I’m a bit tired of people’s hate towards ordinals. The fact that you got burned by extractive cabals changes nothing to the underlying tech, culture and value proposition. It’s really simple: art - on Bitcoin. Literally, the art goes on Bitcoin and stays there. I’m not trying to shill some passing trend. The bytes actually live on every Bitcoin node. You know, Bitcoin, that blockchain invented nearly two decades ago by some weirdo named Satoshi. A blockchain representing the cypherpunk movement, resisting censorship, governments, outliving every other blockchain, being the most decentralised. Yes, grifters used those same claims as dogmatic, maximalist slogans to make people fomo. And yes it hurt sometimes. Doesn’t make ordinals any less incredible. The art is immutably preserved. It’s onchain, it’s globally stored, it’s resilient, durable. Set and forget at inscription. No hosting services to pay for, no ipfs to pin, no domains to renew. The protocol offers enough options to really push exploration and creativity in countless directions. Generative art is at home here. You can inscribe software, libraries, fonts, scripts, and reuse any existing ones through recursion. Provenance is unmatched, parent-child lineage is beautiful, elegant and highly modular to accommodate all kinds of needs: proof of authentication, onchain collections, or any creative relationships between inscriptions. Artists are blurring the lines between storage and algorithmic generation, outputs and systems, provenance and conceptual or interactive art, art and software. Some learn how to code. Others store their legacies. You can do whatever you want and that’s the beauty of it. The ecosystem has matured. Onchain-data-first marketplaces have been built, tooling is widely available, wallets secure, auctions, editions, offers, and everything a healthy eco needs to thrive is now available and smooth. The fact that a few bad actors made you do stupid things and lose money doesn’t mean the technology deserves to be thrown away at the first sign of a new shiny object. If anything, you’ll get burned again by chasing. Now if this really isn’t for you that’s fine. But try to see the whole picture first, follow the people who are genuinely passionate, not the loudest ones. Read the docs, articles, essays. Spend some time on explorers and marketplaces. Meet the artists and collectors. You’ll soon realise it’s far from dead, far from being one giant grift, and far from resembling any other chain’s ecosystem, which is what makes it so interesting in the first place. Always happy to help with the how, where and who. I’m one DM away. 🟠

Non Finito: the art of the Unfinished ██▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ I am thrilled to present my latest research work and art series, an exploration of a Renaissance-rooted tradition that leaves works intentionally unfinished. With the first piece Non Finito (The Builder) being released early next week, I take this opportunity to share a few details below. █████▒▒▒▒▒▒▒▒▒▒▒▒▒ Non finito looks up close at our relation to transient states and imperfection, by revealing traces of process and deliberately partial images. It invites us to imagine beyond the present state of an artwork, and to appreciate its incompleteness. From Michelangelo's Prisoners or Rodin's use of sculpture fragments in his Hand of God, to Schubert's Unfinished Symphony and some of Rembrandt's most famous paintings, there has been a centuries-long fascination for unfinished art, from both artists and audiences. ████████▒▒▒▒▒▒▒▒ To give this idea a contemporary reading, Non Finito (the series) integrates digital processes and ordinals-native features in an iterative study of both meaning and form. Partial renders, visible traces and layers, unresolved details, underdeveloped images are as many examples of digital unfinishedness. As each artwork shifts through code-driven randomisation of these states, aesthetics take shape while asking the question of what counts as complete. ██████████▒▒▒▒▒▒ Non Finito is a series of 1/1 originals paired with limited editions, which will be released one at a time in scarce supply. Each piece uses recursion to construct a high resolution image (even when low fidelity is at the core of the process), and lets viewers shuffle through countless versions and save their preferred outputs, effectively freezing them in time. Code and probability are at the heart of this collection of works that are not only unfinished but also open to a multitude of possible outcomes. What isn't there yet, could be anything. █████████████▒▒ I look forward to presenting each iteration over the next few weeks, and watching our shared understanding of artistic processes earn a closer look, and perhaps love, for every step of the creative endeavour. Non Finito (The Builder) will be available to collect on Mon 27 Oct as both Original and @trygamma Print (announcement to follow). One question remains: is an artwork ever really finished? ↓