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K21

K21  

#K21

K21 Price:
$0.16
Volume:
$107.0 K
All Time High:
$11.53
Market Cap:
$2.5 M


Circulating Supply:
15,584,678
Exchanges:
4+
Total Supply:
21,000,000
Markets:
5
Max Supply:
21,000,000
Pairs:
6



  K21 PRICE


The price of #K21 today is $0.16 USD.

The lowest K21 price for this period was $0, the highest was $0.157, and the exact current price of one K21 crypto coin is $0.15728.

The all-time high K21 coin price was $11.53.

Use our custom price calculator to see the hypothetical price of K21 with market cap of BTC or other crypto coins.


  K21 OVERVIEW


The code for K21 crypto currency is also #K21.

K21 is 1.5 years old.


  K21 MARKET CAP


The current market capitalization for K21 is $2,451,088.

K21 is ranking upwards to #748 out of all coins, by market cap (and other factors).


  K21 VOLUME


There is a medium volume of trading today on #K21.

Today's 24-hour trading volume across all exchanges for K21 is $106,991.


  K21 SUPPLY


The circulating supply of K21 is 15,584,678 coins, which is 74% of the maximum coin supply.

Note the limited supply of K21 coins which adds to rarity of this cryptocurrency and increases perceived market value.


  K21 BLOCKCHAIN


K21 is a token on the Ethereum blockchain.


  K21 EXCHANGES


K21 is available on several crypto currency exchanges.

View #K21 trading pairs and crypto exchanges that currently support #K21 purchase.


  K21 RESOURCES


Websitekanon.art
Whitepaperdocs.kanon.art/k21
TwitterKanonDotArt
Discord5ywahgEqT8
Mediumkanondotart
Instagraminstagram.com/kanondotart


  K21 DEVELOPER NEWS



Mika Rottenberg and Mahyad Tousi, “Doggy Clock”, 2021

“Some of the film’s inspiration is not so much the blockchain but, especially after a year of lockdown, the kind of intimacy and connection that technology can offer. So this is inspired by the more utopian ideas of what the blockchain or the internet can facilitate.”Mika Rottenberg and Mahyad Tousi, still from “REMOTE,” 2022 View Doggie Clock in the K21 gallery here Imagine a cuckoo clock, except it is in the shape of an adorable puppy sitting in a bathtub next to an analog timepiece. Bubbles and steam rise from the water, while the dog’s tongue and ears flap as the minute hand rotates around its prescribed circle. All seems innocent in this kitsch universe of kitchen collectibles. But suddenly, and for no detectable reason, the clock goes awry — the hands spin in different directions―before settling back into its metronomic regularity. This happens every once in a while; you can wait for the clock to misbehave, but you might just end up watching time’s inexorable passage. The doggy clock seems its own indecipherable inner logic. The timepiece is itself an intrepid traveler — having escaped from Mika Rottenberg and Mahyad Tousi’s new narrative feature film REMOTE, 2022. Another era. Another pandemic. Five women, quarantined in different parts of the world — all fans of a popular South Korean dog groomer/performer — discover they are connected to the performer and with each other through a mysterious portal hidden in their homes. Exploring notions of human connection in a tech-infused world where interaction across cultural and linguistic barriers is the norm, REMOTE tells a satirical tale blending weird fiction and magical realism. The finely crafted implausibility at the heart of REMOTE is a signature attribute of Rottenberg’s artistic practice combined with Tousi’s keen sense of narrative design and world-building. Over the past two decades, Rottenberg has combined remarkable, absurdist videos with related architectural installations and sculptures. Deeply interested in notions of labor and the different, inevitably subjective ways value is created, she visualizes wide-ranging modes of production — from potato harvesting and lettuce farming to pearl cultivation, cheese churning, and dough making (to name just a few examples). In her earlier videos, she built fetishistic environments in which individuals with extraordinarily attenuated physiques (people who, in real life, make a living off their extreme height or weight) use their own corporeal products — tears, sweat, hair, fingernails — in the manufacture of commercial items. The body as factory labors over an assembly line of nonsensical parts to create inessential goods.Mika Rottenberg, “Squeeze,” 2010 (still). Single-channel video installation with sound and digital C-print, 20 min., dimensions variable. Photo courtesy the artist, Hauser & Wirth, and San Francisco Museum of Modern Art More recently, Rottenberg’s videos suture scenes of labor from one distant part of the world to another through inexplicable thresholds: In Squeeze, 2010, an earlier collaboration with Tousi, Chinese women reach through portals to massage the forearms of Mexican field hands in California. In Spaghetti Blockchain, 2019, Tuvan throat singers perform on the steppes in Siberia, their ethereal voices washing over the production of matter at the Large Hadron Collider, near Geneva. And in Cosmic Generator, 2017, a hidden network of tunnels accessed through the Golden Dragon Restaurant in the border town of Mexicali inexplicably leads to a 99 Cents Store in Calexico and the vast plastic commodities market in Yiwu, China, that sources goods for both commercial sites. “Everything,” she once explained, “is in vibration and flux: there are no stationary things in nature. Even ideas are not stationary for me. There’s something about perpetual motion that is important conceptually.”1Mika Rottenberg, “Spaghetti Blockchain,” 2019 (still). Single-channel 4K video installation, 7.1 surround sound, color,18:15 min. Dimensions variable. © Mika Rottenberg, courtesy the artist and Hauser & Wirth. Produced by Museum of Contemporary Art Toronto; Arts at CERN, the arts program of the European Laboratory of Particle Physics, Geneva, with the support of the Permanent Mission of the United States to the United Nations, Geneva; Sprengel Museum, Hannover, with the support of Niedersächsische Sparkassenstiftung; and New Museum, New YorkMika Rottenberg, “Cosmic Generator,” 2017 (still). Single-channel video installation, sound, color, 26:36 min., dimensions variable. © Mika Rottenberg, courtesy of the artist and Hauser & Wirth. Commissioned by Skulptur Projekte Münster. Produced with generous support from Louisiana Museum of ModernArt, Humlebæk,Denmark; Outset Contemporary Art Fund, London; and Polyeco Contemporary Art Initiative, Piraeus, Greece Tousi is a multidisciplinary storyteller who has made an art form of not being pigeonholed in an industry determined to put artists inside boxes. His work spans mediums, genres, and platforms, ranging from conflict zone documentaries to VR installations to Hollywood films and TV shows. Earlier this year, he completed the second season of United States Al, a half-hour prime-time comedy he produces for CBS. These experiences are foundational to Tousi’s favored approach to storytelling and what he is most passionate about: to create and design “narrative experiences,” such as REMOTE. These narratives are enhanced and expanded through multiple platforms and mediums, in this case, a feature film, an NFT, and a web-based digital installation designed to reimagine value, work, and connection in a post-pandemic world. Though they have collaborated before, this is the first feature film Rottenberg and Tousi have co-created. Like the portals and tunnels — the weird apertures that enigmatically connect disparate worlds, foreign cultures, and physical states — they are not particularly forthcoming about what we will see in REMOTE before it premieres. Therefore, the role of the doggy clock, which has now metamorphosed into an NFT, remains shrouded in mystery. REMOTE will premiere in September and October, 2022 at the Busan Biennale, South Korea; L.A. MOCA; Moderna Museet, Stockholm; Musée d’art contemporain de Montréal; X Museum, Beijing; and Artangel, London. In the interview below, Mika Rottenberg and Mahyad Tousi discuss their collaboration and Rottenberg’s earlier work: Your videos always seem to be based on elaborate interlocking systems that in the rational world have nothing to do with one another. In Squeeze, for instance, lettuce farming, massage therapy, latex production, and the manufacture of cosmetic blush are interlaced in a narrative that weirdly makes sense in the alternate universe you constructed. How do you approach building the storylines for your work? Mika Rottenberg: It’s all connected in one way or another…I see it as a map or a kind of fictional building I design. So it’s a sculptural, three-dimensional thinking that then gets transformed into a time-based work of video. The narrative is constructed around this blueprint of a fictional space and visualizes the connections between social, emotional, psychological, and fantastical factors. There’s always a couple of logical associations that for me justify having them live together, but it’s more of a catalyst than the core. I’d hope viewers make their own logic and connections. The relationship between the corporeal and the mechanical is paramount in your art. What connections do you see between bodily production (sweat and tears, for example) and the production of goods? Is this about unaliented labor in the Marxist sense? MR: For sure, especially in the earlier works. Marx’s theory of labor and value was a big inspiration. I experienced his analysis of the creation of value from the point of view of an artist who makes things that have no use value and allowed my own interpretation. I’ve always been fascinated by his idea of commodities containing the “dead labor” of everyone who was involved in their making, so it’s almost a kind of spiritual interpretation.Mika Rottenberg, “Spaghetti Blockchain,” 2019 (still). Single-channel 4K video installation, 7.1 surround sound, color, 18:15min., dimensions variable. © Mika Rottenberg, courtesy the artist and Hauser & Wirth. Produced by Museum of Contemporary Art Toronto; Arts at CERN, the arts program of the European Laboratory of Particle Physics, Geneva, with the support of the Permanent Mission of the United States to the United Nations, Geneva; Sprengel Museum, Hannover, with the support of Niedersächsische Sparkassenstiftung; and New Museum, New York Your videos appear to give form to immaterial sensations like an itch or a sound or a smell. Is that a conscious goal of your work? MR: I like the experience of the work to be both visceral and cerebral, so this kind of reaction is one goal. I’m interested in bodily reactions to phenomena, as well as the more analytical awareness of how our bodies are seduced and manipulated by things, such as texture, color, and sound. I’d like the first reaction to be physical, but there has to be a conceptual hook, a kind of push and pull…Mika Rottenberg, “Cheese,” 2008. Multichannel video installation with sound, 16:07 min., dimensions variable. Installation view, “Mika Rottenberg: Cheese, Squeeze, and Tropical Breeze,” Museum Leuven, Belgium, 2011–12. Photo Dirk Pauwels, courtesy of the artist and Museum Leuven, Belgium Many of the protagonists in your videos are physically extraordinary: they are alternately extremely tall or large or have unusually long hair. The narratives seem to evolve from their remarkable presences. Do you create your storylines and then cast accordingly or do particular people and their bodies function as creative catalysts for your videos? MR: This is more true for my earlier work. In those cases, the protagonists are mainly people who use their body’s extraordinary ability, size, or shape in a way that adds extra value to the physical attribute they possess. I then utilized that attribute in my fictional “machines” in a way that makes that attribute very valuable to the work. So I was interested in that alchemy…for example, creating a space for someone who is extremely tall. That height might become an obstacle in some situations, but in this situation (and in the work they perform in their real life as fetish models), it accumulates more value. Your videos are most often exhibited in tandem with sculptural environments that enhance the viewing experience. What is the relationship between your videos and space? Between videos and materials? Between space and narrative? MR: Spaces that are designed for humans to inhabit and behave in are always interesting to me. A lot of the videos start from designing these malleable spaces that are a mix of interior psychological space and a physical space, so echoing some of that in the gallery space makes sense. In a way, it’s framing and preparing for the experience. It’s like the entrance room to a movie theater, a space that’s in between fact and fiction, a kind of twilight zone…Mika Rottenberg, “Spaghetti Blockchain,” 2019 (still). Single-channel 4K video installation, 7.1 surround sound, color, 18:15min., dimensions variable. © Mika Rottenberg, courtesy the artist and Hauser & Wirth. Produced by Museum of Contemporary Art Toronto; Arts at CERN, the arts program of the European Laboratory of Particle Physics, Geneva, with the support of the Permanent Mission of the United States to the United Nations, Geneva; Sprengel Museum, Hannover, with the support of Niedersächsische Sparkassenstiftung; and New Museum, New York With Spaghetti Blockchain, you reference cryptocurrency in the title. What did you see in the blockchain that relates to the incredible web of references you weave in the video: an ASMR factory, a potato farm in Maine, Siberian throat singers and the Large Hadron Collider in Switzerland? Is it about computation or transparency or abstraction — or none of these? MR: I was first intrigued by the very broad sense of materialism or “new materialisms”: the way humans exploit and manipulate matter but also are composed of and controlled by its physics. The throat singing was especially interesting to pair with the Large Hadron Collider (LHC) and the blockchain, because one aspect of it is to allow communication over great distances, utilizing the way sound waves travel and creating these special sounds that travel well through these distances. So it’s like an ancient internet, or even blockchain, because of the peer-to-peer kind of line that’s created between the singers. I was also very interested in this new kind of matter that technology provides and a new decentralized currency that propels itself. Another movement that directs the video is macro to micro: from the tiniest particles that occupy the internet, or the LHC, which is the largest machine ever known to be constructed by humans, to the tiniest particle it was built for, the Higgs boson. The NFT you’ve created for K21 — the misbehaving doggy clock — is related to your new feature film, REMOTE (2022). Does the film derive some inspiration from the blockchain as well? MR: Some of the film’s inspiration is not so much the blockchain but, especially after a year of lockdown, the kind of intimacy and connection that technology can offer. There is a reference to NFTs in the movie because one of the main characters runs a live internet show set in the near future, where she and other performers monetize their labor by creating coins that viewers can collect in order to watch it. Coins can become valuable depending on how well the show does. So this is inspired by the more utopian ideas of what the blockchain or the internet can facilitate. Mahyad Tousi: REMOTE takes place in a post-pandemic near future where many now-nascent tech concepts such as the blockchain, NFTs, and more have been woven into the fabric of life. In other words, it informs how stuff works in the background but it’s by no means what the story is about. Mika, please describe your collaboration on this feature film (your first) with Mahyad Tousi. Have you worked together before? Is collaboration essential to your work? MR: Mahyad and I worked together on several older videos, such as Squeeze and Cheese. Mahyad was the DP, but his involvement was greater than that. I’ve been wanting to collaborate in a deeper way ever since, because I loved his brilliant mind and persistence. For a while now, I’ve been wanting to explore a more time-based narrative in my work and make a feature film with a clear story. I’ve also been wanting to engage a writer, someone who’s more experienced with actors and that world, so that is how the collaboration was born. Collaborations are essential and are in a way my preferred way of operating right now, especially since this was made through the lockdown. Trying to foster this connection with another person through the isolation was a great rescue, but even without the lockdown, I think this is an important time to collaborate on this deeper level. Mahyad, you are a producer for film and television. What attracts you to making moving image–based work for the art world? How does your engagement on the advisory board for the MIT Center for Advanced Virtuality impact your storytelling in relation to the metaverse? Is REMOTE a meditation on virtuality? MT: I worked as a DP for many years before I produced a couple of features. I have loved working on all sorts of stuff, including shooting a few of Mika’s magical videos, starting with Cheese. I started to write and get into world building and serialized narratives fifteen years ago. For me, ‘story’ transcends medium, format, and genre, which should serve the how and what part of a story you want to tell. Working in a single medium narrows the pool of ideas that I could take on. I’ve always resisted being cornered in that way as a creator but have not always been successful at convincing others to take a multiplatform approach. REMOTE is a meditation on whether technology and virtuality can lead to the discovery of long-lost magic. Thinking with a multiplatform perspective was critical to the world-building. My involvement with the Center for Advanced Virtuality at MIT is an extension of my fascination with building narrative experiences. When we were developing this idea, we sought the advice of Dr. Fox Harrell who is the leader, heart, and soul of the Center and the most fascinating person I know who has been contemplating virtual futures that don’t suck as much as our present reality. Can you summarize the “plot” of REMOTE? The title certainly evokes thoughts of living and working under lockdown conditions. MT: Six very different women living across the globe discover each other when they realize they are connected like links in a mysterious and wonderful chain. They then set out to discover how and to what end. What role does the doggy clock play in the film? Is it an integral part of the story or just an endearing prop? MT: Positively both. The NFT of Doggy Clock tells us the time but also goes off its temporal script. What prompts the doggy in a bubble bath to misbehave like a crazy cuckoo clock? MT: That is the mystery at the center of the work. Does REMOTE have a sculptural dimension? Can you imagine the doggy clock in real space? MT: Yes, of course. The doggy clock is a real physical object that, along with the main set in the film, exists in both our reality and the reality of the story. Although we have not yet figured out how or if to integrate it into our presentation of the work. The Doggy Clock NFT is a way of expanding an aspect of these ideas beyond the limits of the film. Can you describe the 360 viewing experience of the film? How will this work? Is it in addition to a screen projection? MT: The Doggy Clock NFT is the first window onto the world of our film’s characters. We are also exploring building a web-based experience of the digital world presented in the film to stream the film and to explore narrative tangents on some of the ideas that informed this future. REMOTE was commissioned by Artangel; the Louisiana Museum of Modern Art, Humlebaek, Denmark; and Moderna Museet, Stockholm, Sweden; in association with Hauser & Wirth. The film was completed with support by MOCA’s Environmental Council, Los Angeles, US; Musée d’art contemporain de Montréal, Canada; X Museum, Beijing, China; the Busan Biennale, Korea; and The Contemporary Jewish Museum, San Francisco, US. 1 Steven Zultanski, “Mika Rottenberg on Filming the ‘Vibration and Flux’ of Global Capitalism,” Frieze, April 21, 2021, www.frieze.com, accessed Nov. 2, 2021.




Kanon Showcases the Revolutionary Capabilities of its New NFT Borrowing Protocol, ERC721Q, at…

Kanon Showcases the Revolutionary Capabilities of its New NFT Borrowing Protocol, ERC721Q, at Palazzo Strozzi’s “Let’s Get Digital!” Exhibition in Florence, Italy Partners with EVA DAO to Incorporate the New Protocol into the Consciousness NFT Release 20 May, 2022 Florence, Italy EVA DAO, a newly-formed DAO focused on exploring web3-enabled immersive live event experiences, announced the debut of its genesis NFT release, Consciousness (2022), at Palazzo Strozzi’s just opened Let’s Get Digital! exhibition in Florence, Italy. Consciousness is a collaboration between Anyma–one half of the legendary electronic music duo Tale Of Us–and digital artists Alessio De Vecchi, Filip Hodas of the K21 Collection, and Adam Priester. The artwork continues Anyma’s exploration of the unexpected harmony that arises when synthetic and organic elements are fused to generate new forms of conscious life. The exhibition is curated by Serena Tabacchi (director and co-founder of MoCDA, Museum of Contemporary Digital Art) and Arturo Galansino (General Director at Palazzo Strozzi).Anyma: Consciousness (2022). Courtesy the artist and Alexandre and Maxence de Damas. Consciousness incorporates Kanon’s revolutionary new open-source NFT protocol, ERC721Q, which allows anyone to transfer an NFT, to any wallet, without the owner losing control of the artwork. Kanon’s ERC721Q open-source protocol makes possible, for the first time, an expansive array of new NFT use cases including borrowing and lending NFTs, licensing, subscriptions, impermanent NFT memberships, gamified shared NFTs and many others. “Our collaboration with a trailblazing initiative like EVA DAO was an eye-opener for us”, said collector and Kanon contributor, Fastackl, “Our minds are spinning with ideas for how to use this protocol to give creators much more expressive ways of engaging with their audiences than just buying and holding NFTs.” “The new artistic and curatorial circuitry this simple protocol extension makes possible are literally infinite,” added Kanon contributor 0xAnimist, “We feel this is a significant contribution to catalyzing the web3 art revolution.” https://medium.com/media/f803458c6d4162e5576489db6ebb4fe2/href Consciousness was put up for sale on Wednesday, 18 May 2022. Soon after the sale was complete, MoCDA, Museum of Contemporary Digital Art, borrowed and holds the NFT on behalf of Palazzo Strozzi for use in the exhibition in exchange for a fee paid in K21 to the collector. K21 is the art-backed digital currency launched by Kanon in March 2021. “Custody and provenance are issues that collectors and institutions often grapple with,” shared Serena Tabacchi, director and co-founder of MoCDA and co-curator of the Let’s Get Digital! exhibition at Palazzo Strozzi. “With this new protocol, institutions have the assurance that the NFT being exhibited is in their wallet, in their possession, with the appropriate usage rights attached for the duration of the exhibition, and collectors have peace of mind knowing that they can retrieve the NFT themselves at the end of the loan.” In an experiment to decentralize a night at the museum, Consciousness may be borrowed on RQDQ during closing hours of the exhibition, every day from after 8pm CET until before 10am the following morning until Sunday, 22 May 2022. RQDQ is Kanon’s new NFT borrowing and lending platform (currently in beta). Members of the public will be able to borrow the NFT, for free, for 10 minutes at a time. During the borrowing period, the NFT will actually be transferred into the borrower’s Ethereum wallet and will remain there until another borrower transfers the NFT to their wallet. Borrowers of Consciousness will be able to go to the EVA DAO website and get access to exclusive content, available only to whoever is holding Consciousness when they visit the site. During the opening hours of Palazzo Strozzi (10am to 8pm CET), the NFT will return to the exhibition’s wallet, where it will remain during the opening hours of the exhibition. Once three days have passed, the NFT will return to the exhibition’s wallet where it will remain until the conclusion of the Let’s Get Digital! exhibition on 31 July 2022. After 31 July 2022 members of the public may again have the opportunity to borrow the NFT, depending on the wishes of the collector. https://medium.com/media/f1759ad8a669756dae06542eadb5e4c1/href Consciousness will be part of a cycle of performances that Anyma presents in various occasions around the world at live, artistic and interactive events, Afterlife. EVA DAO will release an edition of 150 NFTs, which can be minted from the EVA DAO website in the upcoming weeks. About Kanon Kanon is a pseudonymous collective of institutional art, design, and cryptonative technology professionals dedicated to pushing the boundaries of crypto-enabled artistic expression. Constantly innovating at all stages of the digital creative process, from visual design down to low-level open-source protocol design, Kanon is supporting a novel model in which creative expression, structural experimentation, and financial return are mutually reinforcing. In March 2021, Kanon launched the K21 Collection as its inaugural product. K21 is a closed-end art vault of 21 unique and original NFT artworks by a diverse roster of influential and pioneering contemporary, digital, and cryptonative artists. Coinciding with Art Basel Miami Beach 2021, Kanon brought magic to the blockchain with the NFT art project DAEMONICA, a visual and mathematical system of onchain occult operations, in collaboration with one of the artists of the K21 Collection who wishes to remain anonymous. In April 2022, Kanon released ERC721Q, a powerful new protocol for borrowing and lending NFTs that allows anyone to transfer an NFT to any wallet at any time, without the owner losing control of the NFT. In May 2022, this technology is showcased at Florence-based Palazzo Strozzi where the exhibition curators use the protocol to borrow EVA DAO’s Consciousness NFT for the duration of the exhibition in exchange for a fee paid in K21 tokens to the collector of the NFT. To learn more about Kanon, please visit Twitter and Instagram. For further enquiries please contact media@kanon.art. About EVA DAO EVA DAO is an emerging network of artists and technologists working together to unlock the true potential of creators and their ecosystems. Using web3, EVA DAO’s releases connect one-of-one artworks with live events, digital editions and more, evolving the fan experience to be more immersive, intimate and impactful. EVA DAO empowers artists, collectors and their communities to build an independent creative economy for music, video and live performance. About MoCDA The Museum of Contemporary Digital Art provides digital art education and technology to artists, collectors, institutions and art lovers. First and foremost, MoCDA is a museum that exhibits digital artworks for the purpose of documenting, collecting and advancing the position of digital art. MoCDA provides a foundation for understanding digital art in its own context, rather than as a mere by-product of the larger art world. The MoCDA platform offers a space for everyone to connect, discover and learn more about digital art. Our focus is on education and the endorsement of contemporary digital art in a way which is inclusive and future-oriented, encouraging engagement from a diverse audience with an artist-first approach. About the Let’s Get Digital! Exhibition at Palazzo Strozzi Curated by Arturo Galansino and Serena Tabacchi, Let’s Get Digital! brings together works by pioneering NFT artists such as Refik Anadol, Anyma, Daniel Arsham, Beeple, Krista Kim and Andrés Reisinger. Expanding into the Strozzina undercroft and the courtyard of Palazzo Strozzi, the digital installations and multimedia experiences on view will showcase the increasingly rapid intermingling of aesthetics and new technologies.




Another Dimension

Unleashing multi-dimensionality in the Daemonic Universe: “This is not a game of rarity, it’s a game of circuitry.”. — by 0xAnimist Yes, almost all Daemonica entities have the same numerical matrix. No, this isn’t a mistake. And, more importantly, yes, this is going to change. In fact, it’s changing today.Daemonica Entities on OpenSea: different tokenIds, same matrix… no more. — tl;dr - The numerical matrix of a Daemonica entity is a result of the other registered base64-encoded NFTs in the entity owner’s wallet. We call each of these registered contracts the “dimensions” of the Daemonic Universe. When it launched, Daemonica was one-dimensional: only KLIST tokens were recognized. Today, Daemonica has become multi-dimensional: Kanon just added Xe_ntities as a registered dimension. We have also opened up the possibility for anyone to add any other base64-encoded NFT contract as a dimension for the cost of 1 ether by calling dims add — address=0x… in the Daemonica.io interactive grimoire, where 0x… is the contract address of a base64-encoded series of NFTs. This means that anyone holding an entity may see its numerical matrix change if they are also holding at least one xe_ntity or an NFT from any other contracts that are registered. The change is not likely to render on OpenSea, however, so go to Daemonica.io and type entity manifest — id=YOURENTITYID to see if your entity has been affected. Read below if you want to understand how this works and what to expect. Our entire digital world, all of our computers, much of our electronics, anything that bleeps and boops or pings and sings thanks to a cascade of ones and zeroes represented by voltage differentials coursing through silicon or atmosphere or ocean or whatever owes something to Joseph Fourier’s 18th century mathematics. He discovered that any signal, no matter how clean and periodic or stochastic and unpredictable, could be decomposed into an infinite series of sinusoidal waves. A talk radio broadcast, for instance, or the readout of an EEG machine, each with all their real world asymmetries and random pauses and abrupt reanimations, were simply the sum of perfectly smooth and symmetric signals. Information chaos is just the choppy surface of an infinite ocean of implicate order. The Fourier Transform uses Joseph’s insight to convert signals from how they appear to us creatures of time — where Monday comes before Wednesday, breakfast before dinner, and one word before the next in the radio host’s voicebox — to another world altogether: the frequency domain.Fourier Transform diagram cribbed from the Internet A time-based signal that appears noisy and indecipherable may, in the frequency domain, be rendered intelligible. Patterns may emerge. Biases. Beauty. And new ways of massaging messages becomes possible. The Fourier Transform doesn’t just flip a signal over to see it from another side, it changes the entire world in which it is manifest. An anthropologist would recognize this as a form of perspectivism. It’s much more sophisticated than empathy, it’s the stuff of world making, the stuff of wisdom. It’s the stuff of magic. — So What? - It’s called a transform because it causes the signal itself to mutate, revealing not another side but another whole, this one native to another universe but still inherent to the same signal. It’s not like seeing your reflection in a funhouse mirror; it’s like seeing your soul reflected in a regular mirror when on magic mushrooms.Alex Grey, “Godself,” 2012, oil on linen, 60 x 60 in It doesn’t project, it reveals. Once it does, once it ports a signal out of time into the frequency domain, it allows would-be information surgeons — engineers, musicians, artists, magicians — to go to work with a time-twisting tool set unavailable in meatspace. More like an abduction than a kidnapping, the operated-on signal continues to propagate through time. It continues to produce effects in our domain. In a word, this is “magic.” Whether you speak to an Indigenous elder or a New Age Wiccan, they will tell you that moving information to another frame, manipulating it, and returning it home is precisely how to reshape the world. It’s what Tibetan monks are doing on the sidewalks of busy cities with their sand paintings. It’s what curanderos are doing in the jungle with their plant medicine. Whether it’s for healing or sorcery depends only on intent. Magic itself is amoral. It’s just tech. Daemonica makes the magical nature of the Fourier Transform — and thus, of all signal processing — explicit. The OccultMath.sol library used to render and manipulate entities and xe_ntities formalizes this in one of its functions in particular, sixtyFourier(), by marrying the Fourier Transform with base64-encoded NFTs in a novel form of two-dimensional gematria. — The Gematrix - The operation is simple: OccultMath.sixtyFourier() counts the frequency of each alphanumeric character that appears in a base64-encoded NFT and puts the results in an 8 x 8 matrix that we call the “Gematrix.” Base64-encoding, the compression algorithm that has become a standard for onchain art, takes a string of text — often the metadata of an NFT and it’s representation, such as an SVG file — and shrinks it down by a cipher that recodes it as a string of 64 unique characters: A-Z, a-z, 0–9, +, and /. When you call the tokenURI() function on a smart contract that renders a base64-encoded NFT, what you get back — what a web app like OpenSea or Daemonica.io then turns into an image — is just a clump of these characters, and only these characters, that can then be decompressed into something that is often both human- and machine-readable. Here’s an example on Etherscan for Loot bag #888:tokenURI(888) for Loot The matrix of an entity, then, is just the frequency of occurrences of each of these 64 unique characters organized into an 8 x 8 (=64) matrix. Since gematria is the art of mapping letters onto numbers in the exegesis of sacred scripture, allowing mathematical logic to be unleashed on texts like the Hebrew Bible to find hidden codes, we call our base64 matrix the Gematrix:The Gematrix For example, if there are four occurrences of the (capital) letter “A”, then the top left corner of the resulting matrix will have “04” in the top left corner. Next to it, to the right, will be the number of (capital) letter “B”s, and so on. Since the metadata and artwork for a Loot bag is quite minimal, the base64-encoding of it is fairly concise. There may be, indeed, only four instances of the (capital) letter “A” in the base64 representation of a Loot bag. Other onchain artworks are much more complex. Pythagorean Masks, for instance, requires an order of magnitude more data to render than a Loot bag, and is thus likely to have a lot more (capital) letter “A”s and “B”s and everything else. (*I’ve copied the base64 payload for Pythagorean Mask #888 at the bottom of this article as an appendix. Get ready to scroll.) To maintain matrix values from 0 to 88, an entity uses OccultMath.sixtyFourier() with modulo 89, meaning the frequency count simply rolls over like an odometer once it goes above 88. In other words, it maps a base64 cipher into a base89 representation. This will become important when we unpack the magic behind casting and the base89 numogram. Stay tuned for more on that… — Multi-Dimensional Gematria, Multi-Player Determination - The reason almost every entity had the same numerical values in its matrix until now is because the only dimension of the Daemonic Universe was KLIST and almost all KLIST tokens were tier 1, and thus identical. First, an aside on KLIST. KLIST is the membership token for K21 hodlers. Anyone with K21 in their wallet can claim a KLIST token for the cost of gas. A base64-encoded token, when tokenURI() is called to render it, the K21 balance of the owner’s wallet is used to determine which of 13 visuals is presented. Since the vast majority of entity hodlers were tier 1 KLIST members, the vast majority of entities have the same numerical matrix derived from the tier 1 KLIST token, those baby butterflies bookending the image below.KLIST Membership (v0) tokens: each is a butterfly sigil made of the letters K, L, I, S, and T, the complexity of which depends on the owner’s K21 balance To understand why, think of an entity as occupying a position based on its tokenId in a multi-dimensional universe. To begin, that universe was one-dimensional: entity #55 was just a point along that line between 54 and 56. Its numerical matrix came from running OccultMath.sixtyFourier() on KLIST token #55 only if the owner of the entity also held a KLIST token of any tokenId.An entity as a multi-dimensional point in the ever-expanding Daemonic Universe In other words, holding the token of a registered Daemonica dimension allows your entity to be manifest with the information from that dimension. That information doesn’t come from the corresponding token in your wallet, but from the token with the same tokenId as your entity. This has a number of implications. By owning any other KLIST token, you reveal your entity along the KLIST dimension, but unless you own both entity #55 and KLIST token #55, you don’t have any control over the values in the numerical matrix of your entity. Should whomever owns KLIST token #55 change its output — in this case, by sufficiently changing their K21 token balance so their KLIST token renders a different image — then the base64 code that determines your entity will change, changing it’s numerical matrix. Now that the Daemonic Universe has become multi-dimensional, the complexity increases. Kanon just registered the Xe_ntity NFT contract as a Daemonic dimension. Should you own an entity and hold both a KLIST token and a Xe_ntity, the numerical matrix of your entity will be based on both the KLIST token and the Xe_ntity token with the same tokenId as your entity. The frequency of occurrences of each base64 character in each input NFT will now be added together. As the Daemonica community adds more dimensions, more and more possible base64 NFTs will feed into each entity, creating increasing diversity amongst the numerical matrices as a result of entity owners hodling other onchain artworks. — Visible > Ownable - Many generative onchain artworks limit ownership to hundreds or thousands of tokens but render all possible tokenIds. In otherwords, the ownable universe of onchain art is far outstripped by the visible. By how much? ERC721 NFT tokenIds are encoded as uint256, 256-bit unsigned integers. Such variables can hold numbers from 0 to 2²⁵⁶, or 1.15792089237 x 10⁷⁷.The mathemagical artifacts of Sisyphean measurement This is not just a vast number, it’s a significant one. The best current estimates for the number of atoms in our physical universe is roughly 10⁷⁷. Which is to say, each Daemonic dimension of generative art that behaves this way is itself on the order of our physical universe. I, for one, find such estimates about as useful as any Alexandrian sorcerer may have found models of the Sun encircling the Earth. That’s not to say it’s not true, but that truth doesn’t matter. What matters is what maps you build a world with, and the more culturally relevant those maps, the more your magic can manipulate culture with them. — Think With It - Having gone multi-dimensional, the Daemonica experiment has begun in earnest. Which communities will register their onchain NFT projects as recognized Daemonic dimensions? How will the entities respond? As the artist has come to see it, this project is “oceanic.” I dare not speak for them, but I do see what they mean. As Daemonica progresses, the uniformity amongst entities will break down, erupting instead into a bubbling cauldron of difference. As feedback loops are built between Daemonic dimensions and new projects that ingest entities and xe_ntities the way Daemonica ingests other base64 NFTs, strange currencies will emerge. This isn’t a game of rarity, it’s a game of circuitry. And the genesis state is now ticking away.  — @0xAnimist — Appendix - *Pythagorean Mask #888 base64 payload: {"name": "Pythagorean Mask # 888", "description": "The Pythagorean school of thought teaches us that numbers are the basis of the entire universe, the base layer of perceived reality. The rest is but a mere expression of those. Numbers are all around us, have always been, will always be. Welcome to the n Collective.", "image": 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"} — FIN —




Launching Daemonica

K21 Collection Artist Collaborates Anonymously with Kanon to Haunt the Blockchain in New NFT Art Project, Daemonica Kanon today announced the launch of a new NFT art project, Daemonica, a visual and mathematical system of onchain occult operations created in collaboration with a renowned artist from the K21 Collection who wishes to remain anonymous. Inspired by the recent maturation of onchain NFT art spawning vast and composable ecosystems, Daemonica pursues the esoteric side of this phenomena with a similar ambition. It does so with NFTs that take the form of two types of 8 x 8 matrices of numbers: “entities” and “xe_ntities.” Using novel occult mathematical functions inspired by signal processing, biblical exegesis, and 1990s-era cybergoth philosophy, entities are dynamically generated on chain out of the image and metadata of other NFTs in the owner’s wallet. An entity is constantly in flux; snapshots of it in time can be taken by “casting” a xe_ntity, a frozen copy of its mirror image that can itself then be bound to other NFTs. Daemonica is thus a meta artwork. It stitches together onchain NFT artworks, creating complex circuits of interaction and mutation. Change one and you change the others. Each NFT in the ecosystem can become a platform or product of another using Daemonica’s three spells: “manifest,” “cast,” and “bind.” Feedback loops can be built between artworks, spawning a new kind of time and a new kind of art. The curatorial relationship with the artist consisted largely of over 20,000 words exchanged pseudonymously via email. The artist would leave challenges, answer questions, provide visuals, and shape the philosophy of the artwork that emerged in collaboration. “What if a blockchain = a new manifestation of those old and vital mystic traditions? An incorporeal space where everything is saved, nothing is forgotten, and every creation is an act of renewal?,” they asked in an initial exchange. “What might a ‘spiritualized’ entity in this domain look like, feel like, and be made of?” Kanon’s curators, engineers, and designers were led through the process as much by fealty to the artist’s words as by the many synchronicities that accompanied solutions as they appeared. “Base64 is exactly what it sounds like, a number system that uses 64 unique characters as digits: 0–9, A–Z, a–z, +, /. Well, those 64 characters can be arranged in an 8 x 8 matrix (8 x 8 = 64). See where I’m going…?” wrote Kanon contributor 0xAnimist after a late-night session. “This is real sorcery now,” responded the artist. Magic is the practice of making maps with such fidelity that manipulating them produces real effects in the territories they chart. Humans and our ancestors have been doing it since we first started scratching snakeskin patterns onto ochre and entoptic phenomena onto cave walls. Daemonica brings this praxis to the blockchain: image magic for the digital age. Daemonica’s website provides an interactive grimoire — a spell book in the form of a command-line interpreter — for artists, collectors, degens, and other magicians to haunt the blockchain at scale.Onchain Entities Brought to Life through OccultMath: How Daemonica Work A Daemonica entity is brought to life with the “animo” function. Calling “manifest” on an entity reveals its current 8 x 8 numerical matrix. The numbers are derived through a novel formula, “sixtyFourier,” that converts the base64-encoded representations of other NFTs currently held in the entity holder’s wallet into a series of frequencies from 0 to 88 that form the numbers of the matrix. As the entity holder moves onchain NFTs in and out of their wallet, their entity is transformed. To take a snapshot of their entity, the holder can call “cast.” Cast as in a spell and a mold, this function creates a xe_ntity with a matrix whose values are each the difference between those of the entity at that moment and the maximum frequency, 88. If you visualize an entity as a landscape where each value in the matrix represents height, then a xe_ntity’s matrix fills the space above it. By preserving a potentially significant moment in the life of an entity, a xe_ntity acts like a talisman. Casting transforms the entity in the process. Each value in an entity’s matrix is updated using a base89 (i.e., numbers from 0 to 88) version of the numogram: a qabbalistic Tree of Life developed two decades ago by the Cybernetic Culture Research Unit, Ccru, for the digital age. Every time an entity is cast, its matrix values progress one stage along the tree. While the matrix of an entity is rendered in common numerals, that of a xe_ntity is encoded in Tic Xenotation, a number system developed alongside the numogram by a potentially fictional NASA scientist exploring prime numbers as a signal for intelligent alien life. As the artist puts it, “It reads like the lost sermon of the great mystic and mathematician Dmitri Egorov.”Untitled, pencil on paper, 2021, courtesy of the artist Spawned from entities at birth, xe_ntities can then be irreversibly bound to any other NFT through the “bind” function. They will thereafter automatically move with the NFT that they are bound to when that NFT is transferred. To perform all of these operations on chain, Kanon developed a new Solidity math library, OccultMath.sol, which removes some of the guardrails present in the standard SafeMath library to provide new mathematical primitives without compromising on security and efficiency. In sum, Daemonica entities and xe_ntities inhabit the universe of onchain art, serving as an ever changing marker of occult time that can be manipulated by the owner to perform magic by making art. As the artist describes it, “The potential of snapshotting the different stages of a changing entity opens up even stranger dimensions of use. It’s almost like each entity then has the potential of building its own ‘blockchain.’ But it would function like an entity’s ‘calendar’ within Daemonica’s parlance (given that the date of creation is called a ‘new day’).”A Rich Pulse to Animate a New Class of Living NFT Projects NFTs that provide visual renderings entirely through onchain operations open the door for creators and developers to create complex dynamic NFTs. Defining the operations by which an NFT can go beyond mere gimmickry and actually be brought to life is a significant technical and metaphysical challenge. Daemonica provides NFT artists and developers with a rich dynamic heartbeat that can be used to animate a wide range of creations. Weaving complex relationships between entities, xe_ntities, and future NFT projects may produce a kind of art we haven’t seen before. Kanon is excited to be currently working with a number of artists, some of whom also produced works for the K21 Collection, to be the first to build on top of this new esoteric primitive.Daemonica Distribution A total of only 4,428 Daemonica entities can ever be minted. Initially, 1,107 will be distributed. The first Daemonica distribution will occur during the inaugural Entoptic × Kanon WAGMIAMI NFT Festival. Minting of the entities will begin at approximately 10pm U.S. Eastern Time on 1 December 2021 and will be facilitated by the Daemonica website. For the first 48 hours, minting will require participants to hold a KLIST NFT, which holders of the K21 token can mint for free (aside from gas cost) on the Daemonica website. During these first 48 hours, participants will be able to mint a maximum of three Daemonica entities. After 48 hours from the commencement of minting, anyone will be able to mint as many entities as they wish, with a maximum of 21 per mint, while the available supply lasts. Minting cost for all participants will be 0.088 ETH per Daemonica entity. The revenue generated from the Daemonica project will be shared 50/50 between the anonymous artist and Kanon.About Kanon More information on the remaining Daemonica distributions will be made available soon. Kanon is a collective of art, design, and cryptonative technology professionals dedicated to establishing enduring protocols and products for the art of the next 100 years. Kanon leverages the decentralized finance ecosystem to recast patronage, philanthropy, curation, and custodianship. In doing so, Kanon is creating a new model in which artistic expression, structural experimentation, and financial return are mutually reinforcing. In March 2021, Kanon launched the K21 Collection, a closed-end art vault of 21 unique and original NFT artworks by a diverse roster of influential and pioneering contemporary, digital, and cryptonative artists. In August 2021, Kanon launched KSPEC, an open-source, permissionless protocol that provides institutional-grade provenance to any NFT and allows creators to make any NFT extensible and updatable. For further enquiries please contact media@kanon.art. Launching Daemonica was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.




Kanon raises $1.92 million for charitable causes chosen by the artists of the K21 Collection

Kanon today announced the successful conclusion of the K21 Charity Token Auction announced on 5 November 2021. As mentioned in Kanon’s first post on 21 March 2021, Kanon set aside one million K21 tokens to donate to charitable causes chosen by the artists whose works were acquired for the K21 Collection. At the request of certain artists, 595,235 of these one million K21 tokens were offered for sale to accredited investors and financial institutions via a Gnosis Auction. The auction started at a price of $0.88 cents per token and closed at $1.92 per token, raising a total of more than $1.14 million for the 595,235 K21 tokens that were made available in the auction. Another 404,765 K21 Charity Tokens were sent directly to artists who chose to distribute the tokens directly to the causes themselves. In total, Kanon raised $1.92 million for charitable causes through the K21 token, including the proceeds of the K21 Charity Token Auction and the K21 Charity Tokens distributed directly to artists (assuming the charity tokens distributed to artists were valued at the closing price of the auction of $1.92). “We created Kanon to prototype what a new artworld could be, not just in terms of aesthetics and discourse but also agency and response-ability,” commented Kanon contributor @0xAnimist. “We began by helping to permanently preserve ~30,000 acres of cloud forest outside Machu Picchu with Art into Acres. Now we’re empowering our artists to orchestrate a sizeable gift economy and we’re just getting started.” “We’d like to extend our deep thanks to all the auction participants,” added Kanon contributor @fastackl, “as well as to the K21 artists who made this incredible achievement possible. In a world where artists often have to donate their works in order to support institutions, creating a mechanism that allows them to simultaneously participate and give back is nothing short of revolutionary.” K21 Collection: participating artists Alex Mordvintsev, Arca × Frederik Heyman, China Tracy, COOL 3D WORLD, David OReilly, Filip Hodas, Hank Willis Thomas × Wide Awakes, Jenna Sutela, Mika Rottenberg and Mahyad Tousi, Liam Gillick, Pak, Paul Chan, Precious Okoyomon, Rachel Rose, Raoul Marks, Rebecca Allen, Rirkrit Tiravanija, Simon Denny, Sondra Perry, Suzanne Treister, Terrell Villiers. About Kanon Kanon is a collective of art, design, and cryptonative technology professionals dedicated to establishing enduring protocols and products for the art of the next 100 years. Kanon leverages the decentralized finance ecosystem to recast patronage, philanthropy, curation, and custodianship. In doing so, Kanon is creating a new model in which artistic expression, structural experimentation, and financial return are mutually reinforcing. In March 2021, Kanon launched the K21 Collection, a closed-end art vault of 21 unique and original NFT artworks by a diverse roster of influential and pioneering contemporary, digital, and cryptonative artists. In August 2021, Kanon launched KSPEC, an open-source, permissionless protocol that provides institutional-grade provenance to any NFT and allows creators to make any NFT extensible and updatable. To find out more about Kanon and its projects, please visit kanon.art, Medium, Twitter and Instagram. For further information, please contact media@kanon.art Kanon raises $1.92 million for charitable causes chosen by the artists of the K21 Collection was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.




K21 Charity Token Auction

For Information Purposes Only Disclaimer: Information provided within this post is provided “as is” without warranty of any kind, either express or implied, including without limitation, warranties of merchantability, fitness for a particular purpose, or non-infringement. As part of the requirements of the K21 Charity Token Auction, all participants must be an accredited investor as defined in paragraph (1), (2), (3) or (7) of Rule 501(a) of the Securities Act, and have knowledge and experience in financial and business matters and be capable of evaluating the merits and risks of their investments and be able to bear the economic risk of such investments. As mentioned in Kanon’s first post on 21 March 2021, Kanon set aside one million K21 tokens to donate to charitable causes chosen by the artists whose works have been acquired for the K21 Collection. At the request of certain artists, 595,235 of these one million tokens will be offered for sale via a Gnosis Auction with a minimum initial price of $0.88 per K21 token. Financial institutions and accredited investors will be invited to compete in the auction. If you are an accredited investor or financial institution and would like further information on how to participate, please contact info@kanon.art with the subject: “K21 Charity Token Auction”. Note that while we will endeavor to generate as much demand as possible for the auction within the compliance constraints that we are subject to, and that while we expect the final auction price to rise and converge with the market price of K21 tokens, we cannot predict the ultimate result of the auction. The auction contract has been deployed, with an auction end date of 17 November 2021 at 12:00 UTC. You can track its progress here. Tokens sold in the auction will be freely tradable after auction settlement. All USDC proceeds of the auction will go to the charitable causes of the artists’ choice. A further announcement will be made soon after the auction has concluded.




David OReilly, “4004,” 2021

18/21. — — An OOPArt artwork that twists the time of the information age. — David OReilly, additional photograph of “4004” accompanying the artwork via KSPEC, 2021 View 4004 in the K21 gallery here → David OReilly’s 4004 is not just art, it’s an OOPArt. Out-of-place artifacts are the anomalous data points in the timeline that undermine pat historical narratives. The Antikythera machine, the sophisticated two-thousand-year-old Greek astrological computer of interlocking bronze gears found at the bottom of the Mediterranean; an electrical battery dating to ancient Baghdad; an incandescent light bulb inscribed on the wall of a Dynastic Egyptian tomb; an early-twentieth-century pickaxe ensconced in a Paleozoic rock formation: such examples suck the wind out of just-so theories of the past and even the very notion of linear time itself. They are visitors from a bigger universe that pry open willing minds. Such archaeological black swans are too often quarantined as outliers or ignored altogether. They’re too hot to be tamed, institutionalized. What could be the new centers of Copernican Revolutions in the story of us are instead hidden away in our collective Jungian shadow. Rather than liberate, they haunt us. Art as OOPArt is an invitation to exorcism. Decoding one approach. 4004 inspires a cascade of meaningful interpretations in its filmic associations alone.David OReilly, additional photograph of “4004” accompanying the artwork via KSPEC, 2021 David OReilly’s black swan is a transparent monolith. Unlike Stanley Kubrick’s, it reveals its innards: a single microchip, the Intel 4004 system-on-a-chip, the world’s first CPU. Floating vertically off-center at the position of a human heart in a glistening resin block, it resembles a 16-legged, gold-and-white ceramic insect carrying the genetic code of Homo digitus. Like the mythical mosquito preserved in tree sap that birthed Jurassic Park, OReilly’s objet trouvé seems to be more for the use of future discoverers than those contemporaneous with it. As with the Paleolithic materia magica of our distant ancestors — those similarly small ceramic figurines that powered long-forgotten, consciousness-altering ritual machines — it stitches together distant times that share the same space. Such time-traveling fragments allow us to rejoin suspended dreams, recover lost cosmogonies. They do so by triggering synchronicities.David OReilly, process photograph, 2021 That OReilly’s monolith, the somewhat unpredictable product of an analog process of physically refining it down to remove cracks and other glitches, arrived at nearly the same aspect ratio as Kubrick’s is not insignificant. Inspired by the film 2001: A Space Odyssey, Arthur C. Clarke massaged its dimensions to arrive at a sequence of prime numbers for his related novel. Between the precision of text and the imprecision of film, a mythology of the meaning of the monolith has emerged, likening it to the film screen itself or even the black mirror of the smartphone. Like ancient pyramids, some objects — archetypal ones — just seem to inspire thick living narratives. The point is not to crack the code but to keep telling tales, acquiring more perspectives, generating an ever growing kaleidoscope of meaning. While the monolith of 2001 was eventually flung off looking for a new place to land, OReilly’s 4004 sits patiently on Earth waiting for new gardeners to arrive. It’s a seed bank for the story of us to be told by and infect alien historians here and then: panspermia outside-in. OReilly was put here to do such work. He was called, literally. In the interview below he reveals how a faint signal coursing through the ether — a radio broadcast — set him on his path already in his early teens. Since then, he’s been on a mission.David OReilly, additional photograph of “4004” accompanying the artwork via KSPEC, 2021 Despite his many successes — initiating popular aesthetic regimes, upending assumptions about computer game design, carrying the torch for independent computer graphic arts, and even writing for South Park — he’s eschewed the cushy corporate life and the riches it showers on those who give in. He’s followed his gut, risking (and arriving near) ruin at many turns, always eeking out an escape into new creative territory. He put the first 3D character on the web, likely created the first-ever crypto art already in 2013, and has now used his first physical artwork to create the first NFT with bonus material. While the physical monolith currently remains with the artist, its digital shadow has been multiplied through the prism of KSPEC, Kanon’s on-chain protocol for rich NFTs. OReilly used it to attach a selection of stills, behind-the-scenes footage, and additional videos to 4004. The artwork itself comprises twinned looping videos of the monolith making a full rotation, each exactly 4004 frames long, in landscape and portrait orientation. The owner — the K21 Collection, for now — and anyone savvy enough to inspect the chain is given access to the full toolkit, a treasure trove for future (alien?) curators and conservators to tell and preserve its story and the story it tells about us as a people at this inflection point in time. That it took OReilly years to even find the chip in the first place — and an unused original at that — adds one more synchromystical dimension to this work: first created in 1971, the CPU turned fifty in 2021. Of course an OOPArt artwork that twists the time of the information age would demand rhyming numbers. Check out OReilly’s own text on 4004, “Where it began,” at davidoreilly.com/4004, see the full archive of additional videos and photos here, and read on for our interview. Did you ever have a 9-to-5 or have you always been a free radical? I have had different 9-to-5s, but spent a lot of time making sure I didn’t have to. In part, because I had an early taste of doing my own work. My career started at fourteen, when I began working at an animation studio, Cartoon Saloon, in my hometown of Kilkenny, Ireland. They had just opened and I had to be useful to stick around. They had no experience with 3D, so I taught myself an early version of Blender and that was it. There was no going back. How did you land a gig at fourteen? My mom and I heard an ad on the radio for Young Irish Film Makers, YIFM, so I called them and she drove me up. I told them I liked drawing and they said an animation studio had just opened upstairs by a team that had just finished college. I was there at the very very beginning. They weren’t very organized, and I offered to do anything to help. For the first couple of years I did fairly menial tasks: punching animation paper, doing line tests, coloring. I learned everything about the classic animation pipeline. I don’t think I was particularly artistic, but because we were quite poor and I was so vulnerable, I think that whatever I found I would have clung to for dear life. It happened to be animation.David OReilly, “The External World,” 2011 (still) Did you ever study animation formally? I began a four-year college course on animation but left after a year. It was too focused on 2D animation. I knew that 3D was coming and wanted to get moving. So I left after the first year and moved to London. I got a job at Studio AKA, a prestigious commercial house, and also began working with Shynola, a music video collective. I was ten years younger than anyone around me and I was working really hard and doing what I loved. After a while I missed doing my own work, so I quit. I did my first music video for the electronic musician Venetian Snares for free, which got me representation. Then I pitched on forty different music videos and lost every single one. The whole thing was a disaster. Is that how you pivoted into doing film? I found a lifeline in Fabrica, a research center at Benetton in Italy. I won a scholarship there. At some point I became friends with the security guard, who gave me access to Luciano Benetton’s private cinema, so I watched stacks of films there every day. Around 2006 I moved to Berlin and started pursuing independent CG. The first film was RGB XYZ, then I spent a year doing one which was a disaster and was never released. Then, Please Say Something, my short film about a cat and a mouse, blew up. It won the Golden Bear at Berlin, which was a huge deal at the time. This film was credited with popularizing the style of flat, low-polygon, lo-fi CG. I went to dozens of festivals around the world with my films — later with The External World. Throughout that time it was extremely rare to find others doing computer graphics as an artistic practice. This was all self-funded. I’m getting the sense that there’s been a lot of dramatic, make-or-break, gotta roll that hard 6, ballsy moments in your life. Well, there were a lot of extremes where I had very few choices. A lot of it was totally miserable and extremely lonely. What inspired you to constantly bet on yourself against the odds? When I was exposed to certain independent animators from the twentieth century as a teenager, my brain exploded with joy. Not only with the work itself, but with the feat of creativity conducted by an individual. Independent animation is the truest, purest form of auteurship in cinema. I was blown away by Oskar Fischinger and Norman McLaren. They are extraordinary figures who explored the moving image and animation in a beautifully poetic and personal way, and I wanted to follow their path.David OReilly, “Mountain,” 2018 (still) Your game Mountain is a game without an objective. It’s an anti-game. It should have been a complete flop, but it was a huge success. How did you convince anyone to publish it? What was your initial pitch? It was an unpitchable idea. At the time, the idea of a nature simulation game didn’t exist. When I announced it, people even put out parodies; one was called Rock Simulator — they thought it was a troll to have a game with no goals. Since there is comedy in much of my work, people thought Mountain was a joke, but it just came from a different place than my other work. I produced it independently, self-funding it with the last money I had from working on Her. It was Greg Rice from Double Fine, a San Francisco game studio, who gave me promotion advice. He brought it up at the company to have their official help publishing, but some C-suite guy told them it was unmarketable, it was silly, and we shouldn’t do it. Tim Schafer overruled him. It went out with their help and ended up selling over a million copies. Why did you have such conviction that you would risk ruin to make it happen? Certain ideas will excite you to crazy degrees. I can’t explain it, but I remember exactly how it felt. I’d been broke so many times, and you never forget it, like with a painful injury. The times around the release of Mountain and Everything were unbelievably close to the bone. I just had faith. I thought this could be something special and this is what I was put here to make. Given your past, it’s remarkable how people give you shit for doing NFTs. People don’t know where I come from. I spent more than a decade releasing work for free, which was popular but lost money every time. I always avoided doing this for money. Even when I was broke, I turned down dozens of commercial offers and watched others make money imitating my work for those same clients. I understand why some are resentful of NFTs: it’s public, while grants and commercial jobs happen in private. I am not into the public-sales aspect, but I would rather survive doing my own work than be told what to do. How did you end up in the writer’s room of South Park? I had worked for years with the third writer in that room, Vernon Chatman, who is the smartest guy I know. We had done a few projects together. Getting to work in that room was the honor of a lifetime. Matt Stone and Trey Parker were my heroes. It was crazy to watch them hunting for jokes, to witness Trey piece together a story in real time.David OReilly, “Alien Child” sequence for Spike Jones’s “Her,” 2014 (still) Comedy seems to be a casualty of contemporary culture — the nexus of virtue signaling, woke identitarianism, cancel culture, and so on. The last decade seems to have made so many comedians into celebrities. People supposed to be playing the role of instigator, critiquing culture from the outside and deflating self importance, have become inside of it. I think Twitter has played a role, intentionally or not. Once comedians get a hold of a verified badge it’s something to hold on to. Possibly without even noticing, they start feeling the need to take themselves seriously and deliver moral statements. At the same time, it has become such a liability to be a funny person, a famous person, even a named person in the public eye. You stick your head out at your own peril. Most well-adjusted people understand there’s nothing virtuous about this attitude of “you ought not to do or say that,” but anti-wokeness can be just as lame as wokeness. We lack the language to properly navigate it. Nobody wants to defend taboo.David OReilly, “Everything,” 2017 (still) You gave a talk in 2018 describing “art” as that which exceeds language. If this is a bad moment for comedy, maybe it’s a good time for art, for experimenting in new ways. 4004 required you to make your first physical artwork. What was the catalyst? K21 was for me an opportunity to try something new. My main territory is the formal exploration of digital 3D, and I have always been fascinated with its origin, with the actual hardware that enables it. For instance, I have spoken about the nineteenth-century Jacquard loom, which created a work of pre-pixel art using punch cards and thread, moving left to right, top to bottom, just as an image is rendered on a computer. In this work I focused on the GPU — the hardware that directly links crypto and computer graphics. I find it fascinating that crypto miners and 3d artists actually compete for these chips. So I went down the rabbit hole and it led me to the 4004. It’s the original CPU. Were you already well versed in the 4004 before you arrived at it? I hadn’t heard of it, which surprised me because this is something that should be as well known as the light bulb. Then I saw a picture of it. There was something so unbelievably innocent about it, something so benign. It’s a delicate little white ceramic thing. You can interpret it as the source of all evil, of our warped social fabric and cultural landscape, but also all the medical advances that have kept us alive. All of the surveillance, but also all the engineering. This is what Kubrick did so well with HAL in 2001, creating a feeling of terror and awe when you encounter such an extremely protean and impenetrable object. Hence encasing it in a transparent monolith? I wanted to make a sculpture that expressed this simultaneous innocence and terror in the form of an alien artifact, something that could be exhibited alongside the Venus of Willendorf. It’s a significant cultural artifact that humans created, and it changed reality irrevocably afterward. It’s a departure from CG but also deeply integrated into my work and overall conception of art, which is about drawing attention to things that are being ignored by isolating and amplifying them. And that’s the simplest version of what’s going on in this piece: it’s an isolation and amplification of something that we ought to pay attention to. David OReilly, “4004,” 2021 was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.




China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021

17/21. — China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021 — “China Tracy decides to explore new, faraway realms since her once dynamic RMB City is now only an electronic archive of itself.”. — China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021 (still) View Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月 in the K21 gallery here → China Tracy made her first appearance in 2006 on Second Life. Svelte and stylish, she embodied in name exactly where she was from — a virtual utopia called China, where the best of Communism and capitalism intermingled in a futurist landscape carved from free expression and electric dreams of abundance. She was adventurous, courageous, engaging, and ultimately beguiling. The star of her own three-part documentary film, i.Mirror (2007), China Tracy shared her personal journeys through the Second Life metaverse — teleporting, exploring, socializing, dating, falling in love, and eventually dissolving her digital romance. On the emotional level, China Tracy was all too human; she personified the aspirations of most intrepid travelers through life. She was an avatar with feelings, who was not too proud to reveal her vulnerabilities.“Live in RMB City,” 2009. Machinima, single-channel video, 5:4, color with sound, 24 min. 50 sec. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers China Tracy’s creator, contemporary Chinese artist Cao Fei, built a bustling metropolis on Second Life called RMB City (2007–11), where her avatar played guardian spirit and hostess supreme. In this sparkling, fantastical urban environment on the edge of the sea, there was culture: they staged an opera inspired by propaganda performances from the Chinese Cultural Revolution. There was real-estate speculation, meatspace collectors purchased property, and institutions like the Guggenheim Museum licensed the use of their buildings. There was also governance: they elected a mayor, UlliSigg Cisse, the avatar for real-life art collector Ulli Sigg, in a festive ceremony emceed by China Tracy herself.“RMB City: A Second Life City Planning,” 2007. Machinima, single-channel video, 4:3, color with sound, 5 min. 57 sec. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers Cao Fei’s mesmerizing avatar must have taken root in the artist’s imagination even before she discovered Second Life, given the video projects she was pursuing prior to 2006. In Cosplayers (2004), she explored the importation of Japanese cosplaying into Chinese culture, capturing the transformation of her youthful subjects into their anime characters and their interaction with one another as well as with their decisively non-roleplaying families. Here was a real-world adoption of fictional identities, a LARPing of teenage social engagement in which everyone has superpowers and a clear sense of purpose. When Cao Fei received a commission in 2006 from the Siemens Arts Program for a residency at the OSRAM lighting factory in Foshan, in the vastly expanding Pearl River Delta, she made the video Whose Utopia? by forging relationships with several employees who responded to her queries about their relationship to work and their aspirations for the future. She filmed these factory laborers at their mechanized jobs producing light bulbs but also included dream sequences that revealed their innermost fantasies of self: a ballerina on pointe, a flamenco dancer, a martial arts expert all perform amid the conveyor belts and miles of stocked storage shelves.“Cosplayers,” 2004. Single-channel video, 4:3, color with sound, 9 min. 12 sec. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers What is an avatar but an imaginary projection of one’s subconscious yearnings? It is not a mirror that reflects an outward persona — the superego that shows up every day at work or at school, usually on time. An avatar is more than a disguise or simply an alter ego or double who can interact online. Like the cosplayers or factory workers in Cao Fei’s videos, an avatar is a manifestation of one’s deepest id — who you would be if not constrained by convention or class or gender or even by being human. In response to our invitation to create an NFT for the K21 collection, Cao Fei resuscitated her avatar, China Tracy, who, in typical form, expertly authored the artwork. As sharp and insightful as ever, China Tracy surveyed the terrain of 2021 culture and found it wanting. Technology may be advancing at breakneck speed but the world itself is in crisis — climate emergency, the Covid pandemic, failures of democracy, and unprecedented economic inequity. In her always elegant way, China Tracy decides to explore new, faraway realms since her once dynamic RMB City is now only an electronic archive of itself. She attempts to fly to the moon, but never quite escapes the pull of gravity. There is a melancholic beauty to Einstein on the Beach — Chasing the Moon that speaks to the cyclical nature of time. While things may die and be reborn over and over again, there is always the journey that contributes to transformation. No two cycles are ever the same. Welcome back, China Tracy. In the interview below, China Tracy speaks about her reappearance in Cao Fei’s work, providing insight into the artist’s ongoing practice and the creation of her first NFT. As a young artist (whose father is a well-known “traditional” sculptor in China), why did you turn to Second Life as a medium for your art? When I was creating my Second Life avatar, I felt that digitization was also a form of “sculpting.” I see it as another way of inheriting my father’s practice of traditional sculpture. Was Second Life popular in China at the time, around 2006? Did you feel at home there? Or was the possible absence of Chinese culture a reason behind the creation of RMB City on the platform? At that time, Second Life was purely an English-language interface. It is a self-created form of virtual community, and not the usual, competitive game. Its creative technology presents many challenges, and even though it is well known in the media, most Chinese users struggled to get into it. Indeed, as big as Second Life’s world was, with many real-world, famous countries and cities represented, it nevertheless lacked any recognizably Chinese community. That was my main driving force in creating RMB City. Did your project on Second Life attract an audience outside of the art world? Did you reach a younger constituency? RMB City was mainly for citizens of the virtual world. They could teleport at any time and from any place to arrive there. [My avatar] China Tracy would converse and meet up with strangers, but we rarely discussed real-world information like age, gender, identity, etc. When people appear in the virtual world with their avatar, it represents a certain need to maintain the anonymity of their new identity and image.“i.Mirror,” 2007. Machinima, single-channel video, 4:3, color with sound, 28 min. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers Tell us about your avatar, China Tracy, and what she did on Second Life. She seemed to have numerous different styles, if not personalities. Can you describe them? She had at least one romance and even a baby, China Sun, in 2009. China Tracy approximates the appearance of a person with mixed Chinese heritage, with long hair and a smile that’s quite warm to the point of being a bit sweet and shy. At times, her outfit is very punk, at others it’s a young girl’s student uniform, and sometimes it’s a mature evening gown — it depends on the occasion. When she first came on Second Life, she spent half a year traveling nearly the entire world, even having a virtual affair with another avatar living in San Francisco. This was all documented in the work i.Mirror (2007). After the real-world me gave birth to my first child in 2009, I also gave China Tracy a little avatar baby.“Live in RMB City,” 2009. Machinima, single-channel video, 5:4, color with sound, 24 min. 50 sec. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers Is China Tracy you? She is an extension of me in the virtual world, completing my construction within the digital universe. She and I have a relation of mutual interaction and coexistence. Together, we make up a complete, “new me.” Can you describe the China Tracy of 2021, reincarnated for your K21 NFT? For me, the China Tracy of 2021 is at once a stranger and familiar. China Tracy is immortal: if she is inactive, then she can remain forever dormant, suspended in the static, digital world. She only needs to be awakened to be unfrozen and revived, starting out on a new journey. Just like questions that we cannot yet resolve, she can be safeguarded, sent to the future to be answered. She is on a journey, an argonaut seeking to reach the moon to no avail. Why the failed journey? What is she trying to find? China Tracy has, at the very least, cast off her past burden of founding a city so that she can take off again. But then, wrapped up in a kind of persistent melancholy, she plans to pursue questions (chase the moon) to the very brink, the outer limits, and at sites of rupture — and yet no place offers an escape, nowhere is reliable. If we say that the Anthropocene is the influence of humans on Earth, then perhaps Second Life is the double shadow that humans cast upon the digital world.“Einstein on the Beach — Chasing the Moon,” 2021, Video, 1’32;” Music: Ma Haiping, Collection K21 There is a melancholy in this work that also pervades the earlier China Tracy video trilogy i.Mirror. Is that a deliberate sentiment? Is it a commentary on the real world or the gap between the here and now and the metaverse? The China Tracy of i.Mirror was searching for a new order, a future, a new kind of human gathering and love amid the digital new world. Her melancholy was typical of a teenage girl in that it was a melancholic sentiment imbued with romanticism. But now in Second Life there are desolate, digital ruins everywhere. This withered, broken-down “in-vironment” also reflects the post-pandemic world external to computer screens — what we call “the great inside,” involuted, fragmented, isolated, apocalyptic, with an all-pervasive, intense collusion between the real and virtual. China Tracy’s teenage melancholy has become disquiet about the future. Is there time in the metaverse? China Tracy speaks about the imprints of time in her NFT. We have already witnessed Second Life turn from flourishing to declining, such that calendrical time is unavoidably imprinted on my awareness. And yet the accelerations, splits, dispersals, and crises ongoing within the real world on the one hand and the inactivity, stasis, gridlock, and necrosis of the virtual world on the other are all different states amid parallel spatio-temporalities, obscuring boundaries or frames of time and space. This becomes a world (or worlds) of countless, entangled temporalities and spatialities, all constituting a polytemporal understanding of the now. The music in the NFT is reminiscent of Philip Glass’s Einstein on the Beach. Is this opera important to the work or to you? The modernist minimalism of Philip Glass conveys a bygone epoch’s anticipation of the coming future. Under Robert Wilson’s direction, the [opera’s] slow entrance of a steam locomotive emits a whistle of radical futurism, filling listeners with fervor, courage, and idealism. Perhaps today we need to revive this musical style, dispelling the haze that envelops us, igniting our instincts and impulses, and generating an urgent capacity to inspire action. Would you link the longing invoked by China Tracy in her new iteration to the aspirational thinking/desiring in Whose Utopia? (2006)? Or the nostalgia (for a Communist past combined with the fantasy of cinema) in Nova (2019)? Or the loneliness expressed (and assuaged) in Asia One (2018)? The digital avatar China Tracy and the son stranded within a computer in Nova are both of the same type: “electronic” ghosts (having died, in a certain sense of the word). The working class driven by global capital and the artificial intelligence of our accelerated age both indicate a “New Death” formed out of productivism and a necrotic character. While the stories, characters, and wandering souls of these works hail from different periods, they nevertheless reveal shared origins of “aspiration” and “loss.” In them, life and death are intertwined as autolysis, a form of self-digestion.“Whose Utopia?” 2006. Single-channel video, 5:4, color with sound, 20 min. 20 sec. Courtesy of the artist, Vitamin Creative Space, and Sprüth Magers The fractionalized ownership of RMB City anticipates many crypto projects, including K21. Do you feel like the world has finally caught up to your early vision? In 2007, we hoped to get funding for municipal operations and development from the rental and sale of RMB City’s buildings, but perhaps my ideas came a little too early, before most people had an awareness of such things, nor was the necessary technological development in place. If we had had today’s forms of encryption at that time, it would have resolved a lot of proprietary issues. A crypto art project like the current K21 seems to have afforded me a new path of exploration. As I said earlier, the questions we cannot, at present, resolve can be temporarily suspended, safeguarded, and sent to the future to be answered (for instance, we have saved RMB City to a database and will release it only in the future, when conditions are appropriate). For this reason, China Tracy, a cyber-woman who had been suspended for many years, has now been awakened by K21. Under the compulsion of a music with the urgency of Philip Glass, she circles through space, ready to embark. Translated from the Chinese by Harlan Chambers. China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021 was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.




Liam Gillick, “On the Appearance of Noncircularity,” 2021

16/21. — — “It could be described as anti-Conceptual. This might not be a bad thing.”. — Liam Gillick, “On the Appearance of Noncircularity,” 2021 (still) View On the Appearance of Noncircularity in the K21 gallery here → It seems inevitable, in retrospect, that Liam Gillick would have produced an NFT. In an artistic career devoted to the interrogation of modernism and the flows of capital enabled by it, he has probed the abstract systems that sustain modernist thought. IKEA and the International Style, corporate culture and factory structure, the global summit and universal pre-k, folklore and the formulaic equation are all fodder for his multidisciplinary practice. Gillick weaves a complex web of references and associations in his work that subtlely reveal the gaps and fissures in prevailing ideologies — not to dismiss them, but to revel in the inconclusiveness (and potentiality) embodied by them. He sees the “disruptive status of the NFT as a form of art” and understands its “complex position regarding the history of Conceptual art, production and exchange.” So, for Gillick, the time for experimentation with this burgeoning medium is now.“Discussion Island Resignation Platform,” 1997, documenta X, Kassel, 1997 It is only fitting in a practice deliberately defined by detours and digressions that Gillick would choose a logical paradox for his first NFT. Paradoxes come in all forms — linguistic and numerical — and they stretch logic to the outer limits of plausibility. Logical paradoxes are an intellectual extreme sport that date back to antiquity. At their simplest they are solvable riddles, but when really complex they hang in the balance between rational resolution and pure speculative thinking. Gillick’s variation, “An infinite queue of artists…. Each artist thinks at least some of the artists behind them…are thinking an untruth,” plays on what philosophy professor Roy A. Sorensen has called the “designated student paradox,” which describes a group of students standing single file trying to determine which student has a gold star on their back when they can only see in front of them. Gillick’s paradox imagines a line of artists stretching in both chronological directions suspecting that the ones who came before them have not told the truth, but they could also be, themselves, the very artist suspected of deploying untruths. To claim otherwise might be a lie. This mental conundrum raises art’s nebulous relationship to truth, puts Gillick himself in the dubious position of suggesting he, too, could be a liar, and reminds all of us that while art may seek a form of truth, it is not bound by it.“Kinetic Energy of Rigid Bodies,” 2020. Replace Rubens, Sankt Peter, Cologne, 2021 Gillick’s NFT compounds various threads in his practice — the always remarkable mind games he plays with accepted aesthetic systems, the adoption of forms from the “real world,” and an embrace of abstraction through readymade elements. Here, those elements are the hexadecimal codes of the two hundred or so different colors he has utilized in his sculptures, installations, prints, graphics, and the like over the years. While not immediately visible, these Hex codes drive the speed and direction of the NFT’s revolving rings of text. Never one to mystify for the sake of affect, Gillick makes these codes accessible to the viewer with the simple press of the “I” key, which reveals the inner workings of the algorithm powering the motion of the paradox. The space bar reveals new Hex code colors and changes the speed and direction of the rings of text. To reflect its direct ties to the blockchain, the cycle is stopped and restarted every time an artist burns an NFT on SuperRare, an act that is usually the result of a mistake that is made during the process of minting a work. This represents an error and a redo, a reflection of an artist having minted an untruth, a mistaken manifestation of their intentions, to the blockchain. Because everything is preserved with full transparency, the burns itemize an inventory of untruths told by artists. This is a shared memory of miscalculations and their corrections. Dead addresses are perpetual reminders of the need for forgiveness and recalibration. Collectively they constitute a cemetery of decommissioned NFTs, haunted by untruths that exist in parallel to their corrected iterations. In the interview below Liam Gillick discusses his work, the notion of truth in art, and his approach to producing his first NFT with K21. What led you to devise a logical paradox for your NFT? I have been working with various equations and algorithms as artworks for many years in very specific situations. I am interested in the way they function beyond spoken language. To be more precise, they are an international language available across all linguistic borders. These equations and algorithms relate to things in the world. In the past I have looked at pressure, information compression, and global climate models in Istanbul, Paris, Frankfurt, and Melbourne. Faced with the chance to make an NFT I just extended this part of my practice and during quarantine in Korea earlier this year I had a lot of time to think about what kind of work I could produce that would have some resonance with the complex potential of an NFT. As with a lot of my work I also wanted to think about the implicated role of the artist as producer. My desire was quite extreme;initially I was looking for something that could set into motion a mathematical paradox that might bring down the whole system. As I read more papers about paradoxes I was drawn to a more interesting idea, that of the logical paradox. Within that reading I discovered a more elegant way that I could express my skepticism about the role of the artist in this new creative ecosystem. Not just myself, but also all the other artists who are producing NFTs. I wanted to work with an idea that suggested a context and a continuity and a resultant difficulty.“Rewards and Expectations,” 2021. The Work Life Effect, Gwangju Museum of Art, Gwangju, 2021 Do you see a correlation between the blockchain, cryptocurrencey, and nonlinear thinking? I see ruptures and contradictions and new languages of excessively obscure ecstatic projection. Maybe that’s a new form of nonlinear thinking. But the actual processes involved in creating and minting are quite logical and have to be error free. What is art’s relationship to truth? Is your paradox solvable, like a riddle? Are you one of the artists potentially telling an untruth? I would turn this around and ask what is art’s relationship to lying? Or maybe better, art is a reflection of dissatisfaction with the state of things, a desire for an alternative truth wrapped in lies. My paradox is neither truth nor lie. It is a statement that has to be accepted as a proposition. It neither instructs nor suggests a solution. It is a statement of fact that has to be accepted as a possibility. I remember reading Philip Core’s book, Camp: The Lie That Tells the Truth, when it came out. All contemporary art has some relationship with Core’s depiction of camp. I don’t think about truth in a linear way. Art is full of projection, misdirection, sloppiness, sullenness, and denial. This leads to a kind of parallel set of truths. For something to be true it might need to be proved. I am quite sure good art cannot be proven. That’s what makes it art. Your work is filled with paradox — as with your expressions of hypothetical thinking and the various ways you illuminate the false promises of modernist idealism. Do you consider this criticism or a kind of seduction? I consider it to be both criticism and seduction. I don’t think critique lacks seductive qualities. And I am sure that seduction can embody critique, especially in relation to surfaces, lures, and the hypnotic potential of discourse. I am not sure that modernist idealism offered false promises. My position is maybe more paradoxical, as you point out. Modernist idealism emerged in direct relationship to historical traumas and battled the emergence of state ideologies that attempted to crush it or co-opt it. What interests me is the way the phantoms of modernism — as a direct critique of the trajectory of modernity — mutated under the conditions of globalization and neoliberalism. I am interested in illuminating the false promises of the present.“Denominator Platform,” 2018. Common Denominator: Art in the Contemporary World, Goethe Institut, Dublin, 2018 What is your relationship to the Hexadecimal codes? Have you always used them for the color elements in your work? Do they add a layer of abstraction? I use them to translate the RAL color system into a computer representation of color that I use to create computer representation of works. I can type in a code and instantly see a color that I can use on the facade of a building or on a small, unique object. My relationship to coding and data is purely functional. I am looking for modes of translation where it is possible to find ways to conceive of ideas, colors, and forms across media and sites of production.“Liability Channelled,” 2018. A Depicted Horse Is Not a Critique of a Horse, Kerlin Gallery, Dublin, 2018 How much does the viewer of your NFT need to know about its inner mechanism: what makes the rings revolve and what determines the speed of their revolution? It is very important. There are two clear aspects of my work. An attempt to create a contemporary abstraction, where I make use of the RAL color system. And a critical commentary on that activity via various graphics, texts, and films. These two unresolvable aspects play off against each other. With the NFT I have brought together both of these components. On the surface we see a statement that exists as a form of art. Yet underlying this graphic work is a code that drives a motion. The coding is derived from the activation of hexadecimal representations of the colors I normally use in the abstract works. The color is driving the motion of an expressed criticality. Do you think that the decentralized promise of cryptocurrency is a true disruption of the prevailing economic systems, or could it become yet another form of control? I don’t know. I think it is so wrapped up in the creation of its own language forms right now that it is often an expression of complexity as a fetish. Years ago I worked on an e-flux project titled “Time/Bank.” It referred back to yet another moment of American oriented neo-utopianism,the creation of time-based currencies in the nineteenth century. The American anarchist Josiah Warren, who ran the Cincinnati Time Store from 1827 until 1830 — and other time banks emerged to operate outside the main financial systems in the context of communal and utopist communities. To me cryptocurrency shares some of this legacy of American utopian attempts to create new communes without communism;at the extremes there is an odor of Randian neo-objectivism and at the same time a particularly American form of anarchism that Ayn Rand would not have appreciated at all.“It should feel like unicorns are about to appear,” 2020. It should feel like unicorns are about to appear a.k.a. Half Awake Half Asleep, Alfonso Artiaco, Naples, 2020 Your work has always been rooted in constructed space, interrogating the history of architecture and design for the mechanisms of coercion embedded in them. Have you thought about how this phenomenon might be manifest in the metaverse, in all the virtual spaces that are being constructed for entertainment, community interaction, and knowledge sharing? Everything I have made since the late 1980s has been developed on a computer. And for the last twenty years I have always built complex architectural models by myself on the computer before thinking about how to intervene in a space. What does this have to do with the metaverse? In some way my relationship to the metaverse is the same as a ditch digger’s relationship to the grand architecture of the past. It’s pretty basic. However, I am very conscious of the immaterial quality of digital space and what can be done with it. I have some degree of competence in the production of digital surfaces and simulations. This aspect of my production is not the art itself. It is the creation of models that I can inhabit while considering my next move — it is the fabrication of a context for thought. I am less interested in the large claims made for virtual spaces, community interaction, and knowledge sharing. None of these is a paradigm shift away from less virtual forms of the same and sometimes merely monetize via new forms of alienation. It is the border zones, of course, that are always fascinating. The way in which the promise of new forms of engagement develop their own aesthetics and find form. The metaverse produces a specific set of aesthetics that are often developed by people who do not have a critical relationship to aesthetics. Given that you have designed the graphic interface for numerous galleries and museums, often as part of your exhibitions, have you considered also designing for the metaverse? First I would think of a better word for it. Meta suggests self-awareness and self-referentiality. I am not sure the contemporary “metaverse” has an especially large dose of either. Or maybe it has too much.“standing on top of a building Madre Museum,” 2019. Standing on Top of a Building: Films 2008–2019, Madre Museum, Naples, 2019 What is your relationship to the history of Conceptual art? Do you see your work living in the lineage of Joseph Kosuth and Lawrence Weiner? How does an NFT extend or complicate this history? I don’t think of it as a clearly defined history. There are and were artists attempting to make new forms of art with new ideas, media, and via the creation of new contexts. As a student I discovered these artists through Lucy Lippard’s books and exhibitions. There are many differences between them, and they were all trying to do different things. One common aspect was the attempt to use new forms and new ways to distribute ideas. I think the NFT fits with that. At the same time the NFT process rather removes the artist from controlling the means of production and distribution in some ways — or at least displaces them. So it could be described as anti-Conceptual. This might not be a bad thing. Liam Gillick, “On the Appearance of Noncircularity,” 2021 was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.




Untruth Tellers

Announcement. — — Unveiling the next three works of the K21 Collection. — View the K21 Collection at K21.kanon.art/gallery Computers are supposed to tell the truth. Programming languages must be able to distinguish between true and false in order to perform their required functions. The foundation of logical operations in computing requires an irrefutable presence of verity (and an acknowledgement of what is incorrect). For those who came of age in the era of the PC, it was assumed that computers always got it right: mathematical calculations, scientific formulae, and immense amounts of data could be stored and set in motion on a scale and at a speed that far outperformed the human brain. Since truth is essential for its functioning, the computer’s promise was one of utmost precision. So how did it all go so wrong? Everyone with Internet access today encounters an endless stream of misinformation, deliberate lies or grossly manipulated truths. The network that connects networks of computers worldwide through universal protocols does not seem capable of verifying the data it shares. Can we blame the Internet or is this a failure of human ethics? The tribal think enabled and amplified by social media and partisan news may be powered by computers, but it is marked by a failure of consciousness rather than a glitch in the digital system. We are living in the era of post-truth — when utter fabrications functioning as click-bait determine the discourse, when the idea of fact-checking is nothing but a quaint newsroom artifact or a weapon to silence dissent, when reality can be molded to nefarious purposes in the name of social good by trolls and influencers, bot armies and governments alike. Artists have always brokered in that generative space between truth and fiction, understanding the fine line between veracity and creative misrepresentation. It is their job to tell the rest of us stories, — as in the K21 Collection artworks by Liam Gillick, China Tracy, and David OReilly. They do not to trick or manipulate, but rather expand the mind beyond the immediately comprehensible, challenge the muscle of imagination, give form to scenarios of wonder.Liam Gillick, “On the Appearance of Noncircularity,” 2021 (still) In On the Appearance of Noncircularity, 2021, Liam Gillick contemplates the idea of artists telling lies in the logical paradox programmed as an NFT. Rotating circles of text proclaim, “An infinite queue of artists… Each artist thinks at least some of the artists behind them… Are thinking an untruth.” This staged puzzle imagines a line of artists stretching in both chronological directions each suspecting that the ones who came before them have not told the truth, but they could also be, themselves, the very artist suspected of deploying untruths. To claim otherwise, might be a lie. This mental conundrum raises art’s tenuous relationship to truth, puts Gillick himself in the dubious position of suggesting he, too, could be a liar, and reminds us that while art may seek a form of truth, it is not bound by it. View On the Appearance of Noncircularity in the K21 gallery here → Read more about Gillick and his artwork here →China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021 (still) For her NFT, Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月 Cao Fei resurrected her avatar, China Tracy, from Second Life, who powerfully authored the work. Brought back to “life,” this cosmopolitan warrior/cosmonaut finds a world markedly different from the one she inhabited from 2007 to 2011. As an avatar, China Tracy is just a projection, a fiction providing camouflage for its creator (or owner) who, through her, gets to inhabit a new personality with a new appearance. Yet this phantastic embodiment seems to have feelings of her own. The NFT depicts her melancholic presence, her awareness of a world gone awry, and hence, her attempts to flee it in a never ending/never aging cycle. View Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月 in the K21 gallery here → Read more about China Tracy and her artwork here →David OReilly, additional photograph of “4004” accompanying the artwork via KSPEC, 2021 David OReilly’s 4004 is a 4004-frame-long looping video of an Intel 4004 chip cast in clear resin. The 4004 was the first CPU, that revolutionary system-on-a-chip that put a dent in history fifty years ago this year. Having gone down the rabbit hole to find out how the machines that he built a career using actually work, OReilly spent years tracking one down. Finally successful, he crafted his first-ever physical artwork, a monolith not unlike Kubrick’s (and the aluminum clones that mysteriously began dotting the landscape last year) but transparent. Building on the mythology of the form, OReilly’s monument to the machine exposes its heart, turning the metaphor inside out. It traps the CPU as a mute ballerina doing an endless pirouette, its many sides and the glistening block that multiplies it is a constant reminder of the slippery and protean hall of mirrors it now powers. View 4004 in the K21 gallery here → Read more about OReilly and his artwork here → Sometimes artists deliberately play with the very concept of deceit; they shine a raking light on its operability within culture and society at large. They are not the morality police but rather seers who understand, at least within their own work, the difference between what constitutes actuality, what functions as calculated falsehoods, and the frailty of assuming such definitions are fixed. Untruth Tellers was originally published in Kanon Log on Medium, where people are continuing the conversation by highlighting and responding to this story.



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