memoscan

0x7307…33aa

All memos sent from and to 0x7307…33aa.
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0xb57d4f73f23d9c2231d608cb04b18337074cace0/11 “glimmers of distraction” was minted on foundation in 2023, during a period when i was still discovering my visual language through AI tools. i created it long before i knew i would become a mother myself. at the time, i was thinking about the ways earthly desires and physical objects can compete for the attention, devotion, and love we owe our children. after @batsoupyum and @musicalnetta included the work in an uprising.art curation, bats asked how it feels to encounter the piece from the other side of that transformation. the truth is, nothing can or ever will be as important to me, or make me as proud, as being a mother. everything else i am comes second to that. there is no object, achievement, or experience i crave more than simply being with my child. there really haven’t been any “glimmers of distraction” since he was born. nothing is pulling me away that i want more. i’m grateful for thoughtful curation that allows an older work to reenter my life and reveal a meaning i couldn’t fully understand when i created it. “glimmers of distraction” is now available on networked.art juujuumama.eth
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0xb972377edc76fe7cc0535c7eeb175e1dc9483332/2 everything in the frame is dissolving. the fog, the fence, the wet steps giving way to more fog. the grain sits over all of it, as if the image is already a memory of itself. then the marigolds. the one warm thing in a cold frame, slightly out of focus, growing from a spot no one tends. That is the whole piece to me. The haze trying to erase, and something small and yellow that will not go quietly with it. tenfin9ers.eth
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0xac0924b10129b99c2e5c55243f44943a576388a8/3 I’m interested in the different structures that sit inside the word identity. Jack Butcher’s KYC asks the collector to construct and claim a synthetic face. Identity emerges through selection: a generated person is adjusted, chosen, and then tied back to an established public identity through verification on X. In that sense, the work performs its own inverted version of KYC—the face is synthetic, but the act of claiming it still depends on proving who is making the choice. Sean Bonner’s KYP shifts that logic in a way I find especially interesting. Instead of beginning with a generic synthetic bust, he brings an identity he has already chosen to inhabit—his CryptoPunk—into the same visual language. The distinction feels important to me. One work asks: which face will you choose, and claim as yours? The other asks: what happens when a chosen identity is translated again? That overlaps closely with questions I’m exploring in Surfacing, where identity is also passed between systems: networked.art glyphs are translated through SelSurfTen, while I’m separately investigating what happens when culturally established identities like CryptoPunks are subjected to the same process. I collected KYP because it sits directly inside that territory: identity not as a fixed image, but as something selected, performed, inherited, verified, and repeatedly translated. I’m grateful Sean made this intervention. It gives me another way to think about questions I keep returning to in my own work. 🌴yson.eth
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0x24dd6a2346493adce60efff0184f3b0d02479536/1 STUDY FROGS ART CARDS LikeLewis began his creative life making permissionless art in public spaces. What started on the street moved to the timeline, where his experience of placing work in public naturally found a home in the digital art network. Inspired by what those around him make and share, his practice is to “make something back.” Study Frogs takes that exchange off the screen and into the physical world. Images born online are cut by hand and made into objects you can hold. secondaries : https://opensea.io/collection/study-frogs-art-cards-patron-edition 0xf394A8E67B4Acfd0FA4EDBa9D35E48b3bd950462
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0xce4100dfd4d19fd0557c91a00044c036fe8fb090/1 This piece seems light and fun, which it is, but there's also a lot behind it. The main reason is that it's a 12kb, fully contained SVG image file. That means it's light enough to be fully onchain, and even though it's animated, it's supported out of the box in most places that render still images. This particular SVG takes advantage of turbulence filters to generate the motion lines and noise, plus several overlapping movement animations, timed to help it feel random and organic. The original round Pepe head was created as a vector illustration in Figma, but to build the movement, I used a small piece of SVG editing software I created myself. I use it for all of my work. It puts SVG code on the left and a realtime preview on the right. It also allows me to use AI inline as I'm coding. Then it compresses the code down to its most minimal form when the piece is complete. In the end, the goal is to use as few lines of code as possible to create as much detail and movement as possible. A big part of the creative process for a piece like this involves visual tricks and efficient code reuse... maximum impact with minimal code. This compression of both code and idea/visuals is an essential part of my own practice, but also in computing in general. Throughout computing history, at the core of almost all software and other digital artifacts has been a need to convey as much information as possible with as few bytes as possible. Blockchain is no exception... its actually a perfect embodiment of that concept. truedrew.eth
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0xe303d461dc0c642cb7b67a7e2ed2c30aa906423b/2 A portrait of participation Stephen’s presence in Surfacing has shaped how I think about what participation can become. Identity 9: Stephen’s glyph, relaxed. is my response to that. Not a reward. Not a record of status. A recognition of consequence. 🌴yson.eth
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0x9093dab60cccf2186be63353bc564a76c857b723/3 drawing from my college studies in political science and public administration, this work explores the distance between the appearance of choice and actual agency. bureaucracy gives us forms, procedures, representatives, and paths for participation, yet power itself can remain difficult to locate. the department of nothing is always processing, organizing, and administering, but never arriving anywhere. the system keeps moving, yet nothing changes. the veil is the illusion that because we can see the system, we have power within it. created specifically for the beyond the veil open call. base image created with midjourney v8.1 (raw ai); manual glitch effects and animation added with ribt//labs. juujuumama.eth
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0xed56efd92251c9b0bcb5032d493dbcff604e4903/5 In the last month or so I've been experimenting with an different process - creating work with a custom built glitch app, After years of meticulously collaging and layering my images together I have finally returned to uncertainty, randomness, and most importantly, surprise. I love how this oscillation between control and chaos has exposed me to different nuances of the creative flow. One such result is this piece "Visionary", which is I believe the 7th version I was able to generate from a single MJ output, and even though the other ones were also interesting in their own right - this one in particular struck a chord. With the eye and the act of "SEEING" at its center, "Visionary" pulls me into the vortex of shifting perception. I hope it does something similar for you. Enjoy! 0x23Cc8fFf19FBA284430705B3FA02501d1E48aad5
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0x694ee1516c55b4ee4f8b20878b944c65ef71439b/2 Just because you aren't the god of love doesn't mean you can't try to melt hearts in the year of our lord(s) 0xf394A8E67B4Acfd0FA4EDBa9D35E48b3bd950462
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0x93f8d1ae4a9bf3ede3b11796a5c378b761e913cc/6 KYC by @jackbutcher Just swept 12 of these. They might be my favorite artwork from Jack. The $1 to 1 ETH challenge. The performance is incredible. 1,842 people bought these for $1 and had the opportunity to link their X and customize a generative portrait from Jack’s algo. 1,275 people decided to go for the refund. Fingerprint identity PFPs that represent anonymity for those who doxxed themselves. Probably one of my favorite NFTs in a long time. Brilliant execution. 88.7% unique distribution because you could only buy one per wallet. stephensantoro.eth
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0x9523e213d3929be2c6f48e5dafe2b8a3d4fd3e39/21 "Untitled #21", from "View to nothingness" series Chemical painting on instant film and tokenized image file (ERC-721) Original: 10,8x8,5 cm, 20x20 cm framed Digital file: JPEG, 23623x17717 px Unique (with on demand signed inkjet copies) pedrovictor.eth
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0x36581b87f48b7c77017f0f80a215930abba34016/4 Collected this incredible Timewalker piece this morning. Connects the Vessel ecosystem to the Networked one. Love to have networked pieces from Networked.art, especially ones that continue to grow and evolve like this. producedbydav.eth
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0x02937c40c296ba6d9982f33641289409ab3cee9f/1 Its hard to understand what makes us human but exploring the darker sides of modern culture and trying to understand what it is that makes monsters do what the do has always peaked my interests. one day whilst doodling and trying anything possible to avoid real life work i had a brain wave of combining and mashing together serial killers who have captured the attention of modern culture for decades. It is here in the space where i like to push the boundaries of abstraction and minimalism. KILLERS was born and spawned a collection that i couldn't let go until i got them out of my thoughts and onto the digital canvas we call etheruem dtodd.eth
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0x9093dab60cccf2186be63353bc564a76c857b723/2 some people don’t have many places to put their frustration. so they crash out online all day …oversharing, spiraling, posting into the void, hoping for a little validation. something to make them feel seen, worthy, human. saint crash out watches over them, the patron saint of posting through it. — this is my first time really exploring glitch animation hands on. i’ve made glitch-inspired still works with AI before, but i’d never taken the images apart and manually distorted, animated, and manipulated them using custom tools. (august 8, 2026) for this artwork i created the base image in Midjourney (v8.2), then animated and distorted it using RIBT//LABS tools. juujuumama.eth
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0xe7137f92bd32a24886692c4a2c3fb3e6dfbaa4c3/66 SUPMEME SUP AND FRIENDS A collab series with @tinoch x @jedi6900, dedicated to @suparno67, a jovial fella with a huge heart, infectious energy and passion for everything he does. Iconic photos, legendary moments and just about anyone else’s face. No roadmap. No serious agenda. Just friendship, memes and a relentless pursuit of fun. 0xf394A8E67B4Acfd0FA4EDBa9D35E48b3bd950462
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0x326789bc01d3b314a26fc1dba368a67a35313484/2 consciousness inside the machine. One small identity existing in an enormous system of information, noise, rules and signals. still unmistakably itself. p20w355.eth
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0xca39da7b9a9c3ed508dc9552a9d8619fa44cfd85/5 This piece came out of my Black Marble study, created during Fall 2024 using Midjourney. The idea behind the series was: what might classical marble reliefs look like if they were inspired by modern Black culture? As a Black New Yorker, Air Force 1s were an obvious subject. In New York, they’ve long been known as “Uptowns”, a name that carries its own history, geography, and cultural meaning. So I imagined the sneaker as an artifact: suspended in marble, surrounded by ornate florals, and given the kind of permanence and reverence usually reserved for something ancient. juujuumama.eth
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0xee8e21e7b0a9726f754825dfafa44febeb9188f7/1 To me a playful aleatory approach is central to anything artistic I do, so this tendency reared within my first Networked mint in a few ways. Of course, the Midjourney output itself depended on spontaneous curation and latent serendipity. There are billions of --sref (style reference) codes, you can mix them endlessly, add extra parameters atop, etc. Yet I can go many weeks without coming up with a style recipe that moves me. The curation of the style used in "Kinda AFK" and my ensuing 5 mints (I like to publish style explorations in sets of 6) came from a random aha! discovery amid one of my many Midjourney tinkering sessions. Then with the outputs, you never know what you're going to get, and you might run a prompt dozens and dozens of times to pull something really satisfactory out of the latent creative maw. That was my experience here. Then there's the title and description. I come up with these after I curate outputs I love, so I have to fit them on, so to speak, and in that regard they're arbitrary and I have total freedom with them, so I outsource them to chance. With "Kinda AFK," I heard that phrase on a podcast as I was prepping the mint, so I threw that on, and then for the description I scrolled to a random page in my "Dots of Fire" poetry volume and eyed a random line. The line I settled on in this case came from my poem "I Had To," which reads like so: into the fray into the tick of slow clocks glowing upon their mantles into the long voyage of voices into mother-of-god’s milk glass i had to i had to do it i had to go into a canoe through the last river into an alphabet of the angels writing itself upon my walls into a scarlet world bathed in sugar into a handful of fresh maggots i had to i had to do it i had to go there -------------------- The idea is that the combination of these various randomizations can make for a whole that is surreally mysterious and says something interesting beyond what I could have done if I tried to plan everything meticulously right out of the gate. I enjoy this creative mode as it lets me arrive at something quasi-mystical, that I don't understand and that surprises me, and "Kinda AFK" is one taste of this. wmp.eth
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0xff2b20c5d4d65290fd58a9b248a18ee3ff69839d/148 When you start a new roll of film, the first frame is exposed to ambient light during the camera-loading process. This leads to the film being "burned" leaving blank space as part of the final image. Photographers Nevin Johnson and Alex Kittoe have compiled hundreds of these photos from rolls of film over the years so that, in collaboration with Tormius, these characteristic burn marks could be transformed into a dual-media piece that blends photography and digital painting. 0xf394A8E67B4Acfd0FA4EDBa9D35E48b3bd950462
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0x0a1bbd57033f57e7b6743621b79fcb9eb2ce3676/16000032 Orchids is one of my favourite ever-collected works. Made by Luke Shannon before AI-generated code, it holds a value as special as the orchid it represents. The doodle-like nature of it and the progressive filling of the canvas give this digital artwork an allure that is partly colour-attributed and code-based. I hope to see more of this type of gen-art in the future. pixlosopher.eth
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0xc005e35998a388e40897498cce46cffc75035937/60 Fiducial marker 60. The vision reminiscent of Optimus AI vision, analytical of the artwork while also planning its creation in real time. With code I get to be surprised by my own work to some degree. Sometimes things show up that I would have talked myself out of otherwise. The markers guide us around the plate, eyes following the connections, obligated. They create a spatial awareness you don't see so much as feel. I love what this has become. /doc wetpotatobrain.eth
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0x00000007cc35dcab4a396249aefa295a8b6e16ba/5000019 I love how dense and bright the work is. It’s a different type of palette than I’m used to with Harvey’s work. I feel like he stepped out of his comfort zone a bit, which is not unusual for someone like Harvey. His work is so recognizably Harvey, which is really difficult to say in a code-based medium. You have to really establish a practice and a discipline for that level of understanding. The overlays of shapes and colors bleed into one another almost like a carnival. It’s busy in the best ways. The compositions feel like they got mashed together, almost like he let the code run free. stephensantoro.eth
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0x90b85c4fbfe7842cafb0fc2c69b44f2bc04dbf34/12 Doom Scroll is really important to note as a psychological spell that has been cast on society over the last decade. Social media has gotten so addicting that we are now mindlessly scrolling, triggering our brains with poison through the type of content we consume. The glitch that ThankYouX implements into the feed here is representative of those emotions. Perhaps all of it is nonsense. Perhaps half of the time I’m not even consuming anything at all. It’s completely uninterpretable, aka glitched. stephensantoro.eth
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0xad857664e64d7b2e875737dfd395ae6bf63952e7/4 A satire reminder of my mobile addiction these past days or weeks. Glued to the rectangle screen more than any alarm I set. Every ring, notification, or even when I’m about to close the day or just open my eyes in the morning the rectangle device lives rent-free in my head. I live under the supreme leader’s reign. Chained to the algorithm. Long live supreme leader. catra.eth
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0x8723b6002b9df9962521953955156597879d6b1c/6 I love rezas work. His ability to create these photorealistic worlds in p5 is incredible. The first time I encountered one of his pieces I had to look twice to realize I’m looking at code and not at a photograph. Additionally this piece is absolutely beautiful. yougogirl.eth
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0xed56efd92251c9b0bcb5032d493dbcff604e4903/4 Jump makes me think about taking a leap of faith. I mean, nobody really believes in this art on blockchain world outside of our little community. Yet here we are. We all show up almost every day to further it, with the hope that one day our work and efforts will be appreciated. I love the soft mint green tone peeled into the background against the main subject matter. stephensantoro.eth
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Project256 is a collaborative public experiment merging computational antiquity with a timeless, radical collection of human and artificial artistry, on-chain generative design, and owner preference. Consisting of 16x16 pixel frames rendered directly onto PixelMap Tile 2400, the project's artistic space and collectible supply are governed entirely by the execution state and capacity of the Ethereum network. Created by Ken Erwin on November 17, 2016, PixelMap stands as one of the earliest NFT collections on Ethereum. Comprising 3,969 individual tiles designed to store arbitrary data, it was originally intended to host 16x16 pixel artworks. Technically speaking, while 16x16 resolution was the core design vision, the true storage possibilities and limits rely on Ethereum's underlying state capacity allowing for far more than a single set of 256 short hex pixels per tile. Theoretically, PixelMap can hold as much state data as the network itself will allow. This is where Project256 comes into play. For the first time, the storage limits of PixelMap are being collaboratively tested by both human creators and autonomous systems. Project256 honors the original 2016 aesthetic vision: a 16x16 grid configured via 256 short hex color values. Each time you mint a 256-pixel frame, your artwork is appended to an ever-growing composite canvas stored directly on Tile 2400. This architecture establishes a naturally constrained supply bound strictly by network state logic. Project256 Contract: 0x67C9E1163EB2ea91CBE2C4907aCEf635Af9F0C5b
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0x59c8ec9c9f9608f2a24351305ea42b3987cfeed3/8 This piece reminds me of tablecloths collaged together. Because it is HTML, the piece is constantly altering. Shapes, lines, and colors overlap one another as the work quickly drifts into its next form, keeping a similar composition while continuously changing its appearance. stephensantoro.eth
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0xb12176af92d6dbf4c88dd9d20bd11b56c89bac7f/1 **The network produced another system** Stephen entered my network by collecting Identity (0): My glyph, relaxed. This is the first work in Surfacing: a network of networked artworks built upon networked.art that uses identity, participation, and provenance as conditions for continued form. Now Stephen has built Forum on top of networked.art: another system through which people can enter artworks, this time by writing. That recursion feels important to me. The network inspired an artwork.
 The artwork brought a collector into my network.
 That collector, independently, built another protocol on top of the same network.
 The protocol opens a new form of participation around artworks. As an artist, I’m grateful for Stephen’s presence in my network, and for this new contribution to the wider network. The network is not just expanding. It is beginning to produce new ways of relating. The network works. 🌴yson.eth
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0xd887cecd4fea2e0453b0d7e557cbf9c85ad5cb1a/7 a surreal experience where the keystrokes breakdown your own interpretation of what you are saying. you feel the lapse in communication. begging the question, is this the way of the world today? are we typing things we want to say or are we typing things we have been programmed to. brilliant work by the html wizard 0xblerp. jtheape.eth
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0x81f8a99e07c52b528f72d803c582539fe4aa5e4e/8 This piece hits home. Self-validation is an interesting question in today’s day and age. How do we understand ourselves and how are we perceived by others? Does the phone, as the sole object, obstruct our sense of self? My perception is that who I am online is quite different from how I am known in person. While I portray and act exactly as I am, that can be interpreted differently by those who have built relationships with me through different avenues of life. Be confident, be genuine, and never wallow in trying to be something you’re not. A hard feat but obtainable with enough perserveance. stephensantoro.eth
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0x3048c93a36a96861842b7999df00f45693203a0f/9 A wave comes crashing down while a businessman in a suit holds a stop sign with the word “SLOP” written on it. It’s ironic and funny. It makes me laugh and honestly feels very relatable and a little imposterish. The work comments on the future of labor and how so many of our lives now are caught riding a wave of slop. The stop sign points to the idea that we still need to be original and think for ourselves. Stop riding the wave of slop. This is the era of slop. stephensantoro.eth
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jalil/0x8aa5072c0b14117d43db44ede6592adb644c2350/1 A bleeding hand balancing a die, with a knife diverging through the palm of the hand. It's representative of the world at the moment. Many people are gambling to try and make it through life and to feel something. Most end up losing suffering through the pain, while very few end up winning. It depends on the primitive and what you are chasing. The hand is the clear subject, pinned in the middle of the canvas with nothing else to steer your attention away from it.