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Moments of the Unknown - 062
Recorded: June 8, 2025 Duration: 0:45:19Space Recording
Short Summary
In a dynamic discussion, Jordan, Chief Product Officer at Artblocks, shares insights on the evolution of NFTs, the launch of innovative platforms, and the importance of community engagement in driving growth within the crypto space.
Full Transcription
Thank you. We're live. Thank you. we got jordan here today how's it going jordan what's up justin doing well how you doing man
you man good man how's everything going are you still on the west coast yeah yeah still in uh
good man how's everything going are you still on the west coast
in southern california i'm down in uh south orange county by the beach awesome oh man that's heaven
perfect yeah you were missed in lisbon and we're back here in new york
how was it man it looked amazing you, it's one of those things.
I haven't been to a conference since last year,
since doing all these projects and work.
And it's hard to balance, like,
when you're so focused on work and projects
that you, like, if you feel like you go anywhere,
you lose that momentum.
So you got to, like, pick and choose
which things you go to.
And then there's a phase where you
go to everything so this is one of those this is one of those times where it felt right to
you know reconnect and there was just so much love and a lot of core people were there and
just spend a lot of time with great people that's what it's all about man that's uh that's super
exciting i'm glad you had such a great time
i hear similar things from everyone else i know that went that's that's awesome i really wish i
could have gone uh had some family stuff going on here but uh yeah i'm already planning to go
to new york and marfa so it's it's gonna get some of that here soon this year. Yeah, definitely see you in New York.
So, Jordan, can you introduce yourself and tell us all about what you've done, what you're working on, and just an intro?
Yeah, yeah, sure.
First off, thanks so much for having me.
I've been such a fan of this collection and these podcasts that you're doing or these spaces that you're doing.
Yeah, I'm Jordan. I've been in the space for a long time i kind of came to nfts and art through tech first so um i kind of discovered blockchain and bitcoin in 2013
and uh in 2018 went full-time in career. I'm an entrepreneur and product builder, product
guy at heart, built a lot of apps and sites and products and communities over the last
couple of decades. And, you know, was aware of this crypto thing in uh 2018 i went full-time and started in uh you know
building building crypto products and interfaces around exchanges i worked at uh consensus a big
blockchain company and we built you know staking platforms and defFi apps and things like that. But when I discovered or rediscovered NFTs in the summer of 2020 and launched my first NFT platform,
I just kind of fell in love with the tech and the art space and artists.
you know we're using this tech for more than just you know financial services we're using it to kind
We're using this tech for more than just financial services.
of change change lives change artists lives uh by by allowing them to you know earn a living selling
digital art and that that that's really was was kind of the hook and kind of what got me in and
i've been building nfts and nft sites and platforms and uh communities in this space ever since.
So it's been we're coming up on five years since we launched the meme platform,
Don't Find Meme, which is crazy, crazy to think.
And that was my first kind of real opportunity to work with artists.
We provided a platform and a community for artists to create their work.
And ever since then, I've been doing several different products and platforms.
In addition to Don't Buy Meme, I was a co-founder of Nifty's, nifty's.com,
where we did some really big projects with Warner Brothers and big studio projects.
I've launched a handful of other more independent platforms, most recently Prohibition, which was generative art on Arbitrum, allowing, just trying to democratize, make it really even easier to get into long form generative art.
Launched a handful of other more independent platforms.
long form generative art. And then the last few months I've joined the Artblocks team and I'm the
chief product officer over there. So, uh, which is, which is just like such a great opportunity
for me, such a fan of the Artblocks community and Snowfro and the art there and a big, big,
long time collector myself being able to bring, you know, my product sensibility, my community experience to this kind of great organization
and community like Artblock.
So I'm having fun building just such a great mix of the tech and the creative side.
Yeah, I just love building for art and artists.
Well, I have a few questions.
Yeah.
You said a lot, and you're obviously a crypto
veteran and a builder and i have like three questions on top of everything you said it's
hard to keep up with you because you got a lot going on i was a i was a bit i was a big fan of
the matrix drop you did that was super cool seeing that and that would that gave me like
an insight on like the proportion and opportunities
that there can be you know with major brands am i rugged or is justin rugged ethan can you hear me
yeah i can hear you i can hear both of you uh jordan you can't hear me
um ethan can you tell jordan to leave and come back jordan can you hear me
if you can hear me just leave and and justin will invite you back i don't hear anything
maybe i'll hop off and come yep hey all right hey we can hear you
but you can't hear us all right right, well, I love these technical difficulties,
and I appreciate everyone's patience. Like, this shit happens. You know, this isn't, you
know, a professional podcast yet. We do have plans to start uploading these improvised authentic conversations to a podcasting system at some point.
So Jordan, can you hear me now, bro?
Thanks.
Okay.
Oh, you didn't miss much.
I was just mainly talking about the Matrix job you guys worked on
and how cool that was and the opportunities
and proportion of different brands and companies
that were open to working in this.
And, you know, I definitely foresee it continuing.
I just want to touch a little bit on, you know, you know, firstly, you know, consensus
things like I'm curious about like, you know, MetaMask now has like the staking in the app like i've never knew how to
stake before eth and you always needed 32 eth to create a node and i never really understood
um is it safe to do it through the wallet or is there like a general specific way to create a node
to to stake your own so that was my first question. My second question is, are you an artist?
And if you're not an artist, what made you love working with artists so much to want to build
the foundation to everything where you were working with these days?
Yeah, great questions. I, yeah, as you mentioned, the DeFi stuff is really interesting. And that's kind of where I started several years ago.
And the staking is pretty fascinating.
And a lot has changed since my time in the DeFi space.
But probably the most pure way, the most transparent way is to kind of create your own node and create your
own hardware and um stake by depositing 32 eef like that's probably the the most straightforward
way that's nearly impossible or improbable for a lot of people uh so there are lots of different
options um you know that they they they used to be where you had to go to a specific staking company and buy their assets.
It's now really easy to participate in staking.
It just depends on how deep or how technical you want to get.
So you can even buy, you know, you can swap your ETH for like stake ETH.
You could do that through Coinbase or something.
It's really just like varying degrees.
Like if you wanted to get a little bit closer to, you know, the actual tech that's going on, you can by staking yourself.
Or if you just want to participate in the, you know, some of the returns from staking just by buying an asset, you can do that as well.
So you have several different options.
It is pretty cool that MetaMask makes it really easy right there.
Well, that was my follow-up question to this specific thing because I'm not so technical.
I've done the Lido.
I've done the MetaMask staking.
But my biggest question is, is there more risk to those things when you're not doing it yourself?
I just want to understand the risk factor.
Or staking in general is a risk.
I want to understand when you work with a company, is a risk you know of them getting hacked or or just whatever like f whatever happened ftx
that might happen to them or versus like eat the east staking on your own hardware platform where
like what's the most safest like i don't really even understand that and maybe a lot of artists
don't either yeah well there's always some kind of risk. It's always a trade-off. So
it's different for everybody. It's like, do you want to take the risk of trusting someone else
with your money? Or do you want to take the risk of you might screw something up on the tech side?
It's really a trade-off, right? So the easiest thing, if you don't want to trust anybody else,
is just do it yourself. You spin up your own node you do use your own hardware um you deposit the e if you
you figure it all out but then they're they're like that would be the don't need to trust anybody
else except for you know the eith blockchain which most of us like trust a lot um that would
be the easiest thing to do it's it's for for what i recommend is like figuring
out how to do that maybe you don't go the step towards doing that but you can like figure out
what that means and how to do it and then find find something that's maybe in the middle ground
because the next step is to um you know trust trust somebody else whether it's lido or one of
these other staking companies you're then trusting them
and they i'm not saying they're not trustworthy they put out all this documentation around how
how uh you know it's decentralized and how the keys are managed and uh but but there is some
inherent risk there there's a smart contract risk that there isn't a bug in the code you're trusting
that these groups um are doing the safety methods that they communicate that they've got their private keys you know structure stored away in the in the right
way and then it's like the more layers you add the more things can go wrong right so if if all
you're doing is you know swapping a token that super easy, but then you have kind of within there, okay,
well, how is it, how does it work under the hood? So yeah, really you're taking the risk of either
you're trusting yourself, which some people can do, or you're trusting somebody else.
Because I don't know if you know the company BlockFi that blew up back in the day.
Yeah. That was like, you know know an evangelist for staking your bitcoin
and staking your stuff and i had done that for a very long time on that platform and something just
gave me like this gut feeling to take it all off and get it out and literally like a week later
it got bankrupt and so it's so it's like you do got to trust yourself and and like you know you
don't put too much in there so i just just was wondering, you know, I don't want to get too far into the DeFi stuff
and keep it more art focused.
I just wanted to ask what the difference was
and what the safest thing is.
So thank you for answering that question
and going to my following question.
So were you ever an artist?
Because I know you made the hearts,
but do you consider yourself an artist
when you started in this whole industry building the framework? No, I don't consider myself an artist because I know you made the hearts but do you consider yourself an artist when you started in this whole industry building the the framework no I don't consider myself an artist
I've never really considered myself an artist I think that I'm more of a creator I I like to build
I'm a product builder I like to design things but I've never really considered myself an artist.
I like to work with artists.
I love art, but I haven't labeled myself, you know, an artist.
I did the heart project with Eric, with Snowfro, and I was kind of like building off of his vision.
He kind of laid out the vision and I kind of enabled it, which is really great kind of way to create.
So I kind of wish I was an artist in a sense.
Like I feel like I have a good eye for design.
I like to create and doodle and like, you know, create art and code.
But where I feel like then I provide the most value is maybe like
helping realize an artist's vision so that makes total sense so you're like a conduit for the
artist to help with the tools that you build to get the vision out there a collaborator so
am i hallucinating or did you guys put one of those hearts in outer space?
You're not hallucinating. Oh yeah. We put, we put a heart in space. Um, yeah, uh, early
2024, um, we were with a, with a group that, um, sent, sent our art up into space.
Was that with
I'm sorry,
was it Japanese?
Masako?
No, the company was called
Axiom, Axiom Space.
And they had this program called Axiom 3,
which is like Web three you know their
their web three arm and they approached several different artists um previous artists were like
um i think thank you x and amber vittoria and then they approached us eric and myself
and uh you know the whole big component of the Heart and Craft Project was that there's digital, but then there's also the physical piece where, you know, every digital heart came with instructions on how to 3D print the heart.
So everyone could create, you know, a physical version, a physical piece of what they've collected.
So, you know, unique 3D printed work.
So that was the whole physical component and so eric and i uh we
we we created or we you know we crafted we um we manufactured the one of the the token number one
and he painted it and then um we ended up delivering that to the team and they sent that up in a rocket it was
axiom three their their um their program and in yeah january of last year they uh it was it was a
falcon nine heavy or whatever it's called from spacex and they put it on on that and they sent it up. And then they ended up meeting up with the space station, the ISS.
And they basically hung out for a couple days and they took photos of our heart in 3D space up there in space.
Yeah, it was amazing.
And Eric and I got to go with a bunch of other artists, and we got to go to Florida, Cape Canaveral,
and we got to see the rocket launch.
And it was just kind of an amazing thing in itself,
an amazing experience just watching this thing.
And then all of a sudden, a few seconds after watching this rocket launch
into the air, it sets in that your art is on that ship that's going into orbit it was pretty it's
pretty fast i just i just pinned it above and i did i do remember like from like 2021 up until
last year there were so many different companies working on getting art in space and i and i want
to ask you what you think this obsession to get art in space is something that seems like so kind of irrelevant
to the mission of space just putting something in space for the sake of it you know but i'm not
knocking what you're saying i'm just saying what is the what is like the goal of that i i i i
understand having your art in space is fucking sick i would love that i actually want to talk to
about a vision i have after after after this question, but you know,
like why are these companies putting art in space? Why do you think at least?
I think there's, I mean, it's, it's a, it's a great question. And, um,
it's, it's one of those things where these, these space companies want, want, want to somehow tie
into culture and they want to kind of be a part of what's going
on and what people are talking about and what they're thinking about. Right now, it's very
cold and boring and, you know, very, very technical heavy. It's very, you know, there's a lot of
bureaucracy. So what this company is doing is wanting to get more people,
kind of the community to get behind some of these missions
and some of these, you know, the why of why we're going to space.
And I think like they're reaching out to artists
and other sorts of, you know, creators and performers.
And they just want to bring the communities together, which I think is really interesting. And then, you know creators and performers and they just want to like bring the communities together which
i think is really interesting and then you know that makes sense that makes sense for me as like
a as like a builder as a tech person like i love being in web 3 and i love the art and the tech
but like the next coolest thing is space right and. And I feel like I'm, I'm never going to have an opportunity to go to space,
maybe our kids and grandkids,
but like to have some,
a piece of something that I created go into space.
Like there there's maybe like no other reason other than like,
that's just freaking cool. And I can, I can tell my kids and, and that's just,
it's just a kind of a fun thing to do.
I mean, i love the the
picture above with the floating heart and you know my follow-up question to to that you know
you're a builder you're you're you help get our vision down and ethan and i have been thinking a
lot about this we're um we actually use the nasa gold album for the final score the whole movie so
what you're seeing is like the 10 second clips is compositions by Ethan to
match the film.
But the final film leading up to all these clips that are leading up to the
final film has a rescored NASA gold album.
And that was a huge influence on us.
And we've talked about it a few times on this podcast and I always bring it up
when,
when we're talking about something that's related. And a big vision and mission, you know, to put this project not just only in space, but using blockchain radio waves to emit that frequency of data or the API into the universe, into all directions.
Because, you know, we're following suit of the Voyager 1 and 2 with the gold disk and the rockets or the satellites. And those are
limited by the acceleration of a physical hull of a spaceship. And I think when you travel the
speed of light, especially radio frequencies, you know, we could come into contact with different
extraterrestrial life forms or other worlds, or maybe even reflect back radio waves, radiation that hits the edges of the
universe and comes back to us a million or billion years later. Is it possible to build something
using the blockchain to emit these frequencies into the universe? Or are we already doing it?
Like that's a big question. And that was a big vision for this project is a 2.0 version of what the gold album
did with the sounds and we added the layer of the video and and also technology which is of the
blockchain and that's a big question mark on this project of how can we do that is that even possible
and and since i feel like you're a big expert and have been in the space, what are your thoughts on that?
Oh, man, that's huge. That's really interesting.
I'd love to learn more. I, yeah, I guess that's a good question.
Like, are we currently broadcasting into space and are we creating, you know, media and, you know, content that can be received in outer space.
I find that fascinating.
It feels like the blockchain is kind of a necessity if you think like decades and centuries ahead.
Like we're at the very early stages and we've been saying that forever.
That's kind of a meme internally around we're so early,
but if you think of like intergalactic travel,
we're extremely early.
It feels like some of these things that we're doing now,
like we're at the very early stages of setting a foundation for what could be
possible in the future. So yeah, I, I,
I'm excited for experimentation like that.
It all feels like it's something that we should be doing.
So, yeah, kudos to that.
I'd love to learn more and participate however I can.
Well, maybe when we hang out in Marfa, I plan on coming to Marfa this year.
Oh, sweet.
It'll be my first year there.
I've been there before.
And I actually have a funny story about Marfa, if you don't mind me sharing it.
So the first time I ever went to Marfa, I was with my friend John Gardner.
We did a road trip across the country.
And we landed in El Cosmico.
We landed there and stayed in the car and were haunted by, like, aliens that were, like, scratching at the window.
Or at least maybe I was hallucinating that or dreaming
it was both a little bit of both
but we went to the Judd Foundation
and it was closed
but miraculously
we were behind a garbage truck who had
access and it entered
you know how they have that gate that like closes
when you go there
so we were behind the garbage truck and and we kind of drove right behind them
and had the entire outdoor fucking...
I don't even know if you're allowed into those blocks,
but we were just climbing them and playing in them.
And he had a flute, and he was playing acoustic music inside of those things.
So it was kind of like a funny little weird...
We were supposed to be there, weird like we're supposed to be there
but we're not supposed to be there but we but we did it because we came here and and then that's
amazing and as we were leaving we followed the we followed the garbage truck that was leaving right
out amazing you had your own little private tour that's that's incredible yeah it's a funny little
so i'm excited to go back this year
and and if you were to say to anyone who's never been there and thinks about going what would you
say or is it open to everyone or how it's open to everybody yeah so just to kind of reset art blocks
every year hosts art blocks marfa weekend and uh this this october will be the fifth time, the fifth annual Art Blocks weekend in Marfa.
Marfa is a very small city in West Texas, and it's pretty remote. It's pretty hard to get to.
Even from LAX, you got to fly into El Paso and then rent a car and drive three hours.
and then rent a car and drive three hours.
It's middle of nowhere, but it's this amazing West Texas desert town.
I think the population is less than 2,000.
But it's become this kind of like art mecca.
And in the last few years, it's been a really special place
for the Artblocks community and digital art community as well.
So, yeah, every year we we gather and because it's a little bit remote and a little bit hard to get to you get people that are are really
like truly there because they want to be there like no it's different from like an nft nyc or
something where it's everybody can show up and they're showing their stuff and there's just so much going on. This one,
it's like, you got to want to be there. And people that are so passionate about generative art and
the digital art space, you get amazing access to great collectors and artists. You'll be in
line for coffee right behind, I don't know, Tyler Hobbs or something like that. Right. Like it's it's pretty incredible.
Just the just hanging out a few days with several hundred people that are just so passionate about this space.
So, yeah, I recommend that people check it out if you have any interest in digital art and you're able to make this happen.
Just spend a few days out there. The sunsets are amazing.
We're going at a perfect time where the weather's perfect sometimes it's too hot or too cold october is like
hopefully it's going to be perfect uh and yeah there's a lot of interesting um
things going on in different like panels and discussions and interviews and parties and get
together but it's like you're with you're
with people that like we all kind of share the same passion so it's it's a total blast
i kind of look at it you know i haven't been there yet this will be my first year
i kind of look at it as like this is what burning man was in the 80s uh the digital art version in texas totally yeah and you could see it
uh you could see it growing into something really really big in the next couple decades
i see it um even do you have any questions for jordan
um what's so beyond marfa what what is uh Artblocks team focused on right now?
Oh, man, yeah.
Because this is kind of our fifth anniversary coming up,
we're thinking a lot around, you know,
how do we kind of encapsulate the last five years of Artblocks?
You know, the first five years led to you know amazing kind of peak hype nft vibes
and then now we're trying to figure out okay what's next and we have this unique kind of point
of view of how do we celebrate what's come before in a lot of these iconic collections but then how
do we maybe take the shackles off and think about, you know, what the next five years,
the next 10 years of Art Blocks looks like? So we're at this really interesting kind of turning
point. So a lot of my time is thinking about and talking to our team and building ways to elevate
some of these early collections, but then also set ourselves up to experiment and work with
artists to experiment in future things.
So that's what this year is all about, is looking back, but then also looking forward.
So we're constantly improving the platform. We want to be the destination to view this art.
We want people to come to the website, not just to buy something, which has been kind of the only
reason you'd come in the past,
but because you want to experience this,
the best place to experience and discover this amazing art.
And we're, we have a handful of like really amazing new releases,
new works coming up.
We've got FDOT and DID coming up in a couple weeks
We've got FDOT and DID coming up in a couple of weeks at part of our studio
as part of our studio release.
release.
And then we've got a handful of additional curated
and explorations releases coming up later this year
that we're really excited to announce.
So yeah, and then it's thinking about,
okay, the first five years of Artblocks
were about constraints, right?
Has to be code, has to be on chain,
has to be on layer one.
And then now as we're thinking around,
okay, what does the next five years look like?
Well, maybe we can do some more experimentation,
maybe with AI, maybe with other chains,
maybe with more dynamic ways for artists to tell stories.
But that's really what it's all about.
It's about kind of creating this community
and sustaining this community
to continue to create amazing work.
And yeah, we've got a lot of cool things
just kind of in the works.
I think like more interactive art,
more interactive experience,
benefit of like locking things on chain,
but then also being able to potentially change elements of things that are
released on chain.
We're probably a couple of weeks away of announcing our new initiative
that's really going to allow people to, you know,
collectors and artists and community members to really kind of tell the story
together of work
That's that's already been minted on chain
So there's a lot of fun stuff to come. I'm super excited to see what's what's coming with you guys
I feel you guys are always leading the way and
You know even though it's been a tough few years with the mania. I think you know longevity a lot slow burn and
And great projects which you guys are mostly known for.
So, Jordan, I have a couple of questions.
Technically, you're talking about on-chain and I feel like generative art and, you know, AIR is very native to being on-chain.
And I'm curious, like, what the parameters are, are like to get photography on chain and
like, why is it,
is it easier to have generative art on chain than,
than like videos or photography or will there ever be a day we'll be able to
see on chain photography or videos if Ethereum keeps scaling?
I don't know the ins and outs. I'm just asking questions.
I'm not so tech wit of this.
So I'm just wondering from your experience and perspective
will we ever see that day i i think so i think so i i uh it i'm i'm fascinated with this idea
of getting things on chain and i would love to see photography and video i'd love to see your
work like purely on chain uh the reason it's so hard is because it's
very expensive to store stuff on the ethereum blockchain um that's that's like a double a
double-edged sword there it's a blessing and a curse um we want it to be tough to store things
on chain because we want it to be uh you know, this so hard to hack.
We've got such great, you know, infrastructure here.
But at the same time, it's hard to do stuff on mainnet Ethereum.
So we either need to find ways to scale that or we need to look at layer two technologies, layer three technologies.
What makes it really easy for code is that like, you know, you look at a squiggle or you look at a Fidenza or some of these generative artworks.
generative artworks uh all everything there is created in code and depending on the script it
Everything there is created in code.
could be really just you know a couple dozen lines of code all the way up to you know a small text
file all the way up to you know maybe uh you know 0.1 or you know 100 megabytes or something like that. Really, really, it's pretty fascinating how these artists can create these amazing collections out of just like several lines of code.
And that's really easy to store, relatively speaking, on the Ethereum blockchain.
It's when you get into additional things like, you know, all the data that you need to, you know, to show a photo or a video.
We could technically do that. It's probably going to cost, you know, millions of dollars just to get,
you know, a short video clip on mainnet Ethereum, depending on the price of gas and the file size.
But it is possible. It just costs a lot.
It just costs a ton. Yeah. So there are things that make it a little easier.
There's something called IPFS and similar types of tech.
Interplanetary file system, which is technically not on-chain.
It's still decentralized, but you're still relying on other people's computers.
It's decentralized. It uses a lot of the same properties,
but it's not technically on the blockchain.
Well, interestingly enough, we've been using ipfs for this project with transient labs and you know one of the major
things about this project and i do want to go into this project a little bit um before we shut the
show down in like 10 minutes or so um you know we plan at the end of this year like minting the whole
hour-long film and and creating a one of one. And, you know,
we also plan on making a 24 hour black and white film and having that minted as an addition to
whoever's holding the full Polaroid collection or maybe, maybe other stuff like that. So it's like,
we do plan on like putting this movie on the blockchain. That's, it might not necessarily
be on chain, but you know know thankfully we have ipfs to
enable us um and going back to your point on the code with generative art making it simplified is
there a way to convert a photograph into code where it can become on chain or like what did
we see what happened with punks when they on chainified it back in like a couple years ago yeah i um i think they stored the asset file and
then they're almost like a sprite sheet and then they're pointing to each token points to a
different image um i think that's how it works i uh it's it's all done in code and it's all very
pixelated so you can easily say okay you know, this pixel here is this color
and this pixel there is that color.
And then essentially you would do the same thing
for higher resolution photos like yours.
You could put pixel data on chain as well.
It's technically possible.
It's just a question of, you know,
what resolution are you interested in?
How, you know, how much do you actually want to store on chain?
We're seeing some interesting things around like, obviously, you can use layer twos and
layer threes where it starts to get even cheaper.
But then you run even more of a risk of like that chain not being around in a couple years.
But, you know, every indication is like platforms like, you know, networks like
base and Arbitrum and shape and some of these other things are, are going to be around for
a long time. So it's, it's a lot of artists to go in that direction. Yeah, it's just kind
of a matter of like, what, as an artist, what you're comfortable with. I think it's going
to be interesting to see, like,
maybe certain things are on mainnet EF, L1,
and then other things are on L2.
Maybe, like, a super pixelated render is on mainnet,
just to kind of show provenance.
And then maybe more higher resolution things are on a layer two.
Maybe the photo is on one and then the video is on another.
I think right now it's a
big deal because you have to switch your wallet and you have to have assets and you got to bridge
things over. I think in the next couple of years, it's going to be even easier to go cross chain.
So I think we're going to see more and more of that. It may not even matter what chain you're
on. The end user may not even care. It's those geeks like us that care about where it's sitting most people in the future may not even care i feel
like i'm starting to see that happen more and more you know even all these new updates with openc and
transient labs and all even on different wallets where you could pay with different tokens and
different chains and it's all going to aggregate i feel like it's just all going to aggregate to just wallets being able to uh allow you to make those signatures right um so i want to i want to say one last thing
um this is a manifestation uh i'm i want to have this just out there into the universe
so a lot of people know me as a photographer now cinematographer but I'm a painter and sculptor.
And I have actually had this generative dynamic API idea since 2021, like getting excited
about how screens can be interactive and real time data, shape shifting the patterns of
generative art.
And, you know, I want to manifest, you you know maybe we could talk about this at marfa
too like i want to i've been manifesting i would love to do an art blocks drop at some point in my
career as an artist and do a generative art drop and i have some ideas i'd love to share with you
i don't want to talk about talk a bit in public yet because it is a good idea um but you know
it's just being an artist you want to explore all the mediums and
learn, right? Like, I think to evolve, you have to learn and do new stuff and not get stuck doing
the same shit. I love that, man. Yeah, I've always respected your practice and really appreciated
everything that you're doing. And this feels like a great next step for you. I would love to put our
heads together and figure out something amazing because whatever you kind of set your
mind to, it's going to be incredible conceptually, visually. So I would love to participate that
however we can. You would be the great person to work with on it. Awesome, Jordan. Thanks. Thank
you for that. So guys, we we're gonna just quickly talk about the video
of the day and ethan will talk about the music i just wanted to tell a little funny story that
happened with this video and i'm sure a lot of artists can relate i don't know if anyone's a
photographer who shoots film or a painter who forget who has uh supplies but this this this
one in particular is a symbol of when you forget your film.
So Ethan and I, this is Ethan's roommate, by the way, Henrik with their dog. And we drove to Malibu.
So this shot was actually shot in Topanga where we were staying, but we went to Malibu,
like the furthest, furthest part of Malibu, like kind of by Neptune's diner, like the last edge of Malibu where the surf beach
is before you go to Ojai and over there. So, or Ventura. So we get there and we do like a 20
minute hike to this mountainous overlook and, you know, an hour left until sunset. And we were
waiting in traffic for two hours because you know how long it
takes in traffic to get around LA so we get there and I fucking pull out my camera I take a Polaroid
so I have the Polaroid of us being in Malibu which is cool but I started shooting the film
and I hear this noise of like when you get to know your camera better you understand the sound of like okay
there's no more film or there's no film and I started shooting the role and I realized fuck
I don't have a role a film in this camera and I didn't bring any with me and in those moments you
get so frustrated like you feel like a failure you feel like the whole project's ending you feel
like the world's ending and then you know you find strength in that moment and
a good artist i think perseveres by saying you know what just take a deep breath it's all good
enjoy the site i got the film at the home we still have sunlight you got you look for the positives
in the moment that your world's crashing down and i feel like you could either crash down with it
or you could find a resolution.
So we got back in the car. We were like, fuck it. We sped back home. No traffic, thankfully.
And we got home. I busted out the camera. I got the film and I just photographed him at the house with the dog because the dog wasn't with us, with the Buddha. And I feel like it's symbolic
that we have the Buddha in this because the Buddha
teaches you to be present. It teaches you to let go of the ego and it's all good. Everything's
good no matter what. And you got to make good of every situation you have. So this,
this one in particular is very symbolic of when you forget something or you feel like you're
failing, you could always overcome it just by figuring out what the solution can be.
You know, and I think this one, it is a funny story because this was also a lesson to never fucking forget your film and always have like 10 extra packs with you just in case.
And an extra camera, just in case your camera is broken, just in case your film runs out.
There's also times where you have extra film and the film doesn't work.
So this was just like this is our 62nd day in the project and it set forth a good work ethic to not fuck it up
again because when we start going to foreign countries it's not going to be as easy to get
the film so just wanted to share the behind the scenes of this one and uh ethan any any comments or or you want to just go into
the music i had actually forgot about that yeah that was a funny moment um when we realized there
was no film but it was perfect because the shot that you ended up getting it was like we were
talking about yesterday it was so interesting how nicole's shot and henrik shot are sort of similar
And Nicole's shot and Henrik's shot are sort of similar, did back-to-back with the flower and holding the dog, the small dog.
So, yeah, that's Henrik and my dog, Iva.
And Henrik's, you know, historically one of my best friends.
We grew up together in Madison, Wisconsin, and moved out to California together for a number of reasons.
But, yeah, so I'll play the music for today.
I used a couple marimbos and an ambient morphing pad, so I'll play it. Yep.
Awesome.
Well, that's it for today.
Unless, Jordan, do you have any comments or anything else we missed or you want to share?
Otherwise, we'll just close out the show.
Let's close it out.
Thanks so much, guys.
It's been an honor being here. So happy and grateful to have you here. And we'll see close out the show. Let's close it out. Thanks so much, guys. It's been an honor being here.
So happy and grateful to have you here,
and we'll see you in Marfa.
See you then.
Thanks, Jordan.
All right, Ethan.
Have a great day, everyone.
Have a great day, everybody.
Thank you for being here and listening. you Thank you so much. Thank you so much.
These are the moments of the community.
Have a beautiful day. We'll see you tomorrow. Thank you.
Host
Speaker
Jordan Lyall
from
VenturePunk
