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| K21 
| #K21
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| K21 Price: | $0.035 | | Volume: | $55.3 K | | All Time High: | $11.53 | | Market Cap: | $644.1 K |
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| Circulating Supply: | 18,391,636 |
| Exchanges: | 2+
| | Total Supply: | 21,000,000 |
| Markets: | 2+
| | Max Supply: | 21,000,000 |
| Pairs: | 7
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The price of #K21 today is $0.035 USD.
The lowest K21 price for this period was $0, the highest was $0.035, and the exact current price of one K21 crypto coin is $0.03502.
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. |
The code for K21 crypto currency is also #K21.
K21 is 4 years old. |
The current market capitalization for K21 is $644,119.
K21 is ranking upwards to #2445 out of all coins, by market cap (and other factors). |
The trading volume is modest during the past 24 hours for #K21.
Today's 24-hour trading volume across all exchanges for K21 is $55,336. |
The circulating supply of K21 is 18,391,636 coins, which is 88% of the maximum coin supply.
Note the limited supply of K21 coins which adds to rarity of this cryptocurrency and increases perceived market value. |
Cai Guo-Qiang and Kanon Announce an Unprecedented Blockchain Project, EET — an Interactive Oracle…
Cai Guo-Qiang and Kanon Announce an Unprecedented Blockchain Project, EET — an Interactive Oracle and the First Ever Onchain GIF - — A Chat-and-Image-Based Blockchain Oracle for Communicating with the Unseen World through Art. — Download PDF Version 20 December 2022 — Cai Guo-Qiang (b. 1957, Quanzhou, China), the acclaimed contemporary artist known internationally for his gunpowder paintings and outdoor explosion projects, announced his latest blockchain project in collaboration with Kanon, EET — an onchain chatroom with the unseen world, an interactive oracle system powered by smart contracts on the Ethereum blockchain. With EET, the artist delves deeper into his ongoing dialogue with the unseen world, furthering the creative potential of the blockchain by harnessing the constraints of smart contracts, with the goal of establishing a unique medium for connecting the seen and unseen worlds.Cai Guo-Qiang, Sky Ladder, 2015. Explosion event realized off Huiyu Island, Quanzhou, June 15. 100 seconds. Gunpowder, fuse and helium balloon, 500 x 5.5 m. Photo by Wen-You Cai, courtesy Cai Studio The name of the project, EET, can be interpreted as “Exchange with Extraterrestrials,” drawing upon Cai’s long standing body of work devoted to this concept. Users can submit questions to the unseen world through the chatroom-inspired interface on the project website eet.et, and receive answers through min... 
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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 thr...
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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 exp...
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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 bee...
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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 o...
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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 empoweri...
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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 constrain...
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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...
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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...
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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 ...
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