►
Description
There is one thing most crypto projects have in common, and that is GitHub.
On today's GitHub Web3 Community Call, Omoju will be in conversation with Tyler Hobbs, the creator of Fidenza, and Tony Jaramillo, a Design Director at GitHub and fellow creative.
https://tylerxhobbs.com/fidenza
0:00 - Countdown Start
2:04 - Program Start
5:07 - A designer's perspective on NFTs and connections to the art and artist
7:50 - The proliferation of creator centered communities
9:41 - Social good and looking beyond financial rewards
11:00 - Tyler's process of generative art. What is generative art?
13:25 - The hands-on mix between human and machine in creating art
16:35 - Art as it relates to Computer Science and Machine Learning and boundaries for output
21:40 - artblocks.io and the minting of NFTs
26:29 - Security and copyright concerns on the blockchain
30:33 - Does the de-centralized web (Web3) make a difference for your work?
31:41 - Collector accessibility and entrenched barriers to participation
32:33 - The crypto renaissance?
36:38 - The pace of change
37:05 - How have things have changed for you as an artist?
40:50 - What tools are you excited about as you create? And the leap from math and programming to art.
51:22 - Collaborations?
55:13 - Ownership of physical assets on the blockchain (vs art)
59:44 - Participation in the Metaverse? And how can GitHub help?
A
A
A
A
B
B
B
C
B
C
B
Very
interesting
conversation
at
full
disclaim,
full
disclosure.
I
bought
my
first
nft
three
or
four
weeks
ago.
I've
been
looking
at
them
for
quite
a
while,
and
I
never
really
pulled
the
plug,
but
I
finally
bought
the
first
one
and,
let's
just
say
I
need
to
have
a
budget
because
it
connected
to
something
so
deep.
In
me
I
was
like
okay,
this
is
a
problem.
I'm
gonna
keep
my
art
every
day
and
I
can't
this
is
gonna
get
sustainable.
B
Somebody
needs
to
come
and
put
me
into
control,
so
I
don't
know
what
it
is
about.
Human
psychology,
but
energy
is
definitely
connected
with
something
deeper
than
just
by
it
connected
to
something
deeper.
Can
you
talk
a
little
bit
about
what
you
think?
That
is
what
you
think
it's
what
you
think
is
going
on.
What
is
it
about
us
and
looking
at
pictures
online?
That
has
a.
C
Lot
something
deeper
yeah
I
mean
first
I'll
just
say:
I'm
I'm
totally
in
the
same
boat
as
you
like,
even
just
as
a
collector.
Actually
you
know
I've
loved,
collecting
artwork
for
a
long
time
and
nfts
have
definitely
hooked
me
as
a
collector
as
well.
It's
just
it's
so
easy
to
get
artwork
from
all
these
artists
that
I've
enjoyed.
C
You
know
it
is
interesting,
I'm
not
sure
exactly
what's
going
on
there,
but
I,
but
I
agree
with
you.
It's
it
just
feels
so
easy
to
get
kind
of
directly
connected
to
the
community
to
the
creator,
to
it's
so
easy
to
see
all
this
work,
that's
out
there
and
yeah.
I
think
there's
just
really
a
big
cultural
shift
where
we're
starting
to
appreciate
this
work
and
for
a
lot
of
digital
artists.
B
D
Yeah,
oh,
I
have
so
many
questions
for
tyler
on
this.
How
do
I
see
nfts?
I
feel
I
feel
the
draw
as
well
for
nfcs
and
I
and
I
see
why
people
are
so
interested
in
myself,
included
and
and
the
thing
that
I
feel
like
is
new
for
it
and
entirely
I'd
love
to
get
your
take
on
this.
Is
there
is
beautiful
art
out
there,
which
is?
D
You
know,
not
something,
that's
new,
but
you
have
this
level
of
exclusivity
that
you
get
from
being
plugged
into
it
and
I
feel
like
there's
a
real
community
built
around
nfts
in
that
you
have
a
connection
with
the
artist
and
and
and
what
I
mean
by
that
is
when
I
see
people
buying
nfts
right
now,
you
get
plugged
in
in
a
link
to
the
artist
where
I
mean
in
the
past.
If
you
sold
a
print
on
your
website
tyler,
do
you
have
a
connection
with
them?
C
Yeah,
no,
I
think,
that's
a
great
point.
There's
definitely
communities
coalescing
around
different
artists,
sometimes
sometimes
the
particular
platform,
but
but
individual
artists
have
been
able
to
build
a
community
really
well,
it's
been
interesting,
there's
so
much
activity
on
on
twitter
and
on
discord.
C
If
you
enjoyed
a
generative
artist,
there's
almost
nobody
physically
around
you,
that's
gonna
know
what
generative
art
even
is
right,
but
you
go
online
to
these
these
communities
and
there
might
be
hundreds
of
people
there
that
love
it
for
the
exact
same
reason
as
you,
so
I
think
there
I
think
that
community
aspect
of
it
really
is
a
pretty
crucial
part
and
I
think
that's
awesome.
I
think
I
couldn't
be
happier
about
that
being
an
important
part
of
this
art
world.
B
C
C
D
Oh
sorry,
I
didn't
mean
to
step
on
your
toes
there
yeah
in
kind
of
building
on
what
you
were
saying.
I
feel
like
there's
a
there's,
a
real
element
of
taking
it
beyond
the
art
and
doing
something
with
social
good
and
I've
noticed
that
certain
groups
of
nfts
have
projects
and
roadmaps
that
do
things
that
are
beyond
just
selling
art
they're,
making
animations
they're,
making
comic
books.
You
know
some
of
them
are
even
building
dog
parks
by
you
know,
buying
nfts
and
they're,
taking
that
money,
they're
building
dog
parks,
I
think
in
berkeley.
D
So
there's
this
real
element
of
like
taking
this
financial
element
and
kind
of
funneling
the
money
to
doing
something.
That's
social,
good
beyond
you
know
people
just
buying
lamborghinis
and
trying
to
make
money
like
that.
I
think
the
focusing
on
the
social
good
is
the
thing.
That's
really
interesting
and
optimistic
and
exciting
to
me.
So
I'm
really
curious
to
see
how
that
space
evolves
in
the
future.
C
Yeah
yeah,
I
mean
yeah.
Some
of
these
groups
are
bleeding
out
into
the
physical
world
and,
like
you
said,
doing
doing
some
really
interesting
projects
which
I
think
is
fantastic
and
yeah
anytime,
that
we
can.
We
can
focus
our
energy
on
something
for
for
charity
or
for
greater
social
good,
like
what
better,
what
better
cost
can
there
be
than
that.
So
I
love.
I
love
anytime.
Community
or
artists
really
put
some
some
effort
into
that
side
of
things.
C
B
C
Now
that
doesn't
have
to
be
done
through
computer
programming.
There's
there's
ways
that
you
can
do
that
with
physical
processes
or
you
can
do
things
like
you
know,
rolling
dice
in
order
to
guide
the
creation
of
your
artwork,
but
it
does
happen
to
be
really
convenient
to
do
it
through
computer
programming
and
so
generative
art.
These
days
really
typically
refers
to
what
I
would
maybe
also
call
algorithmic
artwork,
which
means
you're
designing
an
algorithm
that
generates
artwork
and
that's
the
way
that
I
create
my
work
as
well.
C
Basically,
I
sit
down
and
I
kind
of
write,
a
program
from
scratch
that
generates
images
as
its
output.
I
don't
typically
have
any
sort
of
input
to
the
program,
so
I'm
not
doing
like
data
visualization
or
photo
processing
or
anything
like
that.
It's
kind
of
starting
from
a
blank
canvas
and
drawing
you
know,
curves
and
shapes
and
and
lines
to
construct
an
image,
typically
an
abstract
one
and
there's
a
lot
of
randomness
in
the
program.
C
So
each
output
from
the
program
will
be
different,
and
that
means
that
instead
of
writing
a
program,
that's
you
know
focused
on
one
image:
I'm
really
trying
to
create
a
whole
system
or
process
kind
of
a
loose
set
of
guidelines
for
what
I
think
it
would
be
interesting
to
see
the
program
output
and
then,
and
then
it's
kind
of
in
the
hands
of
of
the
gods
of
randomness
in
terms
of
what
ultimately
comes
out.
But
I'm
trying
to
give
it
like
a
gentle
push
in
the
right
direction.
D
I
I
noticed
that
or
I've
I've
heard
you
talk
about
some
of
your
processes
in
the
past
and
sometimes
you
have
a
hand,
input
that
then
goes
to
the
algorithm
and
then
has
an
output
on
the
other
side
of
it.
Specifically,
I
think
you
were
mentioning
using
a
wacom.
This
you
know
displays
you
can
draw
on.
I
don't
know,
that's
what's
on
your
desk,
but
are
you
still
employing
this
technique?
Is
this
it's
a
really
it's.
C
C
C
I
spent
a
lot
of
time
training
in
that
and
it's
something
I
I
do
really
enjoy
doing,
and
so
I
love
finding
opportunities
to
mix
the
hand-drawn
elements
and
the
generative
elements,
and
I
am
really
fascinated
about
that:
intersection
of
kind
of
the
computer,
aesthetic
and
and
and
the
handmade
aesthetic
and
how
they're
different
and
how
they
can
relate,
and
so
a
lot
of
my
work
does
focus
on
that
area.
But
specifically,
I
like
to
create
work
like
you
mentioned.
That
brings
in
hand-drawn
elements,
and
I
do
I
have.
C
I
have
several
techniques
that
I
use
for
that,
but
one
of
them
is
to
to
take
a
wacom
tablet,
which
is
essentially
just
like
a
giant
ipad
and
to
draw
on
it
in
a
way
that
I
can
capture
the
lines
that
I've
drawn
as
vector
data
and
then
they're
easy
to
use
as
a
sort
of
input
to
my
generative
algorithms.
So
they'll
tend
to
be
kind
of
a
starting
point
that
then
gets
processed
by
the
algorithm.
C
So,
for
example,
I've
done
works
where
I'm
I'm
drawing
figures
right
like
outlines
of
figures,
and
then
maybe
the
algorithm
takes
that
figure
and
and
turns
it
into.
You
know:
colorful
shapes
in
some
way
right
and
yeah.
I've
been
doing
that
kind
of
work
for
years
and
I'm
still
doing
it.
I
did
probably
one
of
my
most
complex
works
in
that
in
that
technique.
C
B
It
just
reminds
me
a
lot
of
the
work
that
we
do
in
computer
science,
so
that
the
portrait
one
you're
talking
about
is
that
cs
plus
x
for
all
x
is
the
combination
of
the
two
and
great
things
emerge
from
that,
taking
a
step
back
into
the
process
of,
for
example,
creating
a
fidenza
which
is
it's
not
like.
You
make
this
program,
you
have
an
idea
of
the
design
space
of
the
program
and
when
a
user
goes
to
meet
a
video,
that's
when
you
find
out
exactly.
C
B
What
that
will
be
so?
The
question
I
have
is
it
sounds
to
me
very,
very
similar
to
what
we
do
in
machine
learning,
where
we
have
this
space
of
possibilities
and
we're
looking
to
fit
a
curve
and
we're
trying
to
optimize
for
this
curve.
But
we
have
evaluation
metrics.
We
have
something
like
area
under
the
curve
that
we
can
write
an
algorithm
and
run
the
evaluation
metric
again.
So
we
have
an
idea.
C
C
B
In
your
work,
how?
Because
you
can't
say
I've
created
this
algorithm,
you're
gonna
put
it
up
there
and
then
people
start
meeting
because
of
the
randomness
you're,
not
quite
certain
what
the
boundaries
of
the
goodness
of
it
is.
How
do
you
do
your
own
evaluation
before
you?
Let
the
thing
out
in
the
wild.
C
Yeah,
that's
a
that's
a
fantastic
question
that
is
certainly
a
huge
aspect
of
of
the
challenge
at
the
heart
of
creating
this
type
of
generative
work,
which
there's
two
parts
to
that
problem.
Right
you
mentioned
you
have
this
big
output
space
and
and
and
simply
just
creating
that
big
output
space
in
the
first
place
can
be
challenging.
It's
not
always
easy
to
create
an
algorithm
that
creates
a
large
potential
output
space,
but
then
the
bigger
you
create
that
space.
C
It's
almost
like
the
smaller
percentage
of
that
space
is
actually
high
quality
right,
and
so
it
becomes
much
harder
to
restrict
the
program's
output
to,
as
you
mentioned
kind
of
this,
this
narrow
curve
within
that
high
dimensional
space
in
in
simpler
words,
the
more
variability
you
introduce
in
the
output,
the
high
the
harder
it
is
to
guarantee
a
minimum
basic
quality
for
every
output
and
so
yeah.
How
do
you
do
that
as
an
artist?
C
It
would
be
nice
if,
if
I
had
some
kind
of
like
a
grading
system
right
or
if
I
was
like
taking
a
machine
learning
approach,
I'm
sure
that
there
are
generative
artists
that
are
doing
that
and
I'm
sure
that
that
technique
will
work
really
well
right.
Now.
Instead,
it's
much
more
basic
for
me,
it's
kind
of
more
heuristics
right,
so
my
process,
when
developing
the
algorithm
is
I'm
constantly
generating
outputs
and
I'm
constantly
kind
of
shifting
around
in
that
high
dimensional
space.
C
Looking
at
the
different
areas
and
trying
to
see
if
there
are
weaknesses
in
those
combinations,
and
if
there
are
weaknesses,
then
I
either
try
to
structure
the
algorithm
so
that
maybe
so
that
I
avoid
those
particular
areas.
Those
combination
of
features-
or
perhaps
I
figure
out
a
way
that
I
can
add
something
to
it.
Or
do
it
do
a
little
bit
different
so
that
it
looks
better
under
those
circumstances.
C
Still
any
time
you
you
take
your
hands
off
the
reins
a
little
bit
you
you,
you
give
that
freedom
to
the
algorithm
you're,
giving
space
for
emergence
to
happen,
which
is
a
really
important
property
of
generative
artwork
emergence,
is
what
emergence
means.
Something
comes
out
that
that
you
don't
expect
right.
D
Is
is,
and,
and
specifically,
art
blocks
is
the
platform
that
you
use
for
this
right
for
fidenza,
specifically
right,
which
is
such
an
intriguing
platform.
This
is
a
whole
way
of
minting
art
that
that
feels
new.
To
me
is
this
a
new
style
of
I
mean
generative,
art
isn't
so
much
new,
but
the
way
that
the
collectors,
the
way
things
are
getting
minted.
Is
this
something
that's
new
or
something
that's
been
around
for
a
little
bit.
C
Yeah,
that's
a
that's
a
great
question,
yeah,
just
just
to
explain
a
little
bit
of
the
history
of
general
art.
It
has
been
around
since
the
1960s
back
to
very
early
computers.
It
was
a
lot
of
people
coming
from
you
know,
engineering
and
military
backgrounds,
and
it's
continued
throughout
the
decades.
C
But
it's
never
been
super
popular
and
it's
it's
always
gotten
kind
of
a
tough
rap
from
from
our
critics.
But
so
so
it's
nice
to
see
that
it's
kind
of
having
it's
moment
in
the
sun
right
now,
but
in
terms
of
art,
blocks
art
blocks
and
doing
something
new.
I
do
think
that
art
blocks
has
made
a
significant
change
in
terms
of
the
opportunity
for
generative
artists
and
also
kind
of
the
artistic
demands
for
creating
these.
C
C
If
a
bad
output
comes
out
like
that's,
that's
what
the
collector
is
going
to
get
or
if
it's
a
great
output,
that's
what
the
collector
is
going
to
get.
So
this,
this
sort
of
really
direct
feature
of
of
like
output
from
the
script,
goes
directly
into
the
hands
of
the
consumer
or
the
collector
no
filter
in
between
not
even
knowing
what
it's
going
to
be
like.
That's
a
really
new
aspect,
but
just
the
whole
large
output
set
size
is
also
fairly
new.
So
you
know
with
art
blocks.
C
C
And
so
I
think
it's
that
combination
of
of
those
two
things
that
large
output
set
size
and
also
the
fact
that
it
goes
directly
to
the
consumer
to
the
collector,
with
with
no
curation
or
filter.
Those
two
things
are
really
changing
the
game
and
and
kind
of
helping
to
push
artists
in
a
really
interesting
new
direction.
I
think,
of
course
nothing
is
totally
new
under
the
sun.
There's
some
amount
of
precedent
for
all
of
this,
but
it
really
does
feel
like
a
giant
shift
in
terms
of
what's
happening
to
me.
D
Yeah,
it's
it's
very
cool
to
see
and
then
I'm
curious.
So
you
say
that
your
code
is:
is
it's
inputted
on
the
blockchain
on
the
ethereum
blockchain
right,
your
particular
algorithm,
I'm
curious
about
security
about
this
because
aren't
blockchains
transparent
in
a
sense
and
is
your
code
visible
to
everyone,
and
if
so,
is
this?
Concerning
for
artists
out
there
security
copyright
issues?
All
of
this.
C
Yeah,
so
the
code
is
on
the
blockchain,
like
I
mentioned,
that's
part
of
of
how
it
works,
and
so
people
can
go
and
and
pull
down
the
code
for
the
fidenza
algorithm.
I
do
still
own
that
code
right.
I
still.
I
don't
have
a
permissive
license
on
it.
I
still
own
full
copyright
on
it,
so
so
legally
people
aren't
aren't
entitled
to
to
use
it
for
their
own
purposes.
C
But
of
course
people
are
going
to
try
and
do
that
anyway,
and,
in
fact
like
this
has
already
started
to
happen
more
where
people
are,
you
know
talking
about
making.
You
know
fake
output
or
you
know,
generating
new
output
from
the
algorithm
that
I
haven't
authorized
things
like
that.
Oh
you
know,
I
don't
know
how
it's
going
to
play
out.
I
mean,
obviously
I'm
not
I'm
not
like
I'm,
not
a
fan
of
that.
C
I
think
I
specifically
chose
you
know
for
there
to
be
999
outputs
from
the
algorithm
and
for
that
to
kind
of
be
the
start
and
the
end
of
it,
and
I'm
not
interested
in
continuing
to
create
some
new
work
from
it.
But
yeah
it's
going
to
be
really
interesting
to
see
in
this
more
decentralized
world
exactly
how
all
that
goes
like
a
certain
amount
of
it
has
to
be
social
self-policing
right
like
these,
these
communities.
C
You
know,
exploit
it
or
or
do
things
that
are
against
the
wishes
of
the
artist
I'm
hoping
that
that
kind
of
behavior
is
is
shunned
by
the
the
crypto
community
and
so
far
I've
seen
obviously
there's
a
few
bad
actors
out
there.
But
you
know
99
of
the
people.
I've
seen
have
been
amazingly
supportive
and
and
want
to
do
the
right
thing,
and
it's
super
encouraging
to
see
so
so
far,
I've
loved
the
response
from
the
community
and
I
think
ultimately,
everything's
gonna
be
just
fine.
C
D
Yeah
absolutely-
and
I
feel
like
because
there's
so
much
value
in
this
space
right
now,
I
feel
like
someone
will
fill
that
space
of
making
sure
that
things
are.
You
know
that
people
are
getting
a
stamp
of
some
kind.
You
know,
or
you
know
that
to
make
sure
things
are
actually
coming
from
tyler
hobbs
and
not
someone
who
took
your
code
and
started
duplicating.
C
Yeah
yeah
I
mean
that
that
that
part
of
it
actually
is
already
really
well
handled.
So
that's
like
kind
of
the
whole
value
proposition
of
the
blockchain.
As
you
can
see,
you
can
see
exactly
who
created
the
nft
exactly
who's
owned
it
before
you
know
the
whole
provenance,
and
so
it's
really
easy
to
tell
like.
Is
this
a
legit
fidenza
or
not?
It's
more,
a
question
of
are
people?
Are
people
like
willing
to
buy
something?
That's
a
that's
a
fake
videnza
like,
even
though
they
know
it's
fake
right.
C
Of
course,
some
people
might
might
get
duped
that
or
just
not
super
aware
of
the
space
and
that's
a
shame
as
well,
but
yeah.
Fortunately,
in
terms
of
like
telling
what's
legit
and
what's
not
like
that's,
that's,
that's
really
easy.
That's
the
whole
point
of
the
blockchain,
and
so
I'm
not
really
concerned
about
people
ever
knowing
if
something's
a
real
fedenza
or
not
it's
more.
C
D
B
C
Yeah,
that's
a
good
question.
I
don't.
If
I
can
be
honest,
I
don't
think
about
that
aspect
of
it
too
much.
I
do
like
I
like
the
decentralization
aspect
for
a
couple
of
reasons.
One
is
that
it
is,
you
know,
censorship,
resistant
and
it
it's
much
more
open
for
any
artist
to
to
come
into
the
space
without
having
to
go
through
this.
C
You
know,
barrier
of
like
in
the
traditional
art
world,
there's
very
much
like
an
old
boys
network,
and
you
have
to
make
all
these
social
connections
in
order
to
get
your
work
shown
and
and
respected,
and
so
I
love
that
the
blockchain
and
is
giving
us
an
opportunity
to
sidestep
those
sorts
of
issues,
and
I
love
that
just
for
collectors
as
well.
It's
so
much
more
accessible.
It
doesn't
matter
who
you
are,
you
can
buy
the
artwork.
C
C
B
B
C
Oh,
I
think
this
is
going
to
be
huge.
I
mean,
I
think
this
is
the
start
of
something
huge
for
sure
yeah
I
mean
just
that
that
whole
it's
really
about
social
acceptance,
I
think,
is
the
biggest
shift
like
people
have
at
this
point.
People
have
bought
into
the
fact
that
nfts
are
legit.
Like
you
know,
early
on
people
are
saying:
oh,
why?
Why
are
you
buying
an
nft?
C
C
C
It's
so
important
that
we
have
digital
artists
and
that
that
work
is
valued
just
as
much
as
physical
work
is,
and
that's
really
going
to
help
to.
You
know
to
reshape
our
digital
environments,
to
make
them
much
more
enjoyable
and
and
humane,
and
so
I
think,
empowering
digital
artists
is
going
to
have
a
big
cultural
effect
as
well.
So
I
think
all
of
those
aspects
are
coming
together
to
to
make
something.
That's
going
to
be
a
really
big
shift,
and
I
can't
predict
the
future.
D
Yeah,
I
think
you
touched
on
this
before,
but
it's
about
breaking
down
barriers
for
you
know
for
who
can
collect
this
art
now
and
I
feel
like
that's.
A
real
big
thing
about
web3
right
now
is
is
about
democratizing
things,
and
it
gives
a
real
sense
of
optimism
for
me
for
what
the
future
can
be,
because
I
mean
you
see
it
with.
You
know
going
around
banks
for
lack
of
a
better
term
or
you
being
your
own
bank
might
be
a
better
way
to
put
it
you
being
your
own
art
collector.
D
C
Yeah
absolutely
absolutely
like,
and
I
I
think
a
lot
of
people
have
have
noticed
that
there's
almost
this
like
time
warp
effect
with
how
I
think
how
quickly
things
are
happening,
like
fedenza
came
out
three
months
ago
and
for
a
lot
of
people.
It
feels
like
it
was
like
two
years
ago,
because
so
much
has
changed
since
then.
So
yeah,
the
the
pace
of
change,
is,
is
incredible,
and
so
it's
it'll
be
wild
to
see
even
just
a
couple
years
from
now.
What
things
are
like.
C
D
C
It's
been
the
biggest
change
you
could
possibly
imagine
yeah,
I
mean
earlier
this
year,
yeah,
I
was
primarily
making
my
living
selling
selling
prints
through
my
website,
which
I
did
feel
pretty
good
about.
This
is
something
I
had
worked
worked
on
and
built
up
over
years,
and
I
was
starting
to
be
able
to
earn
a
comfortable
living
from
that.
C
I
was,
you
know,
taking
commissions
from
clients
like
yourself
doing
doing
murals
and
fortunately,
I
you
know
was
able
to
be
at
least
somewhat
selective
and
two
really
really
cool
projects
like
the
github
office
mural
but
yeah.
I
just
have
a
you,
know
a
whole
new
level
of
of
independence
and
also
visibility
and
and
credibility.
C
I
guess
at
this
point
you
know
it's
happened
so
fast
that
it's
been
like
totally
mind-blowing
and
it's
hard
for
me
to
even
accept
the
reality
of
it
a
lot
of
the
time,
but
essentially
I
I
have
now
more
or
less
complete
artistic
freedom.
I
don't
have
the
need
to
necessarily
take
on
any
projects
that
I
don't
want
to
take
on.
C
I
constantly
have
opportunities
coming
in.
I
get
emails
every
day
about
people
that
are
interested
in
doing
you
know,
collaborations
or
commissions
or
various
types
of
projects,
and
I'm
able
to
to
pitch
places
with
my
own
ideas
for
projects
and
and
much
more
likely
to
be
able
to
to
make
that
a
reality.
So
it's
been,
it's
been
incredibly
empowering
and
it's
just
like
I
couldn't
have
asked
for
anything
better
to
happen.
C
It's
been
it's
been
absolutely
incredible
and
and-
and
it's
been
that
way
for
a
lot
of
other
artists
in
this
area
too,
it's
been
fantastic
to
see
how
many,
how
many
artists
can
now
are
just
firmly
established
and
can
focus
on
creating
their
work,
so
many
artists
have
been
able
to
to
quit
their
you
know,
day
jobs
and
just
focus
on
the
artwork
or
or
to
stop
worrying
about
you
know
paid
commissions
and
they
can
do
maybe
more
exploratory
creative
work.
That's
a
little
bit
harder
to.
D
Yeah
it's
interesting.
I
hear
a
lot
of
parallels
in
that
between
like
get
github
sponsors
and
and
what's
happening
out
at
the
nft
space,
where,
where
you're
you're
directing
funds
directly
to
the
developer,
the
creator,
the
artist
and
it's
empowering
them
to
give
them
freedom
to
work
on
the
projects
that
they
want
to
do,
and
I'm
so
curious
to
see
when
people
have
that
freedom,
what
they
will
really
create
and
how
they
will
help
progress.
The
whole
space.
C
D
C
A
B
B
B
B
C
Yeah,
that's
a
wonderful
question
and
I
love
the
tie-in
to
gardening
as
well.
I
mean
it
sounds
like
you,
you
you,
you
caught
the
generative
bug
a
little
bit
like
you
got
to
the
heart
of
it
right
like
it's,
it's
cool!
Sometimes
it's
nice
to
take
some
of
that
pressure
out
of
your
hands
as
the
artist
is.
C
You
don't
have
to
you're,
okay
with
like
giving
you
general
guidelines,
and
you
don't
have
to
worry
about
the
exact
specifics,
sometimes
and
and
and
yeah
when
you
introduce
that,
like
random
element,
it'll
it'll
throw
out
things
that
surprise
you
in
a
really
cool
way
like.
I
can't
tell
you
the
number
of
times
that
I've
seen
output
where
I've
seen
it
and
I'm
just
like
blown
away.
C
I'm
like
wow,
that's
like
such
a
cool
composition
or
it's
such
a
cool
idea
to
like
you
know,
have
these
things
behave
in
a
particular
way
that
I
never
would
have
thought
of
on
my
own,
but
just
just
through
sheer
randomness.
These
things
get
suggested
to
you
and
and
it's
you
don't
have
to
stop
there
either
right,
like
you.
C
C
Okay,
so
there
were
a
few
questions.
One
was
like:
how
did
I
make
the
jump
from
kind
of
thinking
about
math
and
code
into
into
thinking
about
art?
There's
other
questions
of
yeah
like
what
tools
are
coming
down
the
road
like
ai,
like?
Maybe
how
am
I
going
to
work
with
those?
How
do
I
see
other
artists
working
with
those
okay
I'll
start
with
just
talking
about
my
own
background?
First,
so
I
you
know,
I
grew
up
painting
and
drawing
all
the
time
I
like
to
do.
C
Other
things
like
skateboarding
was
absolutely
my
favorite
and
playing
music,
but
I
was
always
always
painting
and
drawing,
and
I
was
really
interested
in
being
an
artist
after
high
school.
I
wanted
to
to
to
go
to
an
art
school,
but
my
dad
convinced
me
to
study
computer
science
instead
for
pragmatic
reasons,
right,
which
is
not
necessarily
bad
advice
like
on
average,
that's
probably
a
good
choice
when
you're
going
to
school.
C
Studied
computer
science
at
ut
and
started
working
at
tech
startups
like
I
was
working
on
working
at
a
company
called
data
stacks
on
an
open
source
distributed
database
called
apache,
cassandra
and
so
yeah.
You
know
super
tight
into
open
source
and
github
and
that
whole
scene,
but
yeah
in
the
background,
I've
I
continued
working
on
artwork
and
even
though
I
really
loved
my
work
as
an
engineer,
it's
a
fantastic
job.
C
I
I
kind
of
decided
that
that
I
really
wanted
artwork
to
be
the
thing
that
I
focused
on
long
term
in
my
life,
and
I
wanted
to
try
to
take
it
more
seriously,
and
so
I
I
kind
of
renewed
my
efforts
on
artwork
and
started,
studying
it
much
more
intensely
and
working
on
artwork
every
day
and
you
know
kind
of
got
my
traditional
art
skills
into
a
pretty
good
place.
Like
I
mentioned
earlier,
I
did
a
lot
of
figure,
drawing
landscapes,
things
like
that.
Those
were
actually
starting
to
get
pretty
good.
C
I
wouldn't
say
I
was
a
great
artist,
but
they
were
at
least
solid
I
felt
like,
but
I
knew
that
I
needed
to
make
my
work
a
little
bit
more
personal,
a
little
bit
more
about
me
about
my
about
my
life
and
in
general
for
every
artist.
I
think
it's
super
important
to
try
to
involve
your
life
and
as
many
aspects
of
it
as
you
can
in
your
artwork.
That's
that's!
Really
your
domain
of
expertise
and
interest
and
anything
you
can
pull
in
that's
personal-
is
going
to
make
your
artwork
that
much
better.
C
Like
I
remember
at
one
point,
I
made
like
a
painting
that
looked
kind
of
like
a
programming
ide,
and
so
I
was
like
thinking
about
things
from
that
right,
which
is
like
a
I
mean.
It's
it's
one
approach,
but
but
I
wasn't
super
satisfied
with
that,
but
then
I
kind
of
had
the
thought
of
you
know
what,
if
I,
what
if
I
write
a
program
that
generates
a
painting,
what
would
that
look
like
and
so.
C
I
I
kind
of
started
taking
that
approach
and
and
right
away,
I
I
was
really
interested
in
the
results
like
they.
I
could
tell
that
there
was
something
special
there
and
that,
even
though
I
wasn't
great
at
it
yet
technically
the
the
results
were
already
way
more
interesting
than
the
paintings
that
I
had
been
making,
and
so
I
decided
I
was
going
to
focus
on
that
and
and
keep
doing
that,
and
that
was
that
was
about
seven
years
ago,
seven
and
a
half.
C
You
know
fluid
dynamics
equations,
because
even
though
they
can
make
some
really
pretty
things
like,
I
could
never
master
those
at
the
same
level
as
I
can
master
say
something
like
flow
fields
right,
which
is
the
basis
for
fidenza,
which
is
a
much
more
simple
algorithm.
But
it's
because
I
understand
it
and
can
manipulate
it.
So
well,
it's
incredibly
powerful
as
an
artistic
tool.
So
I
don't
think
you
have
to
use
sophisticated
mathematics
or
algorithms
at
all
to
create
beautiful
artwork.
C
There's
no
problem!
If
you
do
and
I'm
like,
I'm
sure
you
can
reach
some
really
interesting
corners
of
the
space.
If
you
have
those
tools
in
your
belt,
but
I
would
not,
I
wouldn't
be
intimidated.
If
you
have
only
kind
of
a
novice
level,
programming
skills
but
you're
interested
in
creating
this
kind
of
work,
yeah
moving
forward
and
in
the
future,
like
what
kind
of
tools
are
going
to
start
to
be
used,
I
mean
we've
already
seen.
C
Machine
learning
play
a
really
big
role
in
generative
art,
there's
kind
of
a
whole
field
of
generative
art,
that's
machine
learning
based
so
there's
artists
like
mario
klingerman
and
and
robbie
barrett,
and
helena
sarin
there's
many
more
that
I
can't
pull
off
the
top
of
my
head,
but
they're
doing
fantastic
generative
work
with
machine
learning
and
I
think,
as
those
tools
become
more
accessible
and
faster,
to
use
less
resource
intensive.
I
think
we'll
see
that
that
can
continue
to
explode.
C
I
think
same
thing
with
with
vr,
I
think,
as
as
that
becomes
more
accessible
from
a
consumer
standpoint
and
also
from
a
creator
standpoint.
I
think
we'll
start
to
see
some
really
cool
work
in
vr.
I'd
love
to
see
generative,
sculpture
in
a
vr
environment.
That's
not
something
I
necessarily
have
the
skills
to
do,
but
I'm
certain
that
something
amazing
could
be
done
there
yeah.
C
I
think
I
don't
know
if
I'm
going
to
use
any
of
those
tools,
like
I'm
kind
of
a
I'm
kind
of
like
an
old
man
a
little
bit
in
terms
of
the
tools
I
use
like.
I
do
everything
in
vim
and
I
keep
it
really
basic.
I
mean
I
use
kind
of
a
niche
programming
language.
It's
called
closure,
which
is
a
lisp
dialect
that
runs
on
the
jvm
and
it's
an
awesome
language,
but
other
than
that.
There's
nothing
too.
C
D
Yeah,
it's
interesting.
I
and
it's
interesting.
You
have
your
tools
and
mastering
them.
I
think
that
that's
something
that
resonates
a
lot
with
the
art
community,
knowing
your
tool,
knowing
how
to
wield
it
like
you're
saying,
is
super
important.
So
I'm
curious,
so
we
we
we
commissioned
you
because
we
wanted
to
highlight
this
kind
of
emer,
this
convergence
of
code
and
art
on
github
right.
This
real
creator,
community
that
was
out
there.
Collaboration
is
an
enormous
part
of
you
know:
code
development.
I'm
sure
you
know,
I'm
curious.
D
C
Yeah
yeah,
it's
a
great
question.
I
think
that
artwork
can
be
a
little
more
challenging
for
collaboration,
because
you
start
to
run
into
kind
of
design
by
committee
issues
a
little
bit
and
unless
you
have
really
aligned
artistic
visions
it
can
be.
It
can
be
hard
to
make
everything
match
up.
So
much
of
artistic
creation
is
not
pre-planned
it's
kind
of
intuitive
in
the
moment
decisions
even
for
something
like
my
work,
where
it's
programmed
like
I'm,
not
I'm
not
pre-planning
it
like.
B
C
So
far,
I
haven't
been
super
stoked
about
doing
that.
It's
been
a
little
bit
of
an
awkward
fit
for
me
in
my
experience,
but
I
will
say
that
one
of
the
most
important
ways
that
artists
are
working
together
is
through
code
sharing.
So
these
are,
you
know,
tooling,
infrastructure,
basic
algorithms
in
order
to
create
this
kind
of
artwork,
and
that
goes
a
really
long
way,
especially
towards
helping
somebody
get
started
who's
new
to
the
space,
so
that
kind
of
sharing
is
is
really
awesome.
I
think
also
sharing
sharing
ideas.
C
This
is
one
of
the
reasons
why
I
like
to
to
write.
The
essays
on
my
site
is
to
explain
some
of
these
concepts
and
my
approach
to
making
artwork,
because
I
think
you
know
I
don't
think
I'm
the
best
artist
or
whatever
necessarily,
but
I
think
I
have
a
certain
amount
of
value
that
I
can
at
least
expose
a
new
viewpoint
to
to
some
artists
and
hopefully
open
up
some
ideas
for
them
or
or
help
to
inspire
them
and
yeah.
I
do
hear
from
people.
C
You
know
me
all
the
time
saying
that
yeah
they
read
the
essays
or
they
saw
one
of
my
talks
and
and
now
they're
making
generative
art
for
the
first
time
and
so
yeah.
It's
really
beautiful
to
hear
those
kinds
of
stories
and
to
see
how
that
kind
of
sharing
can
make
such
a
big
difference
in
in
people's
lives.
And
so
I
love
seeing
I
love
seeing
that
side
of
this
community,
how
the
artists
are
really
willing
to
share
and
teach
others.
B
C
B
C
B
C
Yeah,
that's
a
great
question.
I
mean
you
know,
I'm
an
artist
so
like
I'm,
not
gonna
pretend
to
be
an
expert,
but
I
I
would
be
really
surprised
if
we
don't
start
seeing
that
crossover
happen,
there's
so
much
advantage
to
the
transparency
and
and
that
provenance,
just
like
you
mentioned
with
with
things
like.
I
don't
know
the
title
to
your
car,
or
you
know,
ownership
of
a
house
or
a
piece
of
property
right
like
being
able
to
see
here's
who
owned
it.
C
Here's
here's
when
they
bought
it,
here's
how
much
they
bought
it
for
here's,
the
same
information
for
every
other
property
in
your
neighborhood,
so
you
can
make
a
totally
transparent
decision
about
about
the
valuation
of
the
home
right
like
those
just
make
for
such
healthier
marketplaces.
I
think
most
people
agree
that
free
markets
are
most
efficient
whenever
this
kind
of
information
is
is
freely
available,
and
so
I
would
love
to
see
that
kind
of
transparency,
especially
for
these
more
valuable
assets
like
cars
and
homes.
C
Where
you
know
the
extra
transaction
cost
is
worth
it
basically
like
yeah.
If
it
costs
you
a
hundred
dollars
in
gas
fees
to
buy
a
house
using
ethereum
like
you,
don't
care
right,
so
I
don't
know
how
it's
gonna
break
over
into
the
physical
space.
I
don't
know
who's
gonna
be
on
the
be
willing
to
be
on
the
cutting
edge
of
that,
but
I
feel
like
it's
gonna
unlock,
so
much
value
that
it's
only
a
matter
of
time
before
people
do
it.
I
think
yeah.
C
You
just
need
that.
That's
that
buildup
of
social
trust
and
the
building
of
new
social
norms
right,
like
once
people
have
the
expectation
that
your
house
has
a
nft
associated
with
it.
Then
that's
the
tipping
point
and
everybody's
going
to
want
to
have
it
right
so
yeah
that
will
be.
That
would
be
really
cool
to
see
that
unfold
over
time.
B
Would
be
so
cool
I
would
love
to
do
is
to
be
able
to
tokenize
my
house
think
about
it
where,
in
the
bay
area,
you
have
a
house.
All
the
accrual
of
the
growth
of
this
house
occurs
to
you.
What
if
you
could
tokenize
it
and
make
it
into
fractional
things
so
that
everybody
can
benefit
not
just
you.
So,
oh.
C
Yeah,
that's
fantastic
yeah.
You
could
share
with
your
family
or
your
roommates
or
yeah
there's.
So
many.
Maybe
you
could
have
a
you
know,
multi-family
co-ownership
of
of,
like
you
know,
duplex
or
quadplex
or
apartment
whatever,
like
yeah
there's
so
many
interesting
applications.
Another
thing
that
came
to
mind
is
kind
of.
A
transitional
thing
is
there's
there's
like
a
metaverse
thing
called
cryptovoxels.
That's
like
it
kind
of
looks
like
minecraft
right.
It's
like
a
really
basic
environment,
but
you
can
you
can
purchase
plots
of
of
lands
and
crypto
voxels.
C
B
B
D
Oh
last
question:
well
I
have
a
serious
question
and
then
a
semi-serious
question
so
I'll
try
to
squeeze
both
of
them
in
so
you
touched
on
the
metaverse,
I'm
curious,
the
application
for
you.
In
terms
of
I
mean
we
see
voxels
and
things
like
that
happening
the
metaverse.
How
do
you
plan
on
participating
in
this
space
if,
at
all,.
C
D
C
D
C
Yeah,
that's
a
great
question.
I
don't
know
I
mean
one
thing
might
be,
that
might
be
kind
of
cool
just
off.
The
top
of
my
head
is
like
live,
live
scripts
previews,
I'm
sure
there's
like
some
security,
sandbox
issues
with
that.
But
things
like
you
know,
you
write
a
generative
art
script,
it'd
be
really
cool
to
be
able
to
just
do
a
quick
live
preview
of
it
in
the
interface
I
don't
know
just
an
idea.