The 140 Collection from Twitter

The news that Twitter was dropping NFTs on Rarible seems like it could have received more attention but it was an NFT drop and those happen every day now. On the other hand, Twitter is not only a leading social media site but also quite likely the foremost social media site for NFTs. So perhaps the news was simply underwhelming given the outsized possibilities, a bunch of fun NFTs versus Twitter going full-scale into NFTs as they probably should have. 

 

Twitter’s drop was well organized, led to some excellent NFT art, a quickly heating secondary market, and a positive reception overall. Unfortunately, Twitter did not take the opportunity to visibly include the artists in the drop and so missed out on deepening community connections. Such connections will be increasingly powerful as we see the further intersection of NFTs and the creator movement.

 

A Solid Launch

Twitter’s The 140 Collection, named after the early 140 character limit on tweets, was released June 30th by a team led by Bianca Posterli, Twitter’s “over-caffeinated Head of Social Marketing & Campaigns.”

 

The reveal was stretched out over the day with drops on Rarible and additional background info and discussion on Twitter. The extra-brief intro created some confusion but it also opened up a bit of a treasure hunt between tweets on Twitter and posts on Rarible as folks sorted things out.

 

The historical moments were chosen to document and record as NFTs were solid picks and the ‘campaign simply focused on the art’ model is a good fit for such a rich collection of individual artworks. 

 

A number of major media outlets including TechCrunch and Bloomberg chose to play along with the bare bones announcement.

Numerous personal touches reminded us there are humans in NFT Land from Twitter leaders like Phonz.eth supporting the project to NFT Land personalities like artchick.eth getting a guest appearance on the official Twitter account’s banner:

Twitter use of Artchick.eth

 

But Where Were the Artists?

Despite the strong presence of art, the artists themselves were mostly invisible though mentioned as members of the Twitter team that realized this project. One of the more interesting dynamics in crypto art is the movement by artists between commercial, corporate settings and independent, direct-to-collector approaches. Moving between such worlds sharpens one’s perception and sometimes offers opportunities for raising basic questions that otherwise get lost in the art business as usual:

 

 

 

 

Ideally, such questions can lead to rich open-ended improvements and possibilities.

 

As Florez notes, it really would be amazing for crypto artists if Twitter decided to “launch and immerse themselves in our culture by making exclusive #cryptoartist drops honoring our decentralized methods and highlighting the amazing talents!”

 

Such a process could have begun with this very first drop and info about each artist and their art. Many of us would find the creation process and workflow of interest as well.

 

The 140 Collection team had numerous options but also constraints of which we are not aware. That said, making the creators the center of campaigns would allow any company to get closer to the heart of the energy driving the art. Given the current noise in the NFT space will only increase moving forward, building deeper connections will be an important key to remaining relevant to the life of one’s community.

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With the super hot NFT collectible drop hype cycle going on right now, many in the community are apeing into NFT project after project.  From fucking pickles, bananas, rats, misfits, camels, strawberries, ducks, and now some undead monsters to boot, there is an emerging trend in collectible drops.

We have a large number of NFT drop examples to pick from and many in the community are letting it be known what they don’t want to see more of.

Take this tweet from one of the most vocal on-chain evangelists J1mmy.eth,  founder of NFT42, Nameless, and Avastars

Obviously, there are pros and cons to any line of logic, and J1mmy himself notes that there are some useful reasons to use a delayed reveal mechanic in certain situations, but not in the way we are seeing it used for the sake of pumping the floor price before a reveal.  This is a trend that I agree, we as a community should push back on.

To be contrarian for a moment to J1mmy.eth’s point, instantly revealing when a collectible NFT is minted, whales often have a serious advantage over us mere mortals who would like to participate in certain drops. We must find a solution that keeps things pointed towards a more egalitarian outcome,  in my personal opinion. 

Then there is this rather concise summary of what many in the community are not liking about these recent collectible NFT drops:

I would agree with all of these points.

While I do understand that projects are all working to extract attention from a rather modest NFT-aware userbase, as we slowly creep towards mass adoption. The FOMO mechanics of many of these projects are merely trying to replicate what they have seen work in the past.

If every NFT project team is replicating what they think will sell out the fastest, raise the most funds, or create the most hype and attention then we will keep getting more of the same repeat mechanics in future NFT drops. 

I will not lie and say I don’t fall victim to the collectible hype, but I think we as a community should become more thoughtful in what we vote on supporting with our participation and spending.  In full transparency, I own at least one of each of the NFTs I mentioned earlier( besides a banana).  This is all mostly due to my efforts to diversify which projects I currently own, but low key because I am still butthurt that I didn’t get a few Bored Apes when I had multiple chances to.

For me, bonding curves will keep me out of a project. Anonymous developers just feels like trouble, and no real utility being added to a project just spells a HARD no for me. Now, fun and novelty can be an underestimated utility especially if there is strong community involvement.

 

NFT Collectible Drop by Cake’d Bored Apes
“I Think We Did Too Much” Caked DMT Monster by Cake’d Bored Apes

 

This commentary is mostly referencing these newer NFT collectible drops and not just crypto art that I like or supporting artists that I connect with.  I don’t necessarily buy all NFTs because I think they may be worth more in the future, I will buy something that I really love, if I can afford it at the moment, or if it’s from an artist that is someone I really want to intentionally support because of who they are as people and/or if their work is just really dope.

This would bring me to my next major gripe, especially around Avatar NFT projects. I want to pick what my avatar looks like, and not just randomly receive something I may not like at all. I see the outcome of this quite often when people start dumping avatars they don’t like on Opensea for lower prices than they paid for them. 


Now I understand there are issues with letting everyone just choose what they want, but I am putting it out into the universe. If someone can come up with a novel method that protects the masses from gas wars and whales from just taking over while allowing us to build out avatars that we can love, then I think we would mostly agree: that would be cool!

Perhaps without revealing the rarity of those physical aspects that are ‘choosable’ then we would have a win-win, or if rarity was not tied to only visual attributes but instead non-visual attributes to allow for customization. I know technically this could just be wishful thinking, at least for right now, but if we can send chunks of silicone and metal to Mars I think we can at some point figure out how to let me buy an avatar NFT that I fucking love before it hits the secondary market or I get priced out of what I want.

 

NFT Collectible Drop #6812 by Boring Bananas co.
#6812 by Boring Bananas co.

 

Many projects are thinking in the short to medium term and not thinking about their futures, where new technical possibilities can and will exist. This is where the on-chain gang argument really does shine with merit. Being able to reference things on-chain in the future will be a really powerful asset and boost the longevity of the projects that keep that future-focused mentality. 

I spoke with Michael Keen, founder of NFTcatcher.io, that is building a really fantastic platform that aggregates the most significant upcoming NFT drops in a comprehensive and useful way. I asked him about what he does not like to see in NFT drops because, honesty, he probably participates in and is aware of more drops than any single person that I know. 

Michael echoed many of the similar points listed above with some additional nuance:

He told me “I don’t like to see metadata leaks before a reveal, any issues with the smart contract implementation really scares buyers” and he “doesn’t like to see the developers hiding and not answering questions”

I would like to second the metadata leak issue as there were early rumors that were later confirmed during the Misfit University drop, which can be exploited by the technically gifted over the average user to mint the token ids with the rarest traits.

Crying eyes and duct tape drama debacles aside, a responsive team can work through issues with the community as they arise. I personally watched as NFT Twitter wanted to burn the devs of the Misfit University project at the stake, with the alleged rape culture references, but they were responsive and listened to the community and arrived at a solution that in many ways has saved that project, at least to live or die another day.

If we want to see better NFT Collectible Drops with less of what we don’t want and more of what we do want then we as a community should be having these conversations with the developers and creators of these projects. Above all, we should be putting our crypto where our mouths are and voting with our fungible token spending.

 

NFT Collectible Drop
Image by Strawberry.WTF

 

Main Featured Image Credit: Remix of Slacker Duck & Arabian Camel by Albert Polanco

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The latest addition to Kofi Obuobi’s “3D African Masks” series, a project aiming to reclaim African history via NFTs, dropped on June 30th. The series represents masks that have been stolen from Africa at least since colonial times. Many of these masks today lie in private collections, accessible only to those who pay millions to own them. Obuobi is fighting against this privatization of his heritage by recreating these masks as NFTs, making them and their stories accessible again. Fifty percent of the proceeds collected from the NFT’s sales go toward funding Bezalel Oholiab, an incubator for artists, who can live for free and follow their dreams.

 

Bobo Mask NFT by Kofi Obuobi
Bobo Mask NFT by Kofi Obuobi

 

The Initiator: Kofi Obuobi 

Kofi Obuobi is an artist and activist with a background in product design, a field he sees as a blend of arts and engineering. Obuobi is from Ghana, a country with a stable government that, nonetheless, imposes many limits on opportunities. He has worked on many projects including the BBC Africa Awards held in Kenya on the 26th of May, 2007, and has also taught arts at the Queensland International School in Ghana (2011 – 2017).

 

The Project

Obuobi’s inclination to act came after learning from his mentor, Dr.Malcolm Donald McLeod, about the grand scale of the masks that were taken from Africa. Many remain locked away for only private eyes to behold, thereby distancing descendants of the artists who made them from their roots. Obuobi does not believe this is the proper way to do things.

 

Obuobi stumbled upon NFTs relatively recently, after a chance commission for a sneaker design came his way from Casmir Patterson, at SneakrCred Inc. After immersing himself in the required technology, he realized NFTs could provide the perfect package through which to democratize information while limiting ownership. Obuobi connected this with his ambition to re-appropriate the masks stolen from Africa throughout history. 

 

The match was lit and he began to create stunning representations of many masks, attaching their respective stories to them. A total of 29 masks to date have been made into NFTs, and can be found on Obuobi’s Opensea profile (under the account name, JAYREHMIGADE) .

 

The Drop

Two new mask NFTS were minted on June 30th as additions to the ongoing “3D African Masks” series. They are representations of masks worn by the Bobo tribe of Burkina Faso, and by the Kru–Grebo tribes of Liberia, countries where these tribes have hundreds of years of history.

Photo Credit: Kru-Grebo Mask by Kofi Obuobi
Photo Credit: Kru-Grebo Mask by Kofi Obuobi

 

Bobo Tribe Mask  –  Link to NFT on Opensea

Kru-Grebo Mask   – Link to NFT on Opensea

 

This NFT drop aims to shed light on the stories of these tribes, showcasing the masks that were an essential part of ancient African cultures. The project is successfully re-appropriating the stolen masks that were critical to daily life in these tribes. The impact these masks had is communicated in the story contained within each NFT and is made visible to all, while still allowing ownership by an individual.

 

According to Obuobi, “The BoBo mask was used to ward off bad fortune amongst the people. On days when unused, they were hung in front of homes […] that owned that mask.” The Bobo placed great emphasis on the masks they wore, believing they were essential in maintaining the balance of the universe. 

 

Regarding the Kru-Grebo mask, Obuobi says “The Kru-Grebo Mask on the other hand [was] made by […] privileged craftsmen. The masks were made for Seers of the community. These Seers mediated between the people and God.” In this case, the religious importance is clear, as these masks served as conduits for worship. 

 

Whereas the physical versions of these masks are held in private collections, owned by one person and viewable only to whomever that individual chooses, Obuobi aims to make the masks visible for all to learn from and appreciate while still allowing a lucky collector the chance to own them.

 

Photo Credit: Bwa Mask by Kofi Obuobi
Photo Credit: Bwa Mask by Kofi Obuobi

 

The Impact

Beyond taking back what culturally belongs to him and his community, and by making the information and heritage available for all to experience, Obuobi wants to further maximize his impact. He has two partners, Daniel Ampofo Twum and Joseph Afari,  who are equally convinced of the importance of helping people. Obuobi has experience in education and product and graphic design, while his partners have backgrounds in music production. 

 

The partners have been building Bezalel Oholiab together, having paid start-up fees from their own pockets. Obuobi donates 50% of the proceeds from his NFT sales to the organization for ongoing financing. He envisions Bezalel Oholiab as “a result-oriented talent nurturing and innovative institute,” that will become a “kind of African X-Men with great talent to serve their brothers and sisters on the continent.”

 

Bezalel Oholiab already serves as an incubator for three artists, providing them with free shelter and allowing them to pursue their dreams while providing the tools they need to enhance their craft.

 

Photo Credit: Kofi Obuobi
Photo Credit: Kofi Obuobi

From left to right: Daniel Ampofo Twum, Nii Tetteh Badger, Kofi Obuobi, Kissi Joee, Tino Black

Beyond shelter, Bezalel Oholiab intends to implement a podcast entitled “THINK BIG AFRICA TV” that will “get, grow and retain creatives,” while also supplying content to be monetized on Youtube, Facebook, and other social media platforms. The proceeds collected will also go toward expanding Bezalel Oholiab.

 

Further services provided by the company include Music Business Training, 3D Visualization, Branding, and Design, all of which are taught to the incubatees for free. The financing comes from Obuobi and his partners’ pockets, the monetization of Bezalel Oholiab content, and from the “3D African Masks” NFT sales. 

 

The program is free for the incubatees who live there while learning from experts in art and music. There is hope that they’ll become passionate about the “3D African Masks” project and be inspired to help. Otherwise, they would make incredible art to share with the world that would in turn lend to the promotion of “THINK BIG AFRICA TV” and Bezalel Oholiab.  All art created by incubatees will be owned completely by them.

 

Photo Credit: True Love Mask by Kofi Obuobi
Photo Credit: True Love Mask by Kofi Obuobi

 

Featured Image Credit:  Kifwebe Mask by Kofi Obuobi

Reach out to Kofi Obuobi or check out his art below!

 

Kofi’s Links

Kofi’s Instagram: https://www.instagram.com/kofiobuobi/

Kofi’s Twitter: https://twitter.com/OBJClothing

Kofi’s Opensea: https://opensea.io/accounts/JAYREHMIGADE

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The First Social Impact NFT Exhibition In AR

SUMMARY

SuperWorld, an Augmented Reality (AR) virtual world, is participating and partnering with Flint Water Festival, for their annual event this month. The festival’s purpose is to raise funds and awareness to provide clean water to communities who have been affected by the Flint water crisis – domestically in Flint and abroad – through an exhibition of fitness, art, technology, and education. To support these efforts, SuperWorld is curating the first-ever ‘AR Art Walk’ and social impact NFT exhibition called “Digital See.”

 

SuperWorld: A brief introduction

SuperWorld is a virtual world built-in Augmented Reality (AR). 

The SuperWorld platform allows people to create virtual real estate by creating 64.8 billion non-fungible tokens (NFTs) corresponding to real-world space, including historical landmarks like the Great Wall of China, natural wonders like the Great Lakes, and other iconic or personally meaningful places. 

Each plot of unsold property in SuperWorld starts at 0.1 ETH and can be purchased and sold by anyone; from content viewers and collectors to developers and marketers.

“At SuperWorld, our vision is to help build a better world, and a move toward greater environmental stewardship is a critical part of our business model,” says Hrish Lotlikar, Co-Founder and CEO of SuperWorld. “I am excited to announce our partnership with the Flint Water Festival, and hope that the “Digital See” exhibit will help promote art and AR content that not only entertains, but educates, and serves as a catalyst to combat issues like the water crisis, hunger, poverty, inequality and climate change here in Flint and around the world.”

SuperWorld has had other partnerships dedicated to giving back to the community and the planet. The virtual real estate site and Augmented Reality (AR) platform announced a partnership at the end of April, this year with One Tree Planted to plant 5,000 trees in one month and restore 5,000 acres of landscape. From April 30th-May 31st, SuperWorld committed to planting one tree per plot of virtual land purchased to help advance sustainability efforts around the globe.

One Tree Planted Canopy Director Diana Chaplin says: “While SuperWorld creates an exciting digital experience we are happy to be a reforestation partner to make a tangible positive impact by planting trees in the real world! These trees will contribute to cleaner air, water, and biodiversity, supporting a healthier future for nature.”

SuperWorld co-founder and CEO Hrish Lotlikar adds: “Team SuperWorld is dedicated to giving back to the environment and helping to stem the climate crisis, and this partnership gives us and our users the perfect opportunity to affect real change in the world,” 

 

The Exhibition

In an exhibit titled “Digital See,” renowned international and local artists from around the world are displayed alongside one another. Among the great talents to behold is  Krista Kim, the renowned contemporary artist, founder of the Techism movement, creator of Mars House, and one of Architectural Digest’s 100 “game-changers.” 

“SuperWorld is a breakthrough NFT platform that allows artists to make a positive impact that changes the world through Augmented Reality,” explains Krista Kim, the Global Ambassador for SuperWorld spearheading the exhibition. “The next generation of NFTs is about creating experiences, and SuperWorld is the AR internet that allows creativity to flourish in our real world.”

In addition, artists such as Marjan Moghaddam, former Adobe Artist-in-Residence, and Flint artist Isiah Lattimoore and other local and international artists have offered exclusive works for the show. A QR code and the SuperWorld app will be required to take advantage of SuperWorld’s first NFT AR drop. Ten works that have never before been shown will be displayed during the drop.

 

An Overview of the Flint Water Crisis

The Detroit Water and Sewerage Department temporarily switched Flint, Michigan’s water source from the Detroit River on April 25, 2014. To connect to the Karegnondi Water Authority, the department had to switch pipelines. The adverse impact of this measure would prove to be devastating to the Flint community. 

In Flint, the crisis of contaminated water began 7 years ago on April 25. News of Flint’s water supply continues to be headline-grabbing and captivate people around the U.S and abroad. Although this year’s anniversary marks the end of the replacement of lead service lines in the community, its long-term effects will remain even after the works have been completed. These problems serve to underscore the importance of better water supply management in the future.

As a first step, the United States Environmental Protection Agency required Flint to replace 18,000 lead- and galvanized-lined water services (i.e. underground). According to the city of Flint, in total, 26,000 residences have had their water pipes checked and 9,500 have had their pipes replaced with lead or galvanized steel. Approximately 500 service lines remain in Flint to be checked. 

The replacement project was originally planned to finish by 2019. The project fell behind schedule, however, when the present administration took office.

 

Flint Water Festival

Funds raised by the Flint Water Festival will be used for the replacement of pipes in the remaining 18,000 homes that need it. Typically, pipe replacement costs are approximately $5,000 for each home. The organization offers a plumbing replacement program for low-income homeowners that anyone can sponsor. 

The festival began at Flint’s historic Berston Field House on July 2nd, featuring activities and live music. On July 3rd, festival-goers could already view and purchase AR pieces as non-fungible tokens (NFTs) at specific locations in Flint that display art through the SuperWorld app on their mobile phone. The NFT art can be purchased at SuperWorldapp.com, with portions of each sale donated to Flint Water Festival in support of their mission to replace pipes inside local homes needing clean water.

“We are thankful to Krista Kim and Hrish Lotlikar at SuperWorld for using technology to make a positive social impact, and for helping us close the digital literacy gap in Flint,” says Kay Smith, founder of the Flint Water Festival. “Local and international artists have used their talent to support this important cause and to bring a unique experience to the festival through AR.”

“Digital See” is a free event beginning July 3rd that runs through July 31st, 2021. 

 

LINKS

SuperWorld: https://www.superworldapp.com/

Flint Water Festival: https://flintwaterfestival.com/

Krista Kim: http://www.kristakimstudio.com/

One Tree Planted: https://onetreeplanted.org/

Featured Image: Project Lifeline by Mike Han in collaboration with Abin Thomas

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Letter from the Editor #3

 

A Weekly Roundup: 

This is the first letter from the editor of which we’re going to publish, in part, as an article.

 

In lieu of this, I’d like to introduce myself and the upcoming direction that the editorial team and myself have in mind for this outlet in the coming months.  My name is David Cash, and I’ve been the active Editor-in-Chief of this exciting new publication for the past month.  Alongside our Managing Director Glassy Music and Web Editor Albert Polanco, we have managed to take this platform from an NFT blog to a functioning news outlet harnessing the power of some of the most incredible writers in the NFTfi space.  

 

I entered the NFT space back in 2019 when I didn’t even call the images I was minting “NFTs.”  A few years later, and after writing a master’s thesis on the subject, I feel incredibly fortunate to be an active part of this NFTfi world.  This publication has given me the outlet to share many thoughts that, only several months ago, people would have thought that I was crazy to have.  NFTS.wtf is for the early adopters, those who like to be well informed, and those interested in unbiased opinions from key thought leaders in the community.  

 

We don’t spread FUD just because other news sources pick up on gossip.  Our writers and executive staff extensively research every piece we put out, often going above and beyond to seek the opinions of key community leaders in the process. We are a decentralized community, and in the coming months, we hope to scale our current offerings and introduce some exciting new features, with the ultimate goal to be your voice of truth in NFTs.  

 

So what’s the plan?  If you are receiving this as an email, you’ll notice the cover image for this newsletter.  Every week we’re releasing a digital cover to accompany our Newsletter, and in the coming months, each of these covers will be made available as NFT collectibles of varying rarity.  This will be facilitated by the launch of a dedicated storefront which will allow our readers to collect the most newsworthy moments happening in the NFT space.  Collectors of multiple covers will eventually unlock access which will allow them first access to our genesis DZine (digital magazine) which will be launching this fall. More information on that is coming soon.

 

To read the rest of this letter discussing generative art and the current state of NFTS…

 

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The LGBTQIA+ community has always been known for innovation, so it’s no surprise that there were high-profile auctions and IRL events involving NFT technology during New York City Pride. From the world’s first pride-themed NFT to an expansive “Digi/Physi” drop from wunderkind Fewocious at Christie’s – the NFT community continued to expand its footprint. Here’s a look at some of the NFT showcases that took place in the Big Apple last week – and insight into ongoing/upcoming auctions and events.

 

FEWOCIOUS x Christie’s

A seven-day auction ended a few days ago at Christie’s, featuring artwork by 18-year-old LGB[T]Q+ community member, Victor aka FEWOCIOUS. The collection features a limited edition of five pieces, which span Victor’s life from ages 14 to 18. The artist candidly documents his life throughout his artwork, including emotional struggles that have matured him way beyond his years. The visceral nature of his story was discussed on Clubhouse with rooms led by resident drop moderator Farokh Sarmad and on Christie’s website.

 

Fewocious at Christies

 

One of the most powerful and inspiring pieces in the collection is “Year 5, Age 18 — I Taught Myself How To Fly.” The piece marks the beginning of the next chapter for the young artist. According to Christie’s notes, FEWOCIOUS created the artwork after he had moved from his hometown of Las Vegas to Seattle. The relocation was made possible by his very first drop on Nifty Gateway.

 

By allowing his community to get up close and personal, FEWOCIOUS has been able to bring his art to life through multiple senses. The inclusion of a physical art piece, physical trunk, and archival drawings was an excellent example of pairing the digital with the physical.

 

The five pieces in Hello, I’m Victor (FEWOCiOUS) and This Is My Life, which Decrypt is calling crypto art surrealism), sold for a total of $2.16 million.

 

Christie’s continues to innovate, jumping in early into the NFT space and also redesigning its auction formats. Their ability to reinvent has resulted in a number of record-breaking sales. In fact, their 20th and 21st Evening Sales included bidders from 29 countries and “realized sales of more than $691 million over the course of two nights in New York.

Madame Vivien V at XO Crypto by Fiona Aboud

 

XO Crypto

What the hell’s an NFT? Luckily some insight was provided to members of the LGBTQIA+ community this pride at the Blockchain Center on the Upper West Side. Although the center isn’t quite open to the public, approximately 150 guests received a sneak peek at this Pride social. The event, in partnership with NFTs.tips and La Casa Arthouse, presented a showcase of 30 LGBTQIA+ artists who are part of the NFT space. The event was billed as an educational social and included information on NFTs for varying knowledge levels. XO Crypto also featured a live raffle done utilizing the POAP (proof-of-attendance protocol) wallet. The prize was a limited edition pride-themed Satoshi is Homeboy shirt from Brooklyn-based Satoshis closet.

 

Visual Artists featured included David Cash, Handiedan De Verbeelding, Midwestmisfit, Yiliang Yang, Yosnier, Klara Vollstaedt, Diana Sinclair, Ksenia Salion, Sam J, and Brendan Miggins. The artist’s work is on display in a Cryptovoxels gallery provided by Madrid-based Zardoz Club. A closing part for the show is planned for mid-July.

 

 

PLAYBOY & NEON GOLD x Nifty Gateway

Playboy also dropped a series of digital art pieces for Pride with Nifty Gateway. In addition to three images of David Bowie that were taken from a 1976 Playboy, there are also collaborative pieces with many prominent LGBTQIA+ musical artists. Troye Sivan and 3D Artist Jason Beyer have collaborated on a digital a/v series entitled BLOOM2021. Charli XCX created 1700 B.C. (XCX) with Australian artist Sewah Attafuah. The Knocks have collaborated with moistbreezy, and Pabllo Vittar’s drop included works made with Nico Panda and Dutch digital fashion house The Fabricant.

 

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PRIDE is all about liberty, self-love, acceptance, and expression. We love ourselves a little more when we are rocking an epic garment, as fashion intrinsically ties into our identity. We are now granted liberties that surpass anything that fashion has given before with the availability of digital fashion like the most recent drop by Amber Jae Slooten and her digital fashion house The Fabricant. Slooten, alongside the iconic Grammy-nominated singer-songwriter /superstar Pabllo Vittar, Nicola Formichetti of NicoPanda, and artist Blake Kathryn, is enabling buyers to convey style without leaving a scar on the environment. Their digital garments are never brought into the physical world, forever living in the digital space that newer generations now exist in more than reality. We can now embody a variety of new elements to express our individualities while cleaning up the fashion industry too!

Presented by Nifty Gateway and Playboy, the collection boasts bold rainbow colors, beautiful variance in textures, and cool eye-catching animations. Go check it out for yourself! Although the collection sold out quickly, you can still view it in cool animated form and listen to the futuristic soundtrack. (That’s right musicians — You can now overlay your music into these digital fashions too!) The collection stays true to the unique playfulness we think of when we see people express their PRIDE style. Just like the purveyors of the event are doing by disrupting stigmas and previous social norms, this new form of apparel is shaking up what we once believed about our appearance.

dressx.com

 

Fashion is on the threshold of evolution and the future is looking… Simple. Clean. Sustainable…Yet also vibrant and bold, with a variety of never explored variants. Imagine wearing a simple robe IRL, but on your social media, you’re wearing an ornate gown made of materials previously foreign to the clothing production process.  With digital fashion, we are unconstrained by the same guidelines we’ve had to follow in the past. Unburdened by excess waste, the overhead of brick and mortar storefronts, or shipping logistics. Not to mention the overall pollution caused by the fashion industry (more than almost all other industries btw,) we are free to explore new realms of design. No longer are there rules eliminating certain elements in fashion due to lack of functionality.

While many are just learning about NFTs, Slooten has been utilizing the blockchain since at least 2019 with her release of Iridescence, a breathtaking digital gown that was never stitched or brought into the physical realm, but was still highly regarded and admired in the fashion world. With her ideas and wearables like the ones you can find on DressX, we are liberated to stylize in various ways never explored. DressX is a platform used by several designers and sustainable fashion advocates like Amber, to display their latest digital fashions for sale, alongside several others. The items are available for sale using FIAT currency and can be uploaded directly and superimposed onto the photos of your choice to be “worn.” Slooten is no rookie to this highly sustainable realm, she has actually been creating these designs for years already. “Fashion is a language we speak, it’s something we wear but it communicates in such a big way.” She shared on the TedEx stage, “Now this message of fashion was one I wanted to tell, but I came into school and I could not believe how physical things still were. I had to sew outfits day and night… and I thought why are things so physical, when the digital world permeates our daily life so much?”

Quantrum Boots
Photo Quantum Boots

I recommend giving Dressx a spin if you don’t know what the digital fashion hype is about yet. For now, you upload photos and place outfits accordingly, but with advancements like AR glasses, we could eventually have these adorning our bodies as we walk around, only visible to those with the appropriate eyewear. How cool would it be if our earthly environments were sleek, chic, and minimal until you put on your glasses activating a beautiful digital world full of spice and variety like we’ve never seen thus far. Sounds pretty nice to me, but what are your thoughts? Reach out at our NFTs.WTF Twitter and let us know!

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Digging through Twitter threads to figure out what’s going on can be like having to make a trip to the DMV -it’s almost never fun and almost always painful. 

On the 24th of June, there was a little spark of controversy that flamed out into what appeared to be the only thing people were talking about, at least for a few hours in the NFT Twitterverse.  Especially if you live in the NFT echo chamber on Twitter and follow some of the most engaged accounts.

It started when account @beanieMaxi revealed that he was allegedly not just one person, but was a team of professional marketers and that he and @digitalartchick, another prominent NFT tweeter, were in fact the same group of people running both accounts for engagement purposes.

This prompted a backlash from the community and royally pissed off @digitalartchick as she then replied with a swift selfie with a side of Fuck You directed at Beanie.

 

 

Now, why in the fu*k should any of us care about what these two NFT Twitter accounts are saying? Who are they? and why are you even going to spend the next few minutes reading this article about this Twitter drama? 

 

Beanie is a self-proclaimed senior art critic @punkscomic, villain, and JPEG Shiller who at the time of this article being released has around 25K Twitter followers.



Digital Artchick, with a similar following on her Twitter, states that she drinks and tweets about art.  Both of these individuals are semi prominent collectors and recognized figures in the NFT space. They are known to invest in various projects and tend to draw attention to NFTs when they become collectors and start to tweet about them. 

 

Digital Art Chick

 

There are a few things about this whole debacle to unpack from this that I’d like to highlight:

Operating under anonymous pseudonyms and Twitter handles allows people to be curated versions of themselves, sometimes realistic, sometimes not so much.  This can also be problematic especially if the NFT community is going to grant these people any form of influence over this growing non-fungible token ecosystem.

Take both of these accounts, for example, they are pretty raw and no-filter-type Twitter accounts that create controversy as a method to gain engagement and exposure. While many find these antics entertaining, it also seems to really muddy the NFT space, at least from my perspective.

First of all, let me ask you a question, do you talk to other people in real life the way we see many of these Twitter personalities speaking to others online? 

I would hope not, much of the terrible manners I see in public social media conversations across the board, in real life could possibly earn you a good punch to the face, due to the overall lack of respect and basic decency. 

To be honest, this is not just these two influencers, it seems society and platform-wide, this is a growing trend that once you have some level of obscurity in your conversations, humans get a whole lot less inclined to have manners and I am not sure that is a good thing.

Personally, I refuse to even get involved in Facebook conversations outside of the tight-knit communities I am involved in because it is just so energy-draining and toxic to see how disrespectful and intolerant people feel entitled to act when they are hiding behind a keyboard.

What we pay attention to grows and so why would I even highlight this drama, that at the end of the day could be ignored by hitting the block button as many who value their sanity choose to do.

@Digitalart chick felt so much backlash from Beanies stunt that she posted a selfie to prove she was in fact a woman and not the alleged group of male marketers pretending to be a woman, and then ruthless twitter began to bash her for how she looked, which was definitely not cool.

Is this what the NFT community is about?

There is some humour to be found in Meme culture, but there is also a line we should consider as a community.  Berating, trolling bullying others online just does not represent what the NFT space is about in my opinion. In many ways what Beanie did was just reckless, added zero value to the community, and overall shows a lack of empathy and basic respect.  Selling out for engagement at the expense of others in the community is not just on this one individual, it falls on us as a community that engages with, applauds, and rewards this type of behaviour.

The fact that I am writing an article about it now, calling more attention to this type of behavior, in some ways can be seen as rewarding these types of antics. However, my goal is to start a discussion about our ethos in general as a community and to dialog about how we can begin to agree to treat one another better in this space.

To be honest, I can see why some find Beanie entertaining, but personally, for me, I’ll just mute him and keep moving forward. Which may be a very valid way to filter out what you want entering into your own mental space.

I find it much more worth my time to be inspired by others in this space who are building awesome things, helping others, contributing to causes that matter, and having a good time while still retaining some basic kindness and decency.  

At the same time I am not looking to always be politically correct or cater to each and every person’s personal triggers because at what point do you draw the line? Humans can virtually be offended by nearly anything these days and Who TF has time for all that?

 

Here are just a few profiles in this space that I do believe are worth highlighting for their work and how they show up in the NFT Community.  

 

 

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Strawberry.wtf is a series of collectible NFTs that were freshly mutated by the strawberry supermoon, which wasn’t fully visible in North America until last Thursday evening when the sunset and the large golden moon ascended into view. That’s when 10,000 mutant generative strawberries overwhelmed an unsuspecting rural town, which in reality could happen almost anywhere because strawberries are the most widely grown fruit in home gardens.

Similar in scope and generative process to other well-crafted NFT collections like CryptoPunks and the Bored Ape Yacht Club, there’s an endearing narrative backstory to inform, entertain, and engage a community of collectors. Yet unlike those sizable projects produced by corporate teams, Strawberry.wtf was masterfully launched by two talented and ambitious independent visionaries with the enduring support of an NFT crypto art hivemind. What makes Strawberry’s NFTs remarkable is their unique utility: an 8-bit nod of nostalgia in the form of a platform game that was literally built to the limitations of a 1989 Gameboy; a throwback to his notoriety as a world-class retro gamer.

 

“It’s devilishly fun, and evil, and all of the spirit of vintage gaming,” Strawberry said. Loosely based on his own life, each level of the game is a bit more challenging than the last. “It starts out hard, and it’s just hard the whole time,” Strawberry admits. There isn’t a physical cartridge yet, but NFT HODLers will have access to this 6-level game by connecting their wallet in a browser that confirms each verifiably unique ERC-721 token. Strawberry hasn’t beaten his own game, yet he says it is definitely beatable. In fact, you can go from the front to the back, and then play your way back through all 6 levels to the front if you want, because different things may or may not happen each time you play. “You’re not rewarded for playing, but it feels fun, and it feels good when you beat it,” Strawberry said.

 

Strawberry WTF
Strawberry.WTF

 

Strawberry.wtf NFTs are meant to be tradeable, giftable, and fun to make derivatives from—so expect to see Strawberry jam sessions. If you collect at least 20 NFTs and hold them until at least July 9th (1 week after the reveal) you’ll be rewarded with a golden strawberry AirDrop, if you’re also among the top 100 collectors on the leaderboard. “That’s when you automatically become a Big Farmer,” says CryptoSpaces1. “But if you sell one on the secondary market and drop below 20 NFTs in your wallet, you lose your status,” he cautions. A leaderboard will keep collectors competitive, and an active Strawberry Discord includes “Strawberry Preserve,” a space to talk and trade vintage video games. There’s already a limited collection of 6th generation strawberry floppy disk collectibles from taylor.wtf that grants 100 collectors access to an external hard drive of digital assets on discord.art. “I’m gonna have a ton of strawberries on the hard drive available for all the disk collectors to make derivatives of,” taylor.wtf said.

 

Taylor.wtf

 

The first 100 Strawberry.wtf NFTs are reserved; 0-4 are for auction; 5-99 are for DeFi friends and giveaways; 100-9,999 will be made available to the public on OpenSea. Up to twenty NFTs can be minted at a time with a flat cost of 0.025 ETH each; the cost of a Gameboy in 1989. Strawberry.wtf allows its community to make iterations to the game until the Gameboy cartridge is full. By sharing its pipeline sprites, assets, and maps, the community can make changes by editing and even adding new characters for everyone with a Strawberry token to experience. 

“I met Strawberry the other night at the NFT event in Venice, and I was so impressed,” says FinkeLand, who discovered Strawberry.wtf NFTs on CryptoVoxels’ homepage. “He showed me the game he developed and it was way over my head,” she laughs. “But he took the time to explain everything.”

 

Metabit Broker CryptoVoxels

MetaBit Broker CryptoVoxels

The derivative market is sure to be teeming with wildly creative Strawberry patches. Derivatives galvanize the NFT artist community around fellowship, FOMO, flipping, and artist collaborations to create more NFTs. cryptowizard77 wants to 3D-print a strawberry pie. fiyahmarshall wants to add his original music. NFT_ish wants a feminine-looking derivative with a cigarette. Almost anything these collectibles inspire is possible because they’re CC licensed. “With projects like this, when you’re allowed to take the entity that you own, and create new works based on derivative works, and then actually sell them for commercial use, that’s kind of a big deal,” AaronHaber said. 

Designing a 10,000-piece art collection of fruitful abominations is no small feat. Each verifiably different NFT has been generated at random, except for the first 100 NFTs, which are reserved for auction, DeFi friends, and giveaways. CryptoSpaces1 assures us that no more strawberries were cherry-picked; they all go through the same pipeline that will randomize each visual element.

 

The process began with Strawberry, who created 20 different characters. Each of the characters has 8 different pixel parts: visual elements that were handed off to CryptoSpaces1, who created the script to mix and match the visual elements based on different levels of predetermined rarity. The script auto generates Strawberry.wtf NFTs; mixing and matching 8-pixel parts like a delicious strawberry smash cocktail of backgrounds, bodies, berries, eyes, noses, mouths, stems (hair), and an extra category. The first 100 tokens also have a special quality to them that’s specific to each DeFi friend; a trait each grateful recipient may consider rare and valuable in this regard. 

 

“Earlier this week, we’ve been making sure that everything aligns; the assets align, and we actually got some really fun, good, happy accidents,” says CryptoSpaces1. Each smart contract will have a seed hash and a base to the provenance hash so the system is transparent. Strawberry has no interest in seeing his NFTs until they’re actually created. He thinks everyone should just enjoy the surprise. 

“I definitely got some feedback from foodmasku,” Strawberry said. “I put some strawberries in their discord and they offered some suggestions. And I was able to create a better distinction between the more feminine and masculine traits.” While some of them will be burly masculine, there’s no real gender to them, and there are some nice feminine qualities,” he mentioned. “I was trying to aim in a direction where they’re gender fluid in a lot of ways. It doesn’t have to be, you can be whatever strawberry,” he added. “You made a big point to make it inclusive,” CryptoSpaces1 recalls.

Darko R

Darko R

You can’t be mad at a strawberry—hence his moniker—as both a world-class retrogamer and now NFT crypto venture capitalist. Strawberry has been a well-known figure in gaming circles and especially World of Warcraft for more than a decade, and in recent years he’s been extremely competitive. Aggressive gaming is like a day job, and “Strawberry” has always been his avatar handle. When he downloaded Clubhouse and met people like snack_man and steviewilliams_, he was all-in with @rarepizzas and the promise of a collaborative NFT artist community. That’s when the gaming Discord groups he’d been part of for years collided with the world of NFTs like a celestial event; his own Strawberry moon was like a cosmic shift. “I will keep the name Strawberry forever. I love the name,” Strawberry says, despite the rumour that if all 10,000 NFTs sell out, he’ll change his legal name to “Straw Berry.”

While Strawberry.wtf NFTs started minting last week, the visual reveal for each unique NFT in the collection, as well as the platform game, happens on July 2nd.

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As the world continues to familiarize itself with decentralized currencies and the concept of NFT’s, we are simultaneously presented with a wide range of possible applications associated with them. Remember, when people were denouncing the credibility and functionality of NFT’s? Remember that last piece I wrote on NBA Topshot? Well, very soon you’ll be able to take that very same Zion Williamson NFT I mentioned prior and use it as a security for collateral. As if earning “interest on deposits and borrowing assets” wasn’t akin enough to an FDIC-insured bank, AAVE has taken further steps. AAVE’s latest development in the world of DeFi is the opportunity for its users to use their NFT’s as collateral, as stated by their CEO Stani Kulechov.

(Image Credit: Aave)

We don’t have very much information as this is all very new, however, we should discuss what this means for the crypto community at large. Using valuable assets has always been a means of establishing net worth. Acquiring a home or car, applying for a loan, or in place of bail or bond in a courtroom. What if you had the option to add digital assets to the equation? The mere ability to do so would absolutely be of major financial assistance to artists in any foregone situations. Nonetheless, this goes much deeper. I’ve included images and quotes from various community members with opinions to illustrate what the average persons’ perception of NFT’s might be. (adam22)

 

 

A financial institution with as much notoriety in the crypto world as AAVE backing NFT’s so much that they are willing to allow users to put them up as collateral against something like a house is a major statement in favour of their potential value. At this point in time, a majority of people still do not understand cryptocurrency, even less appreciate NFT’s, and less than that would buy them. AAVE’s next move could be the catalyst for people to start informing themselves. Think about how simple it would be for a rich individual to acquire an NFT to store his asset’s, simultaneously making the artist’s career. Similarly, an individual with a more average bank account could easily acquire an NFT and allow it to balloon into something more monetarily valuable, then later use it as collateral.

Think about how difficult it was to pitch to your parents that you wanted to be an artist. Consider the effort involved with fighting to get people to take your art more seriously. In the traditional art world, we’ve seen illustrious works of fine art used as backing for collateral, this isn’t even uncommon. With AAVE backing you, your parents who grew up before the internet was conceived are given good reason to have faith in your craft. When AAVE implements this feature, there will surely be more crypto institutions of similar sizes who follow suit. This just means more credibility to both the concept and the artist.  In other words, AAVE’s soon to come collateral system doesn’t just back your NFT or the home you’re looking to buy. Before all of that, it backs you as an artist. We’ve had enough polarity in this genre of digital art, and this may very well be the solution. Funny enough, both collectibles and fine art can be accepted as collateral, and an NFT can arguably be classified as both, but certainly can be at least one. it’s honestly strange that this hasn’t happened already.

I love DeFi and a good NFT as much as you the reader likely do too, but to be taken seriously we must consider the opposing perspective, not just bash them. What happens when you put your piece up for a collateralized loan and it’s value depreciates? Here’s an easy example to follow: you’re a young collector who purchases a collectible pack from NBA Topshot. You score a one of a kind piece featuring Lebron James dunking on Steph Curry. You then take said NFT, and put it up for a loan for 20ETH. The following month, Lebron dunks on Curry again, and somebody else purchases that minted moment. Does your NFT’s value effectively get cut in half and leave you stuck to pay off an enormous debt you can’t possibly pay? It will be interesting to see exactly how something backed by DeFi will hold up in the long term against something with a somewhat fixed or a more fungible value.

In conclusion, while there is only room to speculate on AAVE’s NFT collateral system, I can say with the utmost confidence that the benefits heavily outweigh the negatives. As the universe surrounding NFT’s grows more roots, it will be easier to say how things will branch out. That being said, as the days grow closer to bringing this concept to life, I postulate that speculation will grow with it, especially as the story accumulates more media attention. The success of this feature seems to be incredibly pertinent to inciting the range of potential positives I mentioned earlier in this article. I have no doubt that AAVE will get this right from the beginning as a lot is dependant on them. What happens from here remains to be seen, however I’m looking forward to using my own artwork to create a stable future as well.

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Pixel Art has taken the NFT world by storm. With crypto punks, rare pizzas, and other avatars popping up as a semblance of identity for many. NFT artists like Maxwell Step and MirruTatep are finding ways to turn them into surprisingly detailed artistic expressions. And then there’s always the sweet nostalgia they represent. I know whenever I see pixel art, I immediately am brought back to a time where my Nintendo 64 was my metaverse. The games were simpler, and yes, pixelated. No matter what reminiscent thoughts come to mind for you, it’s safe to say that pixels are back with a vengeance. Some even feel that pixel art marks the beginning of NFTs- since so many learned about the blockchain via Cryptopunks. 

 So, how can we enjoy our NFTs to the fullest extent? Well, a good start is with displays allowing us to flaunt them IRL as much as possible. The Divoom company gives us the perfect opportunity to peacock our digital artworks with their unique and novel audio/visual devices. The coolest attribute of these products is the colourful pixel art displays shown on the most adorable gadgets. Combining nostalgic charm with classic gamification – the toymakers have given us a super cute way to show off our non-fungible tokens in style. With backpacks, art frames, boom boxes, and a collaboration with Koi Footwear, Divoom could have some big things coming up on the horizon. They even have cool art drawing boards to inspire budding artists.

 

Photos courtesy of divoominternational.com

 

Their newest release is the adorable Divoom-Ditoo. The Ditoo is modeled to resemble a retro computer and the Tivoo and Tivoo-Max both possess a quaint antique TV likeness. To use the Divoom devices to their fullest potential, download the app and unlock a variety of customizable features. With the app, you can choose from a vast catalogue of different art pieces and gifs. You can pixelate your own pictures to display on your devices and have access to a whole pixel art community. 

Bluetooth and Alexa capabilities allow you to play music, podcasts, and anything else you like, including app-accessed radio stations and audiobooks.  Another win is the remarkable battery life, and products can even be synced with your phone’s notification center. When you get a notification the device lights up with a pixelated picture of whatever app the message is on, turning every message into an adorable work of art. With these gadgets, our NFTs will become more functional than ever before! Some even have clap or snap to wake options you can activate for hands-free use. 

Furthermore, you can use sound sensitivity to create visuals on the device that match the music you play with the DJ feature! Choose from a DJ mixer or several different instruments to create your own custom sounds and light shows. I hope our NFT musicians are taking notes! Within the app, there are settings for white noise amongst other sleep aids, and you can set alarms with gentle wake settings for a more comfortable morning. You can also add reminders in the daily planner feature, and even see a pixelated weather forecast. 

Now let’s talk about the game options, with games like Tetris and Magic 8 Ball already installed, you have to wonder what will evolve as NFT and gaming enthusiasts take hold of the tech. A whole line of retro gaming fashion and fun would be a welcome addition to this fast-paced technological age. These tiny pixel portals share a small piece of history and commemorate the novel roots of digital art while ushering in a new era where fashion, tech, and entertainment converge.

 

 

 

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The Super Yeti community experienced the long-awaited reveal of their treasured Yetis on June 14th. The remarkable efforts by the team behind the project were well-received by many members of the crypto community at large as well as by the secondary NFT market where sales of Yetis have topped 5 ETH. With an equitable launch of 0.1 ETH for every Yeti, a portion of the proceeds received will go towards cultivating a game and a community while also working to fight human trafficking in Nepal and India.

Photo Credit: @pranksyNFT and Super Yeti

 

 

The Project

The Super Yeti founders go by the names Supercape and Sparq, choosing to retain anonymity. Despite this fact, they have nonetheless made themselves fully present on their Discord server and through discussions on Clubhouse and Twitter, in addition to a podcast. Tirelessly answering questions while displaying their character and ambitions. Supercape has been part of three Silicon Valley startups and lends a jovial, optimistic attitude to the project that is balanced by Sparq’s diligent, data-driven approach. Sparq is an astute and experienced blockchain developer, having worked with solidity to secure multiple De-Fi projects since 2015.

 

Superscape’s vision was to build a “Yetiverse;” a blockchain game and a community of Yetis that would help decide what the fate of that game would look like. The project was essentially crowd-funded with NFTs to deliver a game for those who provided funding or bought a Yeti later. Critically, a social cause was attached to the project, establishing that 5% of all proceeds would go to fighting human trafficking in Nepal and India. 

 

Allocation & Pre-Sale

The Super Yeti company held 240 Yetis to fund future game development and community initiatives, awarded 60 to team members individually, and another 500 Yetis were given to community members as part of a giveaway. The Super Yeti project then started its pre-sale on June 8th at 3 PM EST, in which the remaining 9,200 Yetis went up for sale at 0.1 ETH each. Initially, 24 different traits were defined for each Yeti’s characteristics including their eyes, hands, colour, and background that could form up to 20,000 different combinations of Yetis. Nobody who participated in the presale knew what properties their Yeti would end up having, how rare they would be, or what they would end up looking like, but the community was excited by the vision and the cause, as well as their firm belief in the team’s ability to achieve it.

Super Yeti
Photo Credit: @MrTrapie and Super Yeti team

 

The pre-sale quickly gained traction, and all 10,000 Yetis were sold out only a few days later on June 11th. Due to popular demand, the Super Yeti team brought on additional team members that focused on community management, graphic design, and development. The result of these additional resources was the exponential increase in the number of possible Yetis, and thereby further enhanced the uniqueness of each Yeti. Instead of 24 traits there were now 88, reportedly capable of forming over a million combinations, up from 20,000.

The community was delighted to receive this news on the Super Yeti Discord Server. Furthermore, ahead of the reveal, the Super Yeti team announced their first significant donation of 10 ETH to New Light Kolkata, a public charitable trust based in India with a broad array of social justice programs including educating and caring for the children of sex workers and “untouchables”- a social caste in India placed on the bottom of the social ladder that limits many opportunities.

 

The Reveal

The Super Yetis were revealed on June 15th at 3PM, exactly one week after the pre-sale began. People began to notice their NFTs changing from the question marks overlaying the Yetis to the Yetis they were awarded. Many flocked to Twitter and Clubhouse to show off the designs of their new Yetis, and within a few days some of the rarest ones were selling for 5 ETH. 40 minutes after the reveal, Opensea finally gave the project the verified badge on their site. The reveal had been successful.

Since then, the Discord community has grown both by member count to over 3700 members, and also by breadth of discussion. There now exist many additional channels covering many topics even beyond Yetis. 

 

The Future/The Impact

The Super Yeti community that has assembled over the past two weeks has been united by their belief in the blockchain game that they could build, as well as by the social cause that is inseparable from the project. The Yetis of legend are often placed around the Himalaya Mountains, the same mountain range that separates Nepal from India. It is across these two countries that the Super Yeti project focuses its donations to fight human trafficking. 

 

This is proof of many concepts. First, that a project can be crowdfunded by a community while simultaneously rewarding those that participate. NFTs provide the ideal use case for such a model. Furthermore, it verifies that a social cause attached to an exciting project can truly supercharge the potential for both. As we move to a more socially responsible future, we look to pioneers like the Super Yeti project to exemplify taking advantage of these new technologies to improve the lives of others around the world.

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