21/12/2021 Brian Eno is not a fan of NFTs

brian eno-shamil tanna-01

If you were saving up Ethereum for a set ofDiscreet MusicNFTs, we’ve got bad news. Inan interview withCrypto Syllabus(conducted by longtime tech criticEvgeny Morozov, of all people), Eno outed himself as a skeptic of cryptocurrency — and NFTs in particular.

“NFTs seem to me just a way for artists to get a little piece of the action from global capitalism, our own cute little version of financialization,” Eno told Morozov. “How sweet — now artists can become little capitalist assholes as well.”

Best known for his pioneering ambient work and prolific producer credits, Eno seems like the perfect artist for the NFT era. He’s spent decades making art with an eye towards technology and its social implications, often made available assoftwareorlimited-edition product drops. Eno was a particularly early proponent ofalgorithmically generated art, pioneering the same basic process that produced those endless minutely varied monkey portraits for the Bored Ape crew. It would be easy for him to bank a few million pounds by turning this generative iPad app, say, into a string of 10,000 numbered NFTs.

But as he describes it in the interview, taking the NFT turn would be pointless as an artistic move and craven as a financial calculation.

“I am not sure what is being brought into the world that makes any difference to anything other than some strings of numbers moving about in some bank accounts,” Eno continues. “People I like and trust are convinced they’re the best thing since sliced bread, so I wish I could have a more positive view, but right now, I mainly see hustlers looking for suckers.”

Arts

https://www.theverge.com/2021/12/20/22846654/brian-eno-nft-crypto-skeptical-morozov-suckers

Interesting NFTs
Interstellaria 2020
Floral Ethereal
#76841
By OthersideDeployer
Fidenza #547
Fidenza is by far my most versatile algorithm to date. Although the program stays focused on structured curves and blocks, the varieties of scale, organization, texture, and color usage it can employ create a wide array of generative possibilities. Additional project feature(s) => Scale:Jumbo, Turbulence:Med, Colors:Luxe, Have Margin:No, Spiral:No, Soft Shapes:No, Super Blocks:Yes, Collision Check:No Overlap, Outlined:No, Shape Angles:Curved, Density:High
Alex in Wonderland
A figure, Alex, stands mostly naked in the midst of a physical and psychological maelstrom. He is clad only in nostalgic 80’s era socks, on a tenuous island between active waters and a variety of shark denizens. Sharks on the right side of the image are all beached, including a shark with a quartz crystal snout, an orange shark wrapped in a life buoy, and a shark further in the distance wearing an 80’s style shirt with the number “88”. On the left side is the largest shark, wearing bright glossy red lipstick and brandishing prominent teeth with braces. She is cordoned off from the figure by a roped float divider, and within her thought bubble is a warning symbol. Behind the figure, hovering in the air, are Grey aliens emerging from the distance, out of a series of elliptical UFO shaped interdimensional membranes. The Greys take on the visual form of spermazoa ostensibly impregnating the interdimensional thresholds. As is typical, these Greys inhabit a zone just behind the unconscious topology of Alex’s dissociative mind. Though Alex’s bottom half is representative, his top half mutates into a psychological cornucopia. In a manner akin to “Auto-Erotic Sphinx”, a predecessor work, the figure has self suctioned—an act of sensual infatuation, enjoyment, and exploration. Upward exists the figure’s primary conscious eye, adorned with a revolutionary beret emblazoned with a Bitcoin badge. The figure’s summit features the nose of a fighter jet facing off against video game Bullet Bills, one of whom is marked by a communist North Korean star. A cropped section of a UFO observes the contest. Alex’s mind branches both left and right. To the left is more singular embodied consciousness, manifesting two eyes and a Ganesh trunk grasping crayons. The right branch dissociates upward diagonally, emerging into an array of eyes, faces, teeth, tail, a unicorn horn, and much more—all of which participate in expressing his unconscious being; a democracy of psychic factions representing thought impressions and associations. All illumination and darkness– fernal, infernal, high consciousness and corporeal underbelly–reside in this realm. In the distance are relatively languid, light clouds, and against the firmament hovers a colossal distant eye peering over the scene and far beyond. This painting possesses underlying genetic traits with previous works such as “Auto-Erotic Sphinx with Toys”, “Dionysus”, and “Fuku-Shiva”. The work serves also as a nod to an earlier period of art inspiration during late teens and early twenties— born out of the nakedness, vulnerability, curiosity, and wonder inherent to coming of age and all subsequent psychedelic revelation.
Marinalandia
The aquatic world in a world to observe, to recreate, like the glacial landscapes. Both are a planet within ours, full of colors in the tropical case or minimalist in the glacier case, with strange species and wonderful animals each in its environment. This visual toy brings you a piece of that world in a fantastic setting.