hgyy (@niyou) • Hey
gftt6
Publications
- hjgffh🎇🎇🎇🎇
- hjgffh🎇🎇🎇🎇
- Had to collect this monster of a comic by my dear friend @lens/cafejerk
The superman S sealed the deal~
- 🛵
- “Commercial Workout”
A stop-motion animated dude working out using reclaimed clay. Conceived during YouTube commercials until my phone buzzed and ruined my framing. Autobiographical in nature? Who’s to tell.
90% repost referral reward. Have fun.
- Zoë, How’s things going?….
Monday: I’m looking for a guy in finance, trust fund, 6’5, blue eyes!
Friday: will settle for a employed, not overdrawn, 5’5, both eyes! 😂
#justforfun
- Accurate
- Tag yourself
- What completely changed my approach to the things I do, the life I live, and the matters I care about is the realization that I only have one life to live. While I was ”mentally” aware of this fact before, it hadn't deeply resonated within me to prompt a shift in how I live. Now, I truly grasp the idea of living as if I only have one chance. Though I'm not yet where I aspire to be, I've made progress and I'm moving toward my “goals”. It's a challenging journey, but also a rewarding one. We only have one chance to write our story🌹
- Giga Morning 🌅
It’s a good day to change PFP today !
- Just distributed my @lens/p00ls allowance for the day to @lens/exoteric @lens/infinati & @lens/jayhood 🌿
Next distribution on May 19th for creators (gotta tip some chads tomorrow 🫡)
Comment some content I should tip, will pick 5 who will get 20% of my $ 00 allowance + associated $bonsai + 2M $pointless each ❤️
- Appreciated the support @lens/natem ✨️🙏🏾✨️
- GM orb fam⋆.ೃ࿔*:･
- day 12/30 - writing a song everyday
“Forever Like This”
- Fashionable bonsai outfit
AI art
- $social summer get in
- WINNING
- In real implementation, achieve such an animation with web Worker and OffscreenCanvas, though it's not an over-complex animation, it still requires heavy computation and the main thread would be overworked( the loading time would be long).
Yeah, such a switching ⬆️ is my today's job. Read lots of docs and finally get it done. GN 😴😴😴
#frontend
- Solar Mask
🌞
7 eds | 1212 $bonsai | 12% referral
- Crazy to me how many people fast! I’ve never done it only every 3-6 months a 10 day green smoothie cleanse which I swear by. Here is the book
https://www.amazon.com/10-Day-Green-Smoothie-Cleanse-Smith/dp/1501100106?dplnkId=fc944bbb-ac12-49df-816d-8c28f86ef53b&nodl=1
- Remember baby rockets
- Flicking ashes
- great advice for newcomers
- I'm so happy right now 🤩
I'm documenting my hustles and finding about making a Lens app...should I make it a public post?
- I am creating a small group chat for builders interested in Validium. DM if you are looking to use any sort of Validium for scaling or consumer apps.
- Great day to start sharing music
- Gata Only si fuera Reparto
Gata Only by Cris Mj and FloyyMenor si fuera Reparto
#reggaeton #music #musicians #reggaeton #reparto #cuba #cubanmusic #independentartist
- la vida esta loca sube y baja en un cachumbambé
collect for free!
#music #musician #musicians #independentartist #latin #latinmusic #cuba #cubanmusic #peru #argentina #chile #musica #musicalatina #newmusic #musicanueva #reparto #cubaton
- 🔥😮💨 This text might just be the clearest explanation yet of where my curatorial partner Vienna and I stand in our Technostalgia research and curatorial project.
Coming from an academic background, we’ve tried to provide a balanced narrative: not too scholarly, yet still substantial. 🧠
We’ve only just begun, with plenty of exciting developments already in the pipeline. 🚀
A huge thank you to ONBD, SuperRare, Zora, Massage Magazine, and Outland for the support and assistance they’ve provided so far. TYSM to all the artists we’ve curated and those we will in the future — <3
🔥 Visuals: Nicole Ruggiero x Inès Alpha, Emi Kusano, Raquel Meyers, Kyt, and polygon1993.
Please read and collect if you want to help Vienna and me to have a website for this project. Merci x 1000 🙏
🖤 @lens/lens @lens/orb @lens/mariapaula
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♡ ༘ ⋆ CURATING TECHNOSTALGIA BEYOND AESTHETICS ♡ ༘ ⋆
Vienna Kim & me, April 2024 ( •ॢᴗ•ॢ⋈)
We e-met during the bull run of 2022 while freelancing for SuperRare. Very quickly, we found we had a shared interest for early web aesthetics, Animal Crossing memes, Y2K subcultures, and translucent collectible electronics. We wanted to investigate what it was, exactly, that made such content so appealing to us, working off a hunch that we surely weren’t the only ones to feel this way, and realized that the common denominator in the media and culture we loved was that each of them exuded the hazy yet somehow comforting allure of technostalgia. These observations and passions eventually fueled the creation of LAN Party, our collaborative curatorial project that, in its first arc, aims to critically explore the concept of technostalgia within the Web3 space.
Whilst we love the sentimentality and the aesthetics of artworks that explore technostalgia, we’re not just here for the vibes. We aim for this focus to serve as a unique lens through which we examine the pulse of contemporary digital culture, drawing on our personal observations, existing research, and what artists are currently producing. Our goal is to shed light on the newly found adoration for technostalgia in Web3, delineating its complexities and measuring its influence on the present and future cultural landscape.
We have already explored the aesthetic practices and the tradition of collecting and curating within Web3, positioning it as an extension of the historical and widespread human pursuit of gathering. We’ve also observed that the influence of rapid technological progress has resulted in a resurgence of technostalgic visuals and art forms, such as ASCII, pixel or low-poly art, signaling a shift away from powerful AI-generated or CGI creations. Through these reflections, we aim to explore how technostalgia is shaping our future, especially as Web3 underscores its pivotal role in today’s digital cultural landscape.
Here are some of our thoughts:
UNDERSTANDING TECHNOSTALGIA ☆ﾟ.*･｡ﾟ
Technostalgia is an emotional reaction–often sentimental, close to a longing–that is most commonly associated with technology from the 1980s - 2000s. It pines for the machines and the internet we fell for beautiful yet flawed, with a broken design that felt at once frustrating and serendipitous. This specific strain of nostalgia has the power to act as a retro-tech time machine, whisking us back to the era of chunky pixels, ‘90s web interfaces, and low-poly graphics.
In the Web3 space, this blast from the past is particularly relevant. On top of the allure of the aesthetic layer, technostalgia in Web3 also reflects a yearning for the original values of the Internet: decentralization, transparency, and democratization. This sentiment influences the development and perception of the Web3 ecosystem, driving a desire to recapture the possibilities and freedom associated with the ‘Wild West’ days of the internet, the read-only web, or Web 1.0.
Technostalgia has taken on new prominence in response to the dizzying pace of technological advancement, especially with the palpable tension and anxiety society has developed around surveillance capitalism, data protection, and AI proliferation. As new technologies and systems quickly replace old ones, we often find ourselves missing the tech we used to play with in the '90s or '00s. This could be anything from the sound of a dial-up modem connecting to the network, the feel of a GameBoy or Tamagotchi in our hands, the Uh Oh! of ICQ or the sight of the Windows 95 startup screen. While these memories evoke an attraction for the simplicity and beauty of past technologies, they also present a paradox: whilst our society seems all-in on the advancements of the present, we grapple with the allure of the less efficient, clunky, buggy, and yet emotionally resonant tech of yesteryears, highlighting the slippery (and very human) state of alternating between progress and sentimentality.
TECHNOSTALGIA IN WEB3 ☆ﾟ.*･｡ﾟ
Web3 is a new phase of the internet that is built on blockchains. It represents a shift from the current centralized model controlled by a handful of corporations to a decentralized model where use and access are controlled by community-run networks. The evolution of the internet can be described in three stages. Web1 was the first draft of the internet which proliferated in the 1990s and early 2000s, where people mostly used the internet to read web pages and chat. Web2 came about in the mid-2000s, with the emergence of social media platforms like Myspace, Facebook, and Twitter, empowering users to create their own content.
Web3 is the next phase, where users not only read and write content but also own it.
In the context of Web3, technostalgia takes on new significance, as it allows us to appreciate the journey of the internet from its inception to its current state, and now towards Web3 in full effect. Understanding the evolution of the internet from its origin to the present day is crucial because it provides us with a roadmap of previous innovations and challenges, informing our decisions and strategies as we build a more decentralized, transparent, and user-empowered digital world. This historical perspective is key to ensuring that Web3 not only replicates the successes of previous iterations but also learns from their shortcomings, notably utilizing the blockchain to enable a more thoughtful and inclusive future for the internet. The result: forging a path that honors the past while boldly innovating for tomorrow.
TECHNOSTALGIA AND DIGITAL ART ☆ﾟ.*･｡ﾟ
In the context of digital art, technostalgia acts as a theme, sentiment, and lens for critique. This can take the form of adopting retro tech aesthetics such as pixel art or low-poly 3D renders, to reappropriating and/or making use of obsolete technologies. We can divide these approaches largely into two categories: The Sentimental and The Critical.
_1. The Sentimental_
Artists and artworks that adopt The Sentimental approach to technostalgia often reappropriate the aesthetics of retro, 90s, or Y2K technologies and present them in a way that evokes a strong emotional reaction in the viewer as they relate what they see in the work with their own experiences and memories of these technologies. Our first online exhibition on SuperRare, The Crypto Pawnshop, explored the sentimental approach to technostalgia in depth, developing the visual imaginary of a fictional ‘crypto pawnshop’ that stocked a series of gadgets and gizmos that upon first view appeared to be reminiscent of the real-life objects we used to own, and yet they are purely speculative, often exhibiting a broken or non-functional design. The dissociation of these imaginary objects from that which existed concretely demonstrates the anesthetizing effect of technostalgia; our flawed memories often over-apply sentimental or aesthetic value to these objects which, in reality, would often glitch or fail. By leaning into this dissociation, these artworks dive wholly into the purely ‘sentimental’ value of Technostalgia, favoring emotional reminiscences over factual verity.
Some artists that have adopted the sentimental approach to technostalgia include Emi Kusano, Kyt, POLYGON1993, and Nicole Ruggiero, to name a few.
_2. The Critical_
The Critical approach to exploring technostalgia takes on radically different methodologies to that of The Sentimental. Often, these artists directly employ obsolete technological tools (for example, older models of computers such as the Commodore 64), to analyze our society’s current relationship with outdated tech. These artists often emphasize the importance of retaining a critical stance when considering our relationship with technology and the speed at which it is developing, and often also treat environmental concerns, such as what happens to all the technological waste that accumulates once these machines are at their term’s end.
Notably, artist Dev Harlan stakes his claim within the ‘Critical’ camp in his essay “Notes on Retrofuturism” for Right Click Save magazine, declaring: “Nostalgia is a longing for an imagined past which allows one to gloss over unpleasant or undesirable histories to cope with the present. In this way, technostalgia privileges an imagined history of technology and an anesthetized view of that history. But sentimentalism is the opposite of criticality.” He goes on to describe his fascination with collecting discarded electronics, with an impulse that was initially motivated by technostalgia but quickly evolved into critiquing the wastefulness of the tech sector. He gathered and reappropriated hundreds of outdated models of computers, motivated by the motto “obsolescence is a lack of imagination”, to create gaming lounges or digital art installations to prolong the life of these machines that had been discarded for newer, shinier models.
Raquel Meyers is another artist who uses obsolete technologies, such as a Commodore 64 computer, to create her digital artworks. The use of older models circumscribes the artist’s visual output in the style of computer artworks from the 1980s, automatically transcribing onto them a technostalgic aesthetic. And yet, the artist does not pander to sentimentality in her work, instead opting to make use of obsolete technologies to highlight urgent contemporary concerns. For example, in her work Cuando la casa se quema, la obsolescencia es resistencia [When the House Burns Down, Obsolescence is Resistance], which we curated in our second exhibition on Zora, TEXTSCAPE: ASCII Art, Textmode & its Derivatives, the artist creates a scrolling narrative of a house burning down, and the ecological and societal effects this has upon its surrounding community. The work is, of course, a metaphor for our current climate crisis, but the work is also self-reflexive in that it uses an object of obsolescence as an act of resistance (against technocapitalism? The effects of e-waste on climate change?), a concept that is also reflected in the title of the work.
CURATING TECHNOSTALGIA ☆ﾟ.*･｡ﾟ
These two distinct poles of technostalgic approaches in digital art inform the way we can curate such artworks. Indeed, curating technostalgia in 2024 can be a double-edged sword in a couple of ways. For example, presenting works of art that fall into ‘The Sentimental’ camp may appear diametrically opposed to those in ‘The Critical’ camp, and yet both are crucial as a means of holding up a mirror to how cultures online, and more specifically Web3, respond to the phenomenon of technostalgia. Both camps co-exist, and so we aim for the works that we curate to also demonstrate this without favoring one approach over the other.
In addition, whilst curating technostalgia may serve as a digital conservation effort by capturing the essence of technological evolution, it also risks idealizing outdated technologies, potentially hindering innovation. There’s a delicate balance between valuing our digital heritage and fostering a forward-looking mindset in the ever-evolving tech landscape. After all, very little good comes from dwelling on the past.
Moreover, the role of curation in shaping the future of technostalgia cannot be overstated. As our lives become ever more digitized, our experiences and memories are ever more encapsulated in digital formats. Curating these digital artifacts is akin to creating a time capsule that allows future generations to access and understand the digital trends of our era. It’s a way of preserving the ‘digital DNA’ of our society, which includes not only the technologies themselves but also the cultural and emotional contexts in which they exist.
It has been well-documented that the concept of curation has transcended the confines of trad museum spaces (for better or for worse). When it comes to digital artworks and artifacts, curatorial practices become a social process that encompasses the selection, interpretation, and negotiation of a wide array of embodied knowledge. This shift is particularly pronounced in the Web3 space, where the zones between consumer, creator, and curator are increasingly fluid. Within this nuanced landscape, curation plays a crucial role in developing the narrative of technostalgia. It’s about constructing a story that is linked with collective memory while opening a dialogue about the way tech runs through our society.
We, as curators in the Web3 space, have the unique opportunity to influence how technostalgia is perceived and understood, ensuring that it remains a relevant and insightful aspect of our cultural discourse.
v&b
- Gm to anyone who is looking to swap to Bonsai
- 🔥Wow over 2.7 million $Bonsai collected last week worth over a $ 125K usd (current price)! Those 1/1 are hot! Find them all here https://orna.art/feeds/single-edition/
Here are the top @lens/bonsai earners for the last 7 days:
@lens/grams https://orna.art/u/grams/
@lens/violettazironi https://orna.art/u/violettazironi/created/
@lens/jessyjeanne https://orna.art/u/jessyjeanne/created/
@lens/iamlosi https://orna.art/u/iamlosi/created/
@lens/cyrildallest https://orna.art/u/cyrildallest/created/
@lens/cmn__ https://orna.art/u/cmn__/created/
@lens/evanmann https://orna.art/u/evanmann/created/
Find all Bonsai stats here https://orna.art/stats and live stats here https://orna.art/bonsai
Limited timed collect for 25 Bonsai
- Bonsai NFT - Season #1 Reveal
For every 100k $BONSAI tokens, you automatically also hold a Bonsai tree NFT. Each tree is now brought to life as an animated SVG - rendered by an original algorithm composed of 11kb of vanilla JavaScript - created by generative artist @lens/martijncohen , an ArtBlocks alumni with a unique talent for botanical algorithms. A huge shout out for his incredible work on this collaboration. Good Bonsai 🌳
Check your Bonsai NFTs at https://app.bonsai.meme/
The Bonsai DN404 smart contract was designed to allow the artwork to grow and evolve as the community does. This is the first release, with future updates bringing rarities, provenance and other unique expressions of the Bonsai community and Lens garden to life 🌱
(100 $BONSAI - 30 days - 100% to mirrors)
- hahahahah
- don’t trust - check PAPP! 👀
https://punkapepen.com/links
- Saw civil war in the 🎥 today
10/10 if you want to leave a movie with slight shivers
Movie of the year for me so far
- bhfgfrtr6ryfhvm
- Apparently code ain't law https://www.coindesk.com/policy/2024/04/18/mango-markets-exploiter-avi-eisenberg-found-guilty-of-fraud-and-manipulation
- I'm the proud owner of
Bonsai #5993 🥰
@lens/bonsai
- ghfgtyiu
- Gm/gn lens 🫶
- I've had stressful days in crypto (USDC depeg lol) but thankfully nothing as stressful as having a project hacked for $ 62.5m 😵💫
- COLLECTED 🌳
- Refraction x Lens Fellowship Artist - @lens/abieyuwa
- I’m honestly in shock that todays limited edition art post sold out so quickly 🥹💕Thank you so much 🫶🏻
It feels right to only do one collectible art post a day but I’ll keep experimenting with edition numbers and pricing.
See you tomorrow with a new character from my other ‘Foelantes’ series 👀
- only 2 hours left!
- Are validators in the same cluster (eg same exchange, same user) more likely than unrelated validators to miss attestations at the same time? If so, can we tweak rewards to favor decentralized staking?
Possibly yes.
https://ethresear.ch/t/supporting-decentralized-staking-through-more-anti-correlation-incentives/19116
- tipping @lens/vitalik @lens/bonsai because why not ;-)
- had to collect
90 more minutes remaining for you to do the same
- Can Omni Network Solve for Ethereum’s Fragmented L2 Liquidity?
Austin King is the CEO of Omni Labs.
In this episode, we discuss how Omni Network can solve for Ethereum's fragmented L2 liquidity. Austin shares his vision for how this EVM blockchain, secured by Ethereum, aims to power one united user experience for all DeFi and Web3 apps built across rollups.
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🔗 Essential Show Links 🔗
► Youtube: https://youtube.com/@defidad
► Apple: https://tinyurl.com/edgepod
► Spotify: https://tinyurl.com/edgepodspotify
► Linktree: https://linktr.ee/edge_pod
► Follow DeFi Dad: https://twitter.com/DeFi_Dad
► Follow Nomatic: https://twitter.com/Nomaticcap
► Learn about DeFi and Web3: http://defidad.com/
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Timestamps
0:00 - Intro
5:12 - Austin's background
8:48 - What is Omni Network?
9:26 - What is Omni solving for?
11:39 - Blockchain design of Omni
12:46 - Getting to sub-second finality
15:34 - Omni vs major interoperability solutions
18:36 - Inspiration from prior builders
20:35 - Maverick mid-roll
21:44 - Secured by Ethereum thanks to EigenLayer
23:02 - ether.fi commits $ 600M of staked ETH
24:12 - Risks of restaking
28:28 - The Open Liquidity Network
32:06 - Could Omni deprecate bridging protocols?
33:34 - Ethereum security, with a Solana-like UX
36:03 - Expand beyond Ethereum?
37:25 - Closing
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🔗 Guest Links 🔗
► Omni Website: https://omni.network/
► Omni Whitepaper: https://docs.omni.network/whitepaper.pdf
► Omni on Twitter: https://twitter.com/omniFDN
► Austin on Twitter: https://twitter.com/0xASK
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If you're a DeFi/Web3 builder, contact our team at: https://fourthrevolution.capital/
All opinions expressed by hosts and podcast guests are solely their own opinions and not necessarily those of Fourth Revolution Capital. Podcast guests and 4RC may have positions in the assets or other matters discussed in this podcast. This podcast is for informational purposes only and should not be relied upon as a basis for investment decisions. Do your own research. This is not a recommendation or endorsement to buy any token(s) related to any platform(s) discussed.