that the @MuseumModernArt has acquired the diptych of the Mother and Daughter from my Invisible Line series. It was acquired through the generosity of Lori Ordover via Kopeikin Gallery. I love to think about how these images and preserved into the future and share wall space with works from many artists that have influenced the way I see the world.
Daughter on the USA-Mexico Border Wall, at Friendship Park, California., Mother on the Mexico-USA Border Wall, Friendship Park, Playas de Tijuana, Mexico, 2017.
moma.org/collection/wor…
I am thrilled to announce that the @MuseumModernArt has acquired the diptych of the Mother and Daughter from my Invisible Line series. It was acquired through the generosity of Lori Ordover via Kopeikin Gallery. I love to think about how these images and preserved into the future and share wall space with works from many artists that have influenced the way I see the world.
Daughter on the USA-Mexico Border Wall, at Friendship Park, California., Mother on the Mexico-USA Border Wall, Friendship Park, Playas de Tijuana, Mexico, 2017.
moma.org/collection/wor…
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It was a joy to follow Travis's Marfa residency this summer
Sadly won't be making it to Marfa this year
For those planning to, don't miss this one ↴
Sadly won't be making it to Marfa this year
For those planning to, don't miss this one ↴
THERE WILL BE SIGNS
Next week, twelve sites across Marfa will become part of a system that began on a screen.
Generative works become physical signs, symbols, and installations. They leave the computer, encounter a place, and begin to change through scale, material, light, and whatever happens around them.
And eventually, the physical world feeds back into the system.
Code becomes image. Image becomes object. Object becomes site. Site returns to code.
October 21–25, during Art Blocks Marfa Weekend.
Born out of my 2026 @ArtBlocks_io × @OpenSea Marfa Artist Residency.
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Plutonium F. retweeted
Assuming everything goes as planned, it's a little under 24 hours until this opens up so I thought I'd talk a little more about what this is, how it works, and what's so interesting (to me) about it. Part of the fun (again, for me) is that the idea started off as high concept art, then as I worked on it became silly web fun, then eventually found it's way back to art.
I'm launching an art project this week. It's a little bit of early World Wide Web weirdness mixed with Web3 finality. Everyone can participate, in fact the piece depends on it. There's a demo of the tool live now.
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Plutonium F. retweeted
Announcing the newly upgraded, updated, and refurbished OrdiGallery experience.
This new build elevates your OrdiGallery experience.
A brand new premium experience awaits those who hold a Bird of a Feather or an OrdiGallery Pass on BTC (with so many Easter Eggs to enjoy). 🧵
This new build elevates your OrdiGallery experience.
A brand new premium experience awaits those who hold a Bird of a Feather or an OrdiGallery Pass on BTC (with so many Easter Eggs to enjoy). 🧵
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Plutonium F. retweeted
You don’t get to Marfa by accident.
I think that intention is a big part of what makes it so special. Some of the best artists, collectors and builders in our space make the trip because they care about the art and want to show up for one another.
Art Blocks has done an incredible job bringing those people together. And the cool thing about Marfa is that you’re going to rub elbows with people whether you planned to or not. The town is so small. You’ll run into someone getting coffee, see them again at a gallery, and end up talking later that night.
Some of my fondest memories are those late-night conversations at a house, having an adult beverage and getting into a candid conversation with someone. I think that’s an underrated part of the weekend.
It’s a big reason we started L8 Night with 8NAP. I want people to have time for those conversations, and I’m looking forward to a few more myself.
What keeps bringing you back to Marfa? And if this is your first year, let me know. I’d love to meet you.
I think that intention is a big part of what makes it so special. Some of the best artists, collectors and builders in our space make the trip because they care about the art and want to show up for one another.
Art Blocks has done an incredible job bringing those people together. And the cool thing about Marfa is that you’re going to rub elbows with people whether you planned to or not. The town is so small. You’ll run into someone getting coffee, see them again at a gallery, and end up talking later that night.
Some of my fondest memories are those late-night conversations at a house, having an adult beverage and getting into a candid conversation with someone. I think that’s an underrated part of the weekend.
It’s a big reason we started L8 Night with 8NAP. I want people to have time for those conversations, and I’m looking forward to a few more myself.
What keeps bringing you back to Marfa? And if this is your first year, let me know. I’d love to meet you.
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