Frank Flux | SmackManiac
@Featurefrank
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Art Collector | Curator | NFT Nerd | Crypto Dude | Co-Founder @collective_flux @neonreal_gallery | Burner | PFP: @xcopyart | Banner: @money_alotta
Multiverse
Joined December 2014
Decentralization is the foundation of digital value. Anything else is as fleeting as a central server crash. #Web3 #DigitalAssets
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The future of street art.
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Cryptopunks floor currently sitting at $80,000 Here are all of the Cryptopunks that are currently being used as collateral in a loan for more than $80,000 Wonder what happens next
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This
if you want to go zero to billionaire in less than 24 hours you should follow me for the best financial money hacks
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Civilizations rarely collapse because of markets. They collapse when energy becomes scarce or too expensive. Examples: • Roman Empire – declining agricultural energy & deforestation → urban collapse • Maya civilization – land depletion + drought → food-energy breakdown •
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Gondi is an amazing marketplace, but it takes some time to understand all the numbers and opportunities it offers and can be used. Definitely one of the most valuable platforms in the nft space!!
Collectors seeking liquidity aren’t limited to just two options: fire-selling their NFT or accepting a loan offer and waiting it out. With GONDI’s Sell & Repay function, collectors can further strategize by taking an NFT loan for immediate liquidity, then listing the NFT at
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Wall Street pricing Ethereum assets in USD won’t kill Ethereum. But if ETH stops being the unit of account, it stops being money and turns into infrastructure. USD settlement is fine. USD thinking is toxic. Kill ETH as the value anchor and Ethereum becomes AWS with settlement
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That´s only one of the reasons why we should keep calculating NFTs in ETH. @opensea
for all the people who think new NFT buyers should be shielded from the idea that "Ethereum" exists, lest they faint from fear, how do you intend to transfer them their NFT? Will you be sending it via ACH or the Pony Express?
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I have just collected "data foundry" by @neurocolor on @objktcom
objkt.com
🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿🌋⚛💿
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Just added a new NFT from @5putniko called “The Nursery” to the collection. A 100-piece generative art series released July 2022 via @brtmoments . It’s time-based code that simulates organic growth and the emergence of life forms, inspired by the birth of Sputniko!‘s own child.
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Big Applause to Austria 👏🏼👏🏼👏🏼
A true team effort, a reminder of what’s possible when aligned minds create side by side. Three cities, three continents, one show, one vision. Tech won’t save us. But community just might. @SuperRare @thedoomedxyz @maxand98 @validvent
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Sorry, I miscalculated. The thread only has 8 parts 🤣 Unfortunately, I can't change it anymore and I'm too lazy to redo everything.
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In this sense, the reference to Malevich’s historic “0,10” exhibition is highly intentional. Where Malevich challenged the representational limits of painting, Zero10 challenges the conceptual limits of what an artwork can be in the digital age. Digital art is no longer an
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And because of these additional dimensions — temporality, code, on-chain identity, algorithmic output and global accessibility — I can imagine crypto art growing far beyond the scale of today’s traditional art market. Not because it replaces painting or sculpture, but because it
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Another point became increasingly clear to me: to the best of my observation, every artwork in Zero10 was minted on Ethereum — either on L1 or an Ethereum L2. Not as a technological novelty, but as an essential structural component. The blockchain layer allows these pieces to
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It is also fair to acknowledge that part of Zero10’s magnetic pull came from Beeple’s unprecedented generosity and spectacle: he effectively gave away physical and digital artworks with an estimated total value of around USD 5 million (with the NFTs now trading around 15–20k
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For me personally, this was also the first time since Maurizio Cattelan’s Comedian in 2019 that I experienced something resembling a true “banana moment” — a moment that the entire art world (and far beyond it) reacts to simultaneously, because it challenges, questions or even
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Traditional painting, by comparison, is a self-contained object. Its material, narrative and temporal boundaries are fixed. Zero10’s works are open systems — combining physical form, digital processes, on-chain provenance, algorithmic creation and global distribution into a
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Art Basel Miami offered a revealing contrast this year: the limitations of traditional art became particularly visible when placed alongside the works shown in Zero10 — especially Beeple’s Regular Animals. What struck me most is not the presence of screens or technology, but the
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