24/09/2021 Chaotic TIME Magazine NFT Launch Sends Gas Fees Spiraling

TIME president Keith Grossman admits the rollout was “not ideal.” 

When the sale opened to the public earlier today, all 4,676 were gone in minutes.

But the sale also clogged the Ethereum blockchain, sending fees to astronomical highs – buyers spent almost four times as much on transaction fees as they did on the NFTs themselves, according to a datatracker from an analyst called Banterlytics. One address paid $70,000 for 10 of TIME’s NFTs.

The plan for the launch was simple enough – the NFTs would go on sale at a set time, and prospective buyers would need to have their finger on the trigger.

Even outside of crypto, this is a broken system. High-profile sales for concert tickets and sneaker drops are already dominated by automated “bots” that can snap up an entire supply in seconds. The high-rollers behind the bots can take advantage by charging unreasonable prices for assets on the secondary market (it’s also known as “scalping”).

That’s what happened here, too. According to the blockchain explorer Etherscan, the 100 addresses with the most NFTs now own around 24% of the total supply.

The Ethereum blockchain compounds the problem with something called a “priority fee.” These are additional fees users can pay to incentivize miners to accept their transactions first, before other users who haven’t put up as much cash. When too many people try to use the network at once, it creates a bottleneck; users who can afford to pay those exorbitant fees can effectively cut the line.

A caveat is that because the NFTs in TIME’s collection all just point to a red TIME logo, rather than a digital artwork, buyers still don’t know what they’ve actually bought. TIME president Keith Grossman said the individual works attached to the NFTs would be revealed today at 6pm Eastern. Users will have to use the “refresh metadata” button on the digital marketplace OpenSea to find out what they own.

Grossman has become increasingly embedded in crypto over the past year; TIME began accepting crypto payments for subscriptions this past spring, and released a set of digital magazine covers as NFTs. TIME also has bitcoin on its balance sheet, thanks to a deal with the crypto investment firm Grayscale. (Disclosure: CoinDesk is owned by Digital Currency Group, which also owns Grayscale.)

“I think we learned a lot about gas in general,” he said. “There are things that you can’t control for in the gas space.”

Grossman explained that his decision to cap the number of NFTs per address (each buyer could only mint ten, though a single buyer could mint from multiple wallets) was part of an effort to deter bots.

At publication time, the lowest listed price for a TIMEPiece was hovering around 3 ETH, or around $9,500.

Grossman maintained that he was proud of today’s launch, in spite of the chaos.

“We’re going to make sure that the next time that we do this, everything that we have seen that went wrong or that didn’t go as we planned, is fixed,” he said.

Arts

https://www.coindesk.com/business/2021/09/23/chaotic-time-magazine-nft-launch-sends-gas-fees-spiraling/

Interesting NFTs
Right Place & Right Time (bitcoin hourly price offset)
Each day, a new composition for the Master is generated autonomously using a data feed of Bitcoin's last 24 hours of price action. Each hour's price programmatically controls rotation, scale, and position of a correlating layer. Astute viewers will surmise the day's price volatility simply by examining the artwork. While the daily image generation is the result of autonomous API calls, utilizing an algorithm the artist wrote, the artist has chosen to retain a control token. This token allows him to fine-tune variables associated with his algorithm, in addition to addressing aesthetic concerns within the life-cycle of the artwork. Layer state, alpha, hue, saturation, and brightness are elements the artist has retained control of in order that this artwork remain a living work-in-progress. An earlier iteration of this artwork was featured as a nightly projection mapping video on the face of the Daniels Fisher Clocktower, as part of ETH Denver 2020. Access to this and additional exclusive content awaits the master token owner at the artist's NFT Portal: https://collect.mattkane.com/minted-works/right-place-right-time-bitcoin-hourly-price-offset/
Fuku-Shiva
The term “Fuku” refers to fortune or good luck. “Shiva” refers to the Hindu deity who represents strongly polar qualities, both severe and delicate. On a beach inspired by adventures on Phi Phi island in Thailand, three youths cavort. Two are representational figures and the third is psychologically rendered. A dynamic relationship ensues between the triad; a reciprocity of active and passive states. The boy on the right engages in maneuvers of evasion, defense, and is dressed in a speedo which reiterates the colors and symbolism of the caution tape on the left and upper right frame of the composition. In concurrent reaction the psychedelic figure shoots out a rocket powered paper airplane. The nude boy seated in the froth and sand approaches in passive repose, and is met with active attention but equal physical reserve by the psychedelic being. Perhaps the most naked figure is also the least representational. Looming large, dynamic, and active, it engages its companions playfully. Various symbols interject into the otherwise naturalistic scene, most notably a beach ball and two contaminated barrels nested in the sand. The upright barrel reads “FukuShima” in Kanji. The barrel laying down reads “Dharma”. To the left the scene is bounded by caution tape, reiterating the danger of the nuclear waste while also hosting alien archetypes, whose presence, as is the nature of these entities, runs up and just behind the consciousness of the psychedelic figure’s eggshell-like skull.
#61028
By OthersideDeployer
Genesis
José Delbo sent me his striking pencil sketch and powerful inked work, which I then interpreted in oil on canvas. I wanted to create a very painterly piece with obvious brush marks etc, but I was also aiming for a nostalgic feel, a kind of 1980’s superhero comic book look, the kind I grew up with. My goal with this animation was to try to recreate, in part, the creative process that both artists went through with the visual information I had. I was able to showcase my painting process more accurately as I could take photographs of my progress throughout. Consecutive images could then be layered like brush strokes over José’s drawing to create the impression that this was one continuous artwork from pencil, to ink, to completed painting. The representation of the line sketch at the beginning, then pencil/ink and lastly the paint layers being applied demonstrate both artists’ struggle for the right lines, tone, form, and colour until the work is finally completed. As the oil was still wet with each photograph the glare of my studio lights can be seen in the brush strokes. Eventually, the figure emerges and as it does, our hero comes to life, looking directly at the viewer -- but is he grimacing in approval or disgust? We will never know for sure as just before he can say anything, white paint is brushed across the canvas entirely and the process begins again. Only the bat is quick enough to escape.
Chronicles 2018 - HODL
HODL illustrates the legendary rise and fall of crypto in 2018 by charting the 90 day moving average price of BTC into the physical rail path of an out of control roller coaster. Four hodlers hang on for the ride. Some lost their shirt, some lost their pants. Animation and music by Nick DenBoer.