Floor is Rising

Episode Interview with Kenny Schachter, find his twitter @kennyschac, his websitehttps://www.kennyschachter.art/ and check out Crypto Mutts.&nbsp;Time Stamps[0:58 – 3:31] Kenny was introduced to NFTs in September 2020. Made art prior to NFTs but never felt comfortable calling himself an artist. After learning about NFTs, he made some NFTs and realized how revolutionary NFTs would be to the art world. Wrote about NFTs in the journal, The Art Newspaper. He was introduced to Nifty Gateway by Tommy Kimmelman and in December 2020 sold several NFTs on the platform. Has pursued NFTs since then.[3:47 – 7:46] Kenny explains that art is about communication. NFTs are being communicated in different ways. The CryptoPunks set a precedent and people are poking fun at themselves. Kenny created PFPs called the CryptoMutts as satire. Kennys says right now you can also buy a masterpiece NFT, but people are more focused on using PFPs as a substitute for digital currency (which he says is a no-no). Kenny says art is a slow burning process. The NFT community is full of all different people making relevant and meaningful art.Sabretooth mentions tension between artists and feelings toward PFP collectibles. He references the value of Crypto Punks for being OG art of NFTs, and compares it to Bitcoin being the oldest crypto. He asks Kenny’s thoughts on the thesis that PFPs won’t hold in that high value as more traditional art people come into NFTs.[9:26 – 13:55] Kenny thinks there are pockets of overvaluation. His own CryptoMutt collection was to create a community and also gave a reduction to an ArtNet subscription. He didn’t like Crypto Punks at first but has grown to appreciate what they signify. He thinks eventually PFPs will go away because they are now just copying what has been successful and don’t have any meaning. He says the market changes swiftly and references art blocks, and generative NFTs from generative photography and computer art in the 60s and 70s.&nbsp;Kizo mentions that people in the crypto world might not have art history knowledge, and people in the traditional art world may not be interested in how discord works.[15:25 – 22:24] Kenny references Beeple who has a sculpture at Christie’s with an NFT element (the piece is Human One) in the language of “boomer art” like Damien Hirst and Jeff Koons. When someone commented on a resemblance to​​ <a href="https://www.artsy.net/artwork/alberto-giacometti-walking-man-i"...

Episode interview with Stuart Lippincott, find his twitter&nbsp; and SuperRare.Time Stamps[0:53 - 4:39] Sabretooth starts by asking Stuart how he started with NFTs.&nbsp; Stuart started to join the NFT world because of the crazy money currently being made. Stuart’s work is very futuristic with an utopian or dystopian feel and pairs with music bands. Kizu asks if there are any influencers that have remained consistent in his work. Stuart explains that he imagines a universe where all creatures and people all live in the same realm. Music is a large contributing factor to his art.&nbsp;&nbsp;[4:39 - 8:26] Stuart started out using Maya 3D, the 3Ds Max, and now Cinema 4D. Sabretooth asks if Stuart sees the tools as what he can do with them or seeks out tools to create what he wishes to create. Stuart landed on Cinema 4D because it is fairly fast and an easy user interface.&nbsp; He then started to use Octane Render. Octane Render would take a significant amount of time. When Octane came out for Cinema 4D, he challenged himself to learn all there was about the software. Then in late 2015, he came across Beeple’s Everydays. Beeple uses Cinema 4D with Octane and Stuart really started to learn it then. With plugins and addons, Stuart tries to learn as many tools as he can to get his ideas across.&nbsp;[8:25 - 11:29 ] Kizu discusses how successful artists have a bigger following and others do not have that recognition. Stuart explains how previous to his first sale, he did not know how cryptocurrency worked. He then sold his first piece and continued to sell really well. Then one day the selling stopped.&nbsp; He took a couple of months break and then posted pieces that were popular on Instagram and Twitter. These did not sell either though. Despite his large Instagram following and his Twitter account, it is not the case. He is still trying to figure out his own place in the NFT world.&nbsp;[11:29 - 13:29 ] To explain this trend in Stuart’s sales, Sabretooth gives his opinion on NFT’s speculation premium. Sabretooth says that people are buying at a premium and that premium says that the price will go up. When the speculation premium was taken out of the market, sales started to decline and have not recovered at this time. Sabretooth asks Stuart to explain how much of his time is spent on client work versus NFTs.&nbsp;[11:29 - 16:50 ] From 2016 to this year, Stuart was doing client work and his Everyday Project. In July, he decided that he was done with his Everyday Project. His successes from this past year, allowed him to take the rest of the year off from his art. He has chosen to really focus on learning new tools though. Kizu is wondering if Stuart is learning a specific new effect or just adding to his toolbox? Stuart explains that he has a far goal to create worlds in augmented reality using Unreal. The observer would be able to experience a virtual reality scenario within his art. With there being so many tools available, he is always learning. It can all go into his work and be translated into...

Episode interview with NorCalGuy, find his Twitter&nbsp;GuyNorcal and check out his podcast&nbsp;NorCal and ShillTime Stamps[1:11 – 2:14] Heard about&nbsp;CryptoKitties&nbsp;back in 2017, thought it was just people paying money for a jpeg. By the end of 2020 he got into&nbsp;TopShot.[2:20 – 3:57] TopShot appealed to NorCalGuy because it seemed like something normies could get into not just crypto guys. His friends like sports so it was a good place to start. Moved to a love of&nbsp;generative art. Building relationship with artist through purchases brought him to really love 1/1s.[3:52 – 5:45]&nbsp;PFPs&nbsp;are more of a quick income generator, 1/1s are more long term. Generative art falls between the two. This value pyramid is based on the fact that PFPs are just easier to sell.People like,&nbsp;Cath Simard&nbsp;for example, who work hard and get into the community, NorCalGuy feels those works will appreciate.&nbsp;[5:45 – 6:34] This echoes similar comments from traditional art collectors who are trying to cross over. Some of them see an appeal of flippable projects but others really still value the due diligence of traditional relationships.&nbsp;[6:34 – 7:56] NorCalGuy feels that most PFPs don’t have enough community behind them. Instead, with 1/1s, if it’s the art that you like and you can connect with that artist and what they do, then you can gauge better the outcome. Most of his 1/1s have come with a physical copy. If getting into it now he would buy established PFP projects like a&nbsp;Punk&nbsp;or an&nbsp;Ape&nbsp;as a hedge against the 1/1s.&nbsp;[7:56 – 9:31] For Kizu this is similar to a traditional gallery space, not wanting to be purely commercial while also wanting to support experimental work. Flippable projects subsidize love for less commercial works. He compares this to how NorCalGuy collects.[9:31 – 11:48] Sabretooth talks about how the 1/1&nbsp;&nbsp;format of collecting really started with&nbsp;SuperRare&nbsp;and this is now common, but before that 1/1s were not really native to crypto art. Looking at web 2.0 or even 1.0, the things that tend to succeed are native and not&nbsp;skeumorphic. If this model continued, could it be the case that 1/1s become relics of their time?[11:55 – 14:00] Primary or secondary collecting doesn’t matter to NorCalGuy. With&nbsp;Brendon North&nbsp;it was initially all secondary but he got it for almost the same price as primary.&nbsp;He determines whether good price or not by looking at things like; previous sales, social engagement, and non-NFT sales. Ultimately it goes off gut feeling, recommendation, and experience.&nbsp;[14:00 – 18:03] Sabretooth draws attention to the idea...

Episode interview with Khaled Makhshoush, find his twitter&nbsp; and SuperRare.Time Stamps[0:53 - 3:26] Sabretooth starts by asking Kaled how he started with NFTs. Kaled explains that it was last year when he received a direct message from a collector who introduced him to NFTs and SuperRare. After a month of deliberating, he applied and sold his first piece of art on SuperRare. Sabretooth believes that collectors or fans encouraging an artist to go into NFTs will become increasingly popular. Khaled explains that his biggest concern was selling the copyright to his artwork. Once he understood the technology though, he believed there was no harm in trying.&nbsp;[3:27 - 7:46] Kizu asks Khaled about his background of playing and developing video games. Khaled answers how in 2016 he created video games at the Ludum Dare Video Jam. Through his frustration of not being able to create the video game the way he envisioned it, he decided to learn pixel art. He does not focus on game development much anymore because he enjoys expressing himself and creating an attachment to the artwork. After Kizu inquires about how Khaled’s work came first and then the NFT medium being secondary, Khaled agrees. He is able to create his artwork from an idea that he is interested in.&nbsp;[7:47 - 8:25] Pixel art is one of the most popular mediums with CryptoPunk being one of the most well known NFTs. Ethereum is an NFT collection that holds a large number of varying styles of pixel art that were inspired by the early 70s and 80s video games. Sabretooth wonders what pixel art is to Khaled personally.&nbsp;&nbsp;[8:27 - 11:29 ] Khaled explains how you draw with a grid. Each square of the grid is a color and he creates a mosaic type of artwork. Through technology any drawing software can be used, but each line is very crisp and pixelated. Following tradition that began due to limited technology, pixel art has a very limited color palette and canvas size. Khaled works on a large canvas with few colors. It is these limiting factors that give pixel art a unique look. Sabretooth points out with how Pixel art is one of the dominant forms in NFTs and inquires if pixel artis in NFTs and those who are not are progressing in different directions.&nbsp;[11:29 - 15:26 ] Khaled agrees that in NFTs there are people who represent various scenes that come from the larger pixel art scene. Creating collectables is currently popular right now, but there is a divide occurring in the pixel art scene unfortunately. Sabretooth clarifies if you can not create art and create art for NFTs. Khaled expands his explanation saying that it wasn’t specifically pixel art, but social media artists. In March people were so hesitant about NFTs being a scam and the environmental concern that they did not complete NFT art. Khaled sold some of his pieces though and knew it was not.&nbsp; Kizu states how people were unfamiliar with the technology and used the environmental concern as a negative to speak up about.&nbsp;[15:27 - 20:26 ] Khaled finds satisfaction in creating his art. It took time for him to become profitable from his artwork though. He discusses the balance of exploring the art that interests him and making a career out of it. He started with commissions and even though they are stressful for him, it is a grounding challenge. Today with NFTs, he is able to be more selective about the commissions he...

Episode interview with Chris Wallace,&nbsp;find his Twitter&nbsp;chriswallace&nbsp;and check out his new project&nbsp;WoodiesTime Stamps[1:02 – 2:27] Chris got into NFTs in March of 2021 when a friend invited him to the&nbsp;Foundation&nbsp;platform with a&nbsp;creator invite. He started posting pieces and people were buying them. From there he got really involved in&nbsp;Tezos&nbsp;with&nbsp;Hic et Nunc&nbsp;(HEN). He now has about 3500 NFTs.[2:50 – 5:32] As artists were&nbsp;looking for a greener solution&nbsp;to NFTs, Hic et Nunc launched. Chris saw value in this system as it favored&nbsp;proof-of-stake&nbsp;instead of&nbsp;proof-of-work. He also thought it was cool that it went beyond the 10,000 piece generative projects that were popular in April 2021 and that in general it just felt like a more creative and underground spot. Affordability and getting a better ROI were also contributing factors.&nbsp;[5:46 – 8:22] Where on Ethereum artists may stick to generative or collective approaches that attract more money, with Tezos and HEN, minting is more affordable which is providing artist with an outlet that allows them to put out more interesting and&nbsp;&nbsp;experimental works. Chris gives the example of seeing really interesting&nbsp;GAN&nbsp;works on Tezos.&nbsp;[8:22 – 9:57] The cost of minting has encouraged artists to have multiple personas or sub-portfolios, almost as if they had split-personalities. In a way this correlates with the traditional art world where, sometimes artists will prefer to work with smaller art fairs as it allows them to create without the heavy pressure of producing something more commercial.&nbsp;[11:05 - ] Chris’s projects like&nbsp;Ultra DAO&nbsp;and&nbsp;Woodies&nbsp;are on Ethereum because at the time his developers had more experience writing in the Ethereum ecosystem and there were few&nbsp;smart contracts&nbsp;on Tezos.The creation of Woodies started as a joke when artist&nbsp;Lucréce&nbsp;posted on Twitter he was going to sell planks of wood and use the money to buy a house. The idea advanced, artist from the Ultra DAO group got together, then artist&nbsp;J-838&nbsp;really perfected the image with his drawings which reflected a more humanoid figure.&nbsp;[15:13 – 18:50]&nbsp;<a href="https://medium.com/geekculture/a-beginners-guide-to-understanding-pfp-nfts-8714e9d30d0b" rel="noopener...

Episode interview with Josh Pierce, find his twitter, website, and SuperRare.[0:51 - 2:46] Josh Pierce has been following Beeple's work since 2012 when he started to post everyday artwork. He has been longtime friends and fans since they work with the same software. In November of last year he was contacted by tommyk_eth from Nifty Gateway to post his own artwork. Josh started in December after other artists dropped art on SuperRare, he posted his piece Genesis.&nbsp;&nbsp;&nbsp;[2:46 - 3:26] Kizu points out how trash art follows the development of a medium, but finds Josh and similar artists to be independent to historical trends. Kizu wonders if Josh sees a diverse audience and market among the scene for all different types of art.[3:58 - 6:07 ] Josh explains how it was around ten years ago when social media was expanding quickly, that there was a movement of artists creating everydays. Joey Camacho from Raw and Rendered was a pioneer for this movement. The challenge and different technology then started to sculpt artists into different styles and categories. Josh joined in and has been creating art with his own themes and ideas. He believes that the fact that it’s digital lends itself to blockchain.&nbsp;[6:08 - 11:30] Sabretooth asks Josh about the evolution of the technology that he uses, especially Cinema 4D. Sabretooth wonders with technology constantly being updated,will today’s art become ordinary in a few years. Josh has been using Cinema 4D since 2001. It wasn’t until the technology upgraded in 2015 with Octane that there was a shift in power. Josh states that this shift was monumental. It was this that allowed him to create art that he always dreamed about. Art that has significance is what people have never seen before. He believes it is that art, that will make history books and gives something significance.&nbsp;[11:21 - 14:45] Kizu wonders what Josh considers originality in the NFT space or if it is even possible to achieve. While Josh believes it can be unfair for artists to not get the recognition they deserve, true artists know that it is between the artist, audience, and universe. It is ultimately a greater creative force that comes from a process and no one really understands it. He defines originality having to do with the process and how it can only really happen if it comes from the heart.&nbsp;&nbsp;[15:00 - 17:33 ] Sabretooth asks about Josh’s balance between his NFT and working artist career. Josh is taking this season off from his six year career with the NFL, to continue with his art. He enjoys working with Nifty Gateway and SuperRare. He has a collector’s only drop happening. It will be called Transmutation and it is an evolution from his Portals Collection. Sabretooth asks for clarification of how this came about. Josh wanted to do reward pieces based on the previous drop. The idea was inspired by Bored Ape Yacht Club's MAYC drop. It is the evolution, and struggle of life and turning...

Episode Interview with Colborn, find his twitter colbornbell and check out his Museum of Crypto Art (MOCA)Time Stamps[1:01 – 2:10] Colborn’s intro to NFTs was with Moon Cats. When these later had a resurgence in the NFT scene he was able to go back and recover 17 from his original mission.[2:58 – 4:13] First inspired by the Inhotim Museum in Brazil, when building MOCA Colborn looked to the history of physical museums. From this he adopted the rule to NOT participate in the commercial side of the artwork. Art and artists in the NFT scene often get overlooked and Colborn found it was important to favor them over the market.https://verticalcrypto.art/a-recap-of-the-interview-with-colborn-bell-from-the-museum-of-crypto-art-and-micol-from-verticalcrypto-art[4:13 – 5:36] Looking to use crypto currency as a tool for empowerment and a way to flatten identity biases. Just like the visual language of crypto, it is important for Colborn that the NFT scene has its own heroes. Along with this he also feels it is important that the scene is empowering creatives and pushing forth the melding of technology with creativity.&nbsp;[6:10 – 8:44] Colborn finds that through the curatorial nature of most traditional art spaces there is a certain level of sterility and that this can be combated by providing the audience with the tools to explore for themselves. Similar to Somnium Space, leaving the experience to the viewer’s eye is empowering. With MOCA Colborn looks to bend realities and possibilities in hopes to convey to others what can be possible and to get them thinking.&nbsp;[10:12 – 12:37] Art should not be put into a narrow category. When it comes to MOCA Colborn plans to include all forms of digital art as they all have their place within the history of NFTs. What worries Colborn is that the trend of profile pics feels a lot like the late stage 2017 ICO boom; people are making a lot of money but at some point the bottom will inevitably fall out.&nbsp;[13:54 – 15:40] People getting in just to flip doesn’t hold value. Colborn hopes the profile picture phenomenon is waning. He finds other new projects like Art Blocks to be unique and a valuable tool for creators.[16:36 – 18:38] Created the MOCA token with the hopes to counter the traditional top-down approach in the arts and culture. Traditional sources of power generally push culture down but with crypto we have the opportunity to push people up. In this fight against high culture you have folk heroes of crypto like XCOPY who is working in a hyper contemporary style and whose work provides social critique.[19:12 – 21:35] Looking towards what happens when people are done collecting, Colborn has projects like the <a...

Interview with Deeze, find his twitter DeezeFi and his project FractionalTime Stamps[1:03 – 2:59] In 2017 Deeze was involved in crypto and had made some money through altcoins but didn’t know what an NFT was. By 2020 gets his own wallet, in September after the uniswap run he bought his first NFT. Recognized the value system at play with Punks and started to go down the rabbit-hole of NFTs.[3:40 - 6:14] Punks: Deeze used to trade in order to make money and afford the ones he really wanted. Noting how much money he was able to make off flipping Punks made him realize that he should focus on trading NFTs instead of just crypto.&nbsp;Trading Punks is different now. Before you could sit in larvavalabs discord, watch the bot, and act off gut feeling. Now there are external bots that will always act before you can. In order to make money now you have to think on a longer time frame of holding then selling in a few months or more.&nbsp;[6:43 – 10:09] Deeze knew he was going to leave his normal job but made the leap once joining the Fractional team.The main function of fractional.art is turning an ERC 721 or an NFT into ERC 20 tokens which are tradable and usable. Project took off when PleasrDAO managed to get ahold of some of the original doge meme pictures taken by Atsuko Sato. PleasrDAO had the idea of fractionalizing it as a way to give back to the community. Doge meme serves as a good example of how fractionalization can change collecting.&nbsp;[10:35 - 14:09] Fractional ownership feels better for Deeze. The market can be hard to access; more known projects are too expensive and lesser known ones too unpredictable. Factional NFTs help get people access to blue-chips.[14:47 – 18:14] There are other fractional projects out there but they each have their own styles and mechanisms. The market will decide what works best. Fractional is working with PartyBid.Deeze sees that a one-on-one in group ownership is going to be the way it goes instead of edition sizes. Editions are a set price and with partybid you can join with as little as you like. It just makes sense in both position allocation perspective and accessible buy-ins.&nbsp;[18:14 -&nbsp; 23:13] Coming soon there will be different fractionalization options such as the ability to turn ERC 721s into editions themselves or 1155s that will be tradeable and displayable.&nbsp;[23:32 – 26:55]&nbsp; The learning process: Deeze didn’t realize how different the NFT market could be from the altcoin market and 2018 served as a lesson in risk management. Shifting from thinking solely in ethereum to considering USD values has also been a learning experience.&nbsp;&nbsp;[27:16 – 29:11] Deeze feels that the reason behind recent expansion and change in value is the combination between crypto natively rich and traditional art collectors, both...

Ryan Su is a well known international art lawyer based in Singapore - https://twitter.com/TheRyanSuSpecial counsel at OC Queen Street[01:19-03:22]Was a young law student and fell into art law by accident on exchange to Europe. A lot of pro-bono work on behalf of artists.[03:22-09:45] Beeple’s $69million sale was the moment that Trad art took notice. Decided to write a contract for Artists getting into NFTs, and make if available on the latest issue of Art Asia Pacific, a ton of the traditional art artists that wanted to get into NFTs were very worried about IP issues and how to protect IP if they were to do a NFT. In Trad art world, usually the gallery makes every collector sign a contract, and usually that contract is to protect against flipping. And not the collector side, they want protection against fakes. However these issues are not really present in NFTs.[09:45-15:46] Sabretooth argues that these concerns that are primary to trad art artists, are not actually that relevant in NFTs because you want a lot of reproduction and derivatives, and that resale royalties are a better way of capturing value than IP enforcements. Ryan explains the history of the artist resale right comes from artists like Robert Rauschenberg that affords artists resale royalties in some countries even if there was no explicit contract stating so.[15:46-21:15] Discussion occurs on how sales contracts that are signed in meatspace will be enforced in NFTs since buyers and sellers are anonymous. Delve into the history of the how resale rights came about from the Siegelaub contract, which really relies on an honour system and many people just ignore it. Still feels there is a barrier for traditional artists to embrace NFTs because ownership data, legal contracts are in different places. Sabretooth explains that enforcement of resale rights work much better on the blockchain. And that because transactions are so transparent, artists will attempt to use whitelists and blacklists to encourage compliance with people who might want to circumvent the royalty.[21:15-27:49] Ryan sees a clear segmentation of NFT buyers and Trad art buyers and very little overlap currently. Also sees the possibility of new norms being established int he NFT world that is different than the Art world, especially one to do with copyright and copyleft, where ownership of the original is more important than the IP. Ryan’s favourite artist is Andy Warhol.

Episode interview with Dennis Porter, find his twitter Dennis PorterTime Stamps[0:54 - 3:29]&nbsp; Dennis got involved with Bitcoin in 2017 by starting with mining and trading. When the shutdowns occurred in 2020 he decided to join the new Clubhouse App and quickly became addicted to talking about Bitcoin. Soon after he started his podcast called Smart People. Then switched to Twitter full time. Dennis refers to himself as a Bitcoin maximalist and claims that NFT's themselves are not scams. Recently he held a debate with Udi Wertheimer.&nbsp; Udi found one tweet where Dennis accidentally referred to NFT’s as a scam and thought Dennis’ view to be mute moving forward.&nbsp;[3:29 - 5:26] While what anyone says in one tweet is not really the basis for an argument. Dennis’ argument against the NFT being that you don’t own the copyright to the what NFT is. If you buy an NFT that an artist has released, you're just buying the NFT. The copyright always stays with the artist. He does not agree with the way it is being marketed. Dennis tries to educate the average investor so that they’re aware of what they are purchasing.&nbsp;[5:28 - 8:27 ] Sabretooth points out that the copyright on an NFT is not any different than other physical objects such as paintings, collectibles, comic books which all hold value without copyright. Dennis finds that the difference between digital art and physical art is that digital art can be copied perfectly by anyone at any time. He also points out that with digital art you can not control the actions of others. There are no rules when it comes to copying or uses. He believes that it is important to ensure that copyright and IP is included when buying these items to be able to ensure control.&nbsp;[8:28 - 13:16] Sabretooth discusses the framework of ownership being redefined for blockchain, cryptocurrencies, both fungible tokens and non fungible tokens. How ownership as a construct is purely man-made and has no meaning outside of what humans give it. Ownership in a cryptographic sense you have control of the the private key basically, that's what ownership means. He believes a large part of the disagreement is actually the usage of these words. Dennis' difficulties with ownership and NFTs lay where in order to have true ownership it needs to be enforced by the laws.&nbsp;[13:18 - 19:00] Sabretooth points out that the perfect replication of digital art is an advantage of NFTs over physical art because you can have perfect duplication without affecting the provenance of the original. With the ability to track things using a timestamp is truly a concept that does interest Dennis about NFT's. Just like with his tweet that Udi used against him, he takes back the tweet and apologizes to anybody who thinks that he is lying.&nbsp; His position has evolved dramatically since that tweet went out. He thinks that it has potentially great work to be used as a utility and real world, but when talking about having the NFT, can it be similar to a physical item? Dennis is a firm believer that NFTs can not link to physical items.&nbsp;[21:23 - 28:36 ] Sabretooth talks about how NFTs are still constantly improving and is a work in progress, especially with respect to how the image is generated and stored. Dennis...

CryptYuna twitter https://twitter.com/cryptoyunaWebsite: http://cryptoyuna.art/Avatar project: https://lostavatars.art/[0.55-03.25] Yuna first got into NFTs when she saw a tweet by OG $TRSH artist Robness on twitter.[3:46-7:14] She orignially was an oil painter in traditional art and wanted to paint realism, but when she got into NFTs, realised that she had to switch to digital techniques, so started learning how to use Procreate on an iPAD. She became part of a artist community on Telegram that became the $TRSH Art group. She gets bored easily, so resisted having a "signature" style for a while in her career, but eventually she did develop a recognisable signature style.[7:43-9:28] Yuna doesn't consider her Art "$TRSH art" anymore, sees it as a distinct time period in CryptoArt history. Was a reaction against people disparaging the artists, and sees a lot of the pieces as an inside joke that was remixed and shared amongst artists.[9:57 - 13:37]Yuna along with Stina Jones, Angie Taylor and Sparrow started WOCA organised the first female NFT art show CryptoVoxels called She ART. This led to an even bigger all female exhibition organised by GraffitiKINGS and Darren Cullen and supported by WOCA that was featured in NBC News called Graffiti Queens that spanned 9 galleries and over 300 works.[13:47 - 19:11] Yuna's kids kept asking her why she wasn't doing NFT game, and she saw a lot of other profile picture projects where she didn't like the art and wondered why Artsts were not doing these projects. So decided to push the boundaries and do Lost Avatars with GraffitiKings and Arnold Which is set to launch soon.[19:32- 22:26] Yuna talks about future plans, including buying land in the Metaverse, holding concerts there for her avatars, doing exhibitions in China and Korea.

Episode interview with Max Osiris. Find his twitter Max Osiris Art and his blog at Max Osiris.Time Stamps[00:37 - 01:30] Max was bitten by the NFT crypto art bug in 2018 when, during his research on blockchain, he stumbled across SuperRare and the concept of art as NFTs on the blockchain. “It [NFT crypto art] seemed naturally like the evolution of art. I had the intuitive sense that this is going to be big.”&nbsp;[01:31 - 02:53] Max then started submitting artwork to SuperRare, describing it as a digital and modern fine art gallery.&nbsp; “They [SuperRare] looked like Sotheby’s.” &nbsp;&nbsp;[02:54 - 04:19] Describes himself as a transdimensional artist. Has been called a digital shaman, which he understands he might have earned through his interests in psychedelics and visionary states.&nbsp;&nbsp;[04:20 - 04:59] Some of Max’s favorite art is art that speaks to something (be it political issues or philosophical issues). Feels crypto art is a good vehicle for capturing the zeitgeist.&nbsp;&nbsp;[05:03 - 07:20] Feels that the democratization of art is one of the most exciting aspects of NFT crypto art. Resents the idea that there is an exclusive group of people like Kenny Schachter who have “great taste in art” and who, thus, dictate what great art is.&nbsp;&nbsp;[07:25 - 08:50] Loves that crypto art has disintermediated the art world, making traditional art galleries and curators less important than they used to be. Notes that individuals can now show off their NFT crypto art collections (like Robness, X Copy, etc) on sites like Cyber.&nbsp;[08:51 - 12:14] Has had to mint art on different platforms like KnownOrigin, Rarible, and OpenSea because, at some point, he was kicked off another platform. Was kicked off SuperRare because he used portions of Hackatao in his “I1O I1O I1O [EDIT] LOVE” piece without Hackatao’s permission. Was kicked off KnownOrigin because he got doxxed.&nbsp;&nbsp;[12:15 - 13:27] When an Institut Gallery show in London demanded that Max’s submission be bound by the DMCA (Digital Millenium Copyright Act), Max refused and, instead, submitted a piece titled DMCA which was mostly whitespace with a paragraph talking about the absurdity of the DMCA.&nbsp;[13:38 - 14:28] Displeased that Kim Dotcom was harassed over copyright issues and has been fighting...

Episode interview with Eric Paul Rhodes, find his twitter Second Realm and his blog at The Outer RealmTime Stamps[1:03 - 1:53] Eric fell down the NFT crypto art rabbit hole on twitter and was introduced to artists such as X Copy&nbsp;, Coldy, Robness, maxosiris, Jay Delay.[2:10 - 4:12] Wanted to become a TRSH art historian because he saw the narrative was being shifted after the fact, he wanted to give an unbiased 5000 foot overview of the movementhttps://www.theouterrealm.io/blog/a-short-history-of-nft-trash-art&nbsp;https://www.theouterrealm.io/blog/the-origins-of-trash-art&nbsp;Darren Kleine first wrote about it.https://cointelegraph.com/magazine/2020/03/24/immutable-trash-crypto-art-censorship-meaning&nbsp;[4:26 - 9:31] TRSH art movement came about because the whales of SuperRare&nbsp;specifically led by Whaleshark were determining what was eligible to be on the platform. A lot of artists that didn't meet a certain aesthetic criteria was pushed off the platform. Eric felt that Superrare sided with the whales and not the artists. j1mmyeth was the one who coined the term $TRSH Art. Eric led a mass exodus of artists to the Rarible platform, having it gain in popularity.[10:08 - 13:04] Trash art is a decentralised movement which has evolved and shaped the current NFT space. The idea of limited or no gatekeeping on platforms today is heavily because of trash artists pushed back and meme'd their way to victory. Comprises 3 main areas today, the idea of openness and onboarding as many people as possible into the NFT space, the meme of the trash can, and the aesthetics of glitchy appropriation art.[13:19 - 16:43] Trash art movement's fight against gatekeeping will go into the history books alongside the impressionists movement and the dadaists movement. The similarities are that the terms Trash artist and Impressionist were both derogatory terms that were reclaimed. Even though the artists were only together for a short time, their impact were felt long after they had gone their separate ways. Case in point, today, SuperRare is full of trash art.[17:17 - 19:51] Eric started out as an anon but chose to doxx himself as an artist because he didn't want to pretend to be a persona. The NFT space has opened to him a lot more...

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Show Notes;Artist Curated generative art rather than using the now popular Drop mechanic. His art is sold more traditionally similar to Fine Art NFTs.Manolo is able to generate generative works that are similar to the style of Kadinsky, Max Ernst, Delaunay, are the machines going to take over?Kizu makes fun of Sabretooth calling himself a serious collectorIs generative art going to emerge as the defining art style of this era?Manolo Gamboa Naon SuperRare;https://superrare.com/manoloideArtnome article on Manolo;https://www.artnome.com/news/2018/8/8/generative-art-finds-its-prodigy

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Show Notes;Kjetil's Archetypes was Fidenza before Fidenza, his paper armadas drop sat for weeks without selling out.Kizu says his favourite Kjetil work is his self-curated "Dual" 1/1s, explores the difference between random curation ala art blocks and artist curation, old school vs new school generative art.Kjetil Golid Twitter;https://twitter.com/kGolidhttps://generated.space/Paper Armadas;https://opensea.io/assets/art-blocks-playground?search[stringTraits][0][name]=Paper%20Armada&amp;search[stringTraits][0][values][0]=All%20Paper%20ArmadasArchetype;https://opensea.io/assets/art-blocks?search[stringTraits][0][name]=Archetype&amp;search[stringTraits][0][values][0]=All%20Archetypes

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Show notes;Matt's drops Subscapes on Artblocks, but also drops companion pieces on HEN at the same time, one of the first instances of multi-platform drops.How Matt is a new breed of coders who come into NFTs not from a "maxi" tech background but more platform/chain agnostic.Matt Deslauriers website;https://www.mattdesl.com/Subscapes on Openseahttps://opensea.io/collection/art-blocks?search[sortAscending]=true&amp;search[sortBy]=PRICE&amp;search[stringTraits][0][name]=Subscapes&amp;search[stringTraits][0][values][0]=All%20SubscapesMatt's HEN sitehttps://www.hicetnunc.xyz/tz/tz1XHADaUcMSkTN9gdmtRqcnrrZfs4tNkCPgSubscapes companion pieces on HEN;https://www.hicetnunc.xyz/objkt/72424https://www.hicetnunc.xyz/objkt/72420

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Episode Notes;Fidenza has the classical generative art aesthetics that current collectors love, it set records of how fast the price has appeciated on secondary markets.The collection contains multiple visual styles in the same collection, calls into the question the whole concept of categorising art visually.Discuss secondary market premiums for pieces, and how great communication ability like Tyler does on social media can translate to secondary market premiums.Tyler Hobbs twitter;https://twitter.com/tylerxhobbsThe rise of Long-Form Generative Art;https://tylerxhobbs.com/essays/2021/the-rise-of-long-form-generative-artFidenza on Opensea;https://opensea.io/assets/art-blocks?search[stringTraits][0][name]=Fidenza&amp;search[stringTraits][0][values][0]=All%20Fidenzas

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Episode Notes;Rafaël's Artblocks drop was the first one where Artblocks moved from a gas war drop to a dutch auction drop.Kizu talks about Rafaël's net art OG status and what he talked about in interviews way back.Sabretooth talks about the trend of net art OGs coming to NFTs including the genesis episode John KarelComparing the visuals of Endless Nameless to Tyler Hobbs Fidenza drop and how it's not a classically generative art aesthetic.Rafaël Rozendaal's Endless Nameless Arblocks series;https://opensea.io/assets/art-blocks?search[stringTraits][0][name]=Endless%20Nameless&amp;search[stringTraits][0][values][0]=All%20Endless%20NamelessRafaël Rozendaal's Twitter;https://twitter.com/newrafaelRafaël Rozendaal's Net Art:http://papertoilet.com/https://trashloop.com

This is an 6 episode series on generative artists who we found interesting. 6 artists in total who we found contributes something unique in the current generative art landscape, they span different blockchains/platforms/aesthetics/personal histories.Episode Notes;Rags to riches story, started off dropping pieces for only $3-$10 per piece in HEN, now his works are selling for $20,000+Parallels to career development in trad art where artists move from smaller galleries to super galleriesComparison between selling individual pieces of a generative algorithm, vs selling the generator itself, Shvembldr has done both.Kizu talks about Picasso's sculptures and how they illustrate a point about current art drops.Sabretooth talks about how the lootbox mechanic in generative art drops bridges the two worlds of collectible NFTs and Fine Art NFTs.Shvembldr's The blocks of Art series;https://opensea.io/collection/art-blocks?search[sortAscending]=true&amp;search[sortBy]=PRICE&amp;search[stringTraits][0][name]=The%20Blocks%20of%20Art&amp;search[stringTraits][0][values][0]=All%20The%20Blocks%20of%20ArtsShvembldr's HEN generative arthttps://www.hicetnunc.xyz/Shvembldr/creationsShvembldr twitter;https://twitter.com/shvembldr

8 min 31 secMalaysian Artist Chong Yan ChuahTraditional artist that is dipping his toes into NFT market, very tech heavy traditional artistKizu discusses artist's style and how that is translating to NFTsSabretooth disagrees on the NFT strategy of artist, discusses nuances to how an artist positions themselves within the NFT spaceChong Yan Chuah's websitehttps://chongyanchuah.com/

9 min 59 sec Episode;Hariprast's comic book illustration style and how it translates to NFTsComparison of what is happening on NFT platforms like Hic Et Nunc to the MMA(mixed martial arts) invention in the 90sSpecifically how comic book artists have monetized in the past in countries like Japan and what it looks like now with NFTs.Hariprast's twitter;https://twitter.com/hariprast/

10 min 13 sec episodeShavonne's career as a commercially successful photographer and how she transitioned into a NFT careerHow she has ported her practise from trad art to NFT world and the efforts to be more "medium native"Price differences between photography NFTs vs prices at art fairsWhat other successful traditional artists can learn from Shavonne's move into NFTsEDIT:Shavonne reached out to us to clarify some things in the episode;Shavonne's NFT works are not animated photography. They are done using realistic 3D virtual models.The 14/21ETH listing on Foundation are secondary sales listing not primary sales.Shavonne's photography comes from a fashion and commercial background, not through traditional art galleries. Hence it's a brand new practice built on the experience and background of a fashion photography career.Additional links about Shavonne sg.asiatatler.com/life/singapore…straitstimes.com/life/arts/as-t…allships.co/article/interv…businesstimes.com.sg/lifestyle/feat…

15 min 57 second episode;History of Framergence and how the genesis minting came aboutThe deflationary mechanics of both Framergence and Pulsquares and how it worksA stylistic comparison of the aesthetics of Framergence to early internet art and how the generative genre could develop similar to internet artHow onchain generative art compares with offchain generative artHow the valuation of generative art reminds of cutting edge avante garde art from the 60s by artists like Allan KaprowKizu finds the constellations mechanic in Pulsquares disappointing visuallyDiscuss the recent price surge in both Framergence and Pulsquares and what that means for the generative art market going forwardArihz's projects on Ethereumhttps://pulsquares.art/https://framergence.art/https://avidlines.art/

8 minutes 52 second EpisodeDiela's style and how it expands across objkts into objectsHow Diela's brand building in Indonesia is a result of pioneers like MurakamiDiela is a self taught artist, exploring what that means not just in terms of style but also commercial pathsDiela's twitter.https://twitter.com/dielamaharanie

Short episode 8:31How Bjorn's NFT style is very contemporaneous and represents a certain art culture from modern Philippines.Comparison of the Filipino art scene to other neighbouring countries and both stylistic and structural similarities and differencesThe Filipino NFT scene and talking about the impact of Axie Infinity the game has on the country and specifically Gabby Dizon's Yield GuildLinks of resources mentioned in podcastBjorn Callejahttps://linktr.ee/bjorncallejaGabby Dizonhttps://twitter.com/gabuschAxie infinityhttps://axieinfinity.com/

Damien Hirst released a $20m drop called "The currency" on Heni.com. Sabretooth and Kizu review the drop and discuss;The $2000 per piece and $20m project price tag, is it worth it?How the art of "The currency" fits with the historical context of Hirst's worksThe possible motivations of Hirst to do an NFT drop at this stage in his careerThe possible emergence of NFT vs Crypto market cycle timingsThe gatekeeping mechanism in this drop vs traditional art sceneThe mechanics of the interaction between the NFT and Physical prints in this drop and how to think about the game theory involved.The problems associated with bridging NFTs across blockchainsPREDICTIONS: Which pieces are going to worth the mostPREDICTIONS: Which traits will drive price appreciation

Podcast summary service @Thereadingape did a good summary of this podcasthttps://thereadingape.substack.com/p/floor-is-rising-ep-4-price-manipulationWhy nobody wants to talk about it.It's not much discussion becausePromoters of NFTs don't want to talk about this because it will damage the NFT marketOthers just don't collect enough NFTs to know anything about thisBeeple's history making sale 5000 Days involved a multi-month plan to increase the hype and prices around Beeple.The rise of pricing for Cryptopunks with stories of specific celebrities who raised the floor with their purchases.Gatekeeping methods in the traditional art markets will come into play in cryptoart markets as well.

Murat Pak's Sotheby's Single Pixel sale. Is it similar to Cattelan's Banana on a wall?How Christie's and Sotheby's are positioning themselves into different camps already when it comes to types of NFT art and artists.Is Pak boxed in by the genre of Art he is doing?How was Pak's debut piece on Hic Et Nunc received?

We look at 4 Brazilian artists and discuss their art and NFT styles.Fiedler Estelle FloresGio MarianiThais SilvaTranscript below;[0:05] Sabretooth:Welcome to the floor is rising, I'm Sabretooth with me is Kizu. Today we're goingto talk about Brazilian art, Hic et Nunc, was founded by Raphael Lima, who isBrazilian. And some of the most interesting artists on the platform are alsoBrazilian. Definitely not a country that is usually associated with sort of emergingart or very interesting art. But in the NFT world, and especially Hic et Nunc, theyare a, I would say, a dominant presence on the platform. And none other thanprobably one of the most popular artists anywhere, not just on Hic et Nunc butbelting all of NFT is Fiedler, who is a Brazilian artist that from a sales perspective isbasically selling out the moment that he drops anything, his secondary sales isvery, very strong. And not just on Hic et Nunc, but also on ethereum and openseaas well. And I want to throw it to you Kizu. What do you think of Fiedler?[1:12] Kizu:Well, I would dispute what you said about Braziil not being a usual suspect interms of contemporary, I think maybe at the moment, early 2020s 2010s. Yeah,it's been a bit quieter, I think. But I would say that Brazil has always been a verystrong creative force, maybe not in the fine art world, I just want to give that kindof overview. I think that there's obviously a huge country in the pig population, alot of intersecting cultures, he's got a very patchy and checkered history ofcolonialism, very kind of tense divide between haves, have nots, black culture,white culture, kind of that mix. So you know, I think that's very fertile ground forcreatives and artists. But to come back to 2021 where we are, I think that the thefact that the founder being Brazilian has a little bit to do with that. So I think thathelps to know that there's a kind of community that's sprung out of that. But togo to the art specifically, I think that it's an aesthetic that I was trying to put myfinger on. It's reminiscent of many other both Fine Art idioms, as well as moreposter art, comic art kind of styles. The one thing that actually jumps into mymind right away actually was, I don't know if you're familiar with the Australiankind of surf brand Mambo, which started out in the 80s. I think it came out ofAustralian post punk scene. So there was obviously the music influence. And Ithink if you look at a lot of kind of more sub cultural art styles, historically, I thinkthey always encompass something else, like whether it was skate culture, or punk music and stuff like that. So obviously, I think the color scheme is a bit different.The style is obviously a little bit different. Well, it's the kind of thing that like if asa 14 year old with a skateboard and you came back home, with a T-shirt with oneof these motifs, your mom would not be very pleased, it's that kind of thing. Ithink Fiedler, obviously he has a very strong kind of technology or likesmartphone addiction, dopamine kind of thing going on. It's certainly not hypersexualized, I think. But there are some very, like crude facial expressions, the waythat the human figures appear and stuff like that. The colors are very appealing,kind of acid blue, pink, neon yellow. So I think that it's a very kind of...

Everyone has heard of Beeple, but not many people have heard of John Karel.&nbsp;The hottest NFT platform currently is not on Ethereum but on Tezos.&nbsp;HicEtNunc.xyz is the platform.&nbsp;We talk about Karel and his move from Ethereum to Tezos and how climate change plays a crucial role in the move.We also discuss the aesthetics of John Karel's artistic style.&nbsp;What influences we see in it.We talk about how John Karel has in such a short space of time become influential within the artists that make up the HEN collective.Transcript Below;----------------------------------Sabretooth: Welcome to the Floor is rising podcast. We talked about NFTs I'm sabretooth with me is Kizu. Kizu:So today's topic is really about another artist that has been very active in generating a lot of attention. For his art on a different platform. And that artist is John Karel.He has basically been the, hot new property on the block. I think his artistic style is one of the things obviously, but I think a lot of, attention has also been paid to the platform that he's active on, which is a Hic Et Nunc, which is Latin for here and now,hic Et Nunc which has been abbreviated to hen or hen. And specifically the blockchain and the token that it's being active on is, Tezos. Sabretooth: Tezos, is one of those OG layer, one blockchains. They did their ICO, you know, ancient like six years ago to 2015, I believe raised around $500 million. And basically since then, no, one's heard a peep about. basically anything happening there. Most people have kind of written them off. And lo and behold, in sort of Feb, March of this year, 2021, this sort of platform, Hic Et Nunc, just comes roaring on the scene.Basically out of nowhere. And as of today a lot of people say that it's sort of, up there with open sea as the largest NFT platform in the world, essentially. And a very unlikely story to come out of Tezos. No one knows exactly how and why it became so popular, but the topic for today's conversation, John Karel I think personally is somewhat responsible for that popularity. I mean, he was. Quite early on the platform.Kizu:I think that there's a bit of a deja VU element I think, in, in Karel's work. That's not to say that, you know, Beeple's work isn't derivative or doesn't have references to, you know, early two thousands, 2010s internet culture, which it does, obviously.I think that's very much foregrounded and I think it's a big part of. The way that it's resonated with particular than slightly younger gen YZ demographic. And I think there's something similar in John Karel except that I think that the kind of timeframe that's referenced is a little bit earlier.Specifically, if Beeple is more like a 2010s meme based kind of, aesthetic, I think Karel's is about 10 years prior to that, I think there's a, there's an early two thousands Y2K kind of like retro computer graphics. Very strong style to that. Obviously a lot of the works are animated, kind of GIF like things.There's obviously some similarities with Beeple but there's a little bit more of a hearkening back retro element specifically I would say. And I think that he's mentioned this in interviews. He's very cognizant of these references and specifically this timeframe at the same time, he does seem to be very aware of pop artists that have dealt with similar material specifically pop art from the sixties, like Warhol, Oldenburg.I think the color palette is pop, it translates well on the screen. The more vital elements, I think with any NFTs, it's obviously a visual medium, specifically it performs well on a screen as opposed to obviously like a canvas . There's a flatness to it. Perspective wise, it's quite flat and it's pixilated....