hello more hello everyone thanks for joining us today
I have you all here we'll just give it a few seconds till everyone joins and we can
but I'm very excited to host the space today and to
dive into all of the amazing topics that we're going to be
Seb are you ready for your
actually it was today it started today how was the first day Seb
till people join you can give us a quick update oh it's it's a like I just tweet it's a dream coming true to be honest you're cutting off
um can you hear me I can imagine you yeah you spend the whole day there
yes back and forth since two days uh inviting uh some friends and and also I wanted to see what's the vibe and it's not so good
maybe maybe you should switch to Wi-Fi if you can
let me check if it's better now I think it might be your connection Mo because I can hear him clearly
can you guys hear me clearly or am I not the only one just hearing you guys clearly there's a bit of a bit of robotics
but it seems better now all right let me let me just move around try to get closer to the Wi-Fi
cool all right so just waiting for folks to get up on stage but maybe we can kick it off and and we'll have people join us as we speak so my name is Mo and I'm really delighted to be with you here today with you know Agoria and you know the
amazing people that will be introducing just to give me just a second just to make sure that I have everything set up and we can get started right away
okay so um it's an absolute pleasure as I was saying and today we're gonna really you know embark on a journey through the intersection of creativity innovation and culture to talk about an amazing event called lokod dochse
and at the heart of today's conversation is going to be the very interesting conversion between tradition and technology and lokod dochse as I was saying is actually an event but it's also an exhibition by Agoria running from today till march 10th
and I've seen it personally and it's a unique blend of biological generative art music live minting and complete emerging and this is a truly remarkable moment for digital art and obviously the museum say and it's deep connection to modernism and innovation in terms of you know the experience that they're providing there
and for the past few years you know we've seen an exciting artistic world that has thrived thanks to you know creative coding and blockchain technology and as we'll be discovering during today's chat this vibrant community of digital artists and their collectors resonate deeply with the Musée d'Orsay mainly due to the connection between this experimental art movement and the museum's DNA and iconic collections defined by the audacity
of 19th century impressionism. We'll get into all of that in a few seconds but first let me introduce our guest today. We actually have a group of remarkable individuals that will each bring their unique perspective to our discussion.
First we have the visionary leader and general administrator of the Musée d'Orsay whose passion has truly guided the museum towards new horizons of artistic exploration.
Jay Manuel glad to have you with us and next we have Agoria, the one and only Agoria whose creations emerge from the vibrant landscape of AI and biological generative art while also being a transgenerational French electronic music icon and that's how I like to call them the transgenerational artists.
Then we have Joann Lescue, another esteemed artist whose innovative contributions to the world of art and technology have truly captivated audiences and in addition to all of these wonderful guests we actually have other partners that are joining the conversations as well.
We have Lars de Graaf, excuse me if I didn't pronounce your name right, a community associate for art at Trilitec, the London adoption hub for the Tezos blockchain. He is working alongside the Tezos Foundation whose partnership with the Musée d'Orsay has been instrumental in bringing forth groundbreaking projects at the intersection of art and technology.
And then we have partners from Feral File, Elizabeth Sweet is actually representing Feral File and then FXash is being represented by Stiford, both of whom collaboration and expertise have enriched this project's endeavor with their technical support and creative insight.
Welcome everyone, it's really great to have you on board and I'm really excited to get this conversation going. So let's dive in Agoria, we should probably start with you and your work obviously as I said spans across like AI, biological generative art and electronic music.
So tell us about Le Cote d'Orsay and how it encapsulates all of these different mediums that you've been playing around with for the past few years.
First of all, hello everyone. I'm super glad to be with all of you and I'm very amazed by all the people here in this space since I'm in this ecosystem since now maybe three, four years, you know, being close to Feral, even if it's on this space like in this little place.
I'm super glad and super happy to do my first meet with you on FXash, which is I think one of the best platform ever and that did so much for the space.
So just before to speak about me, I want to be thankful about everyone in this ecosystem that helped us to do what we are doing today.
And also the second thing is I want to thank all the collectors that actually put light on my work because without them, I couldn't be seen and visible and and PM and you'll say like who contacted me maybe almost two years ago, like I found the day today when I was writing a little post like it was like the 31st May of 2022 when PM annual called me like to say,
would be nice like if we meet each other and speak about what your new discipline is because he knew me before for my music through common friends and I was very shocked about this and it took like a year and a half of hard work to find a way and to make it real.
So I think we will dive a bit later on this, but the conductor says all the disciplines and you mentioned more. So, of course, there will be a music track that I didn't mention a lot. So I want to start with the music.
It's a track I did the compose with Night Rogers and with Madison McPhering, the daughter of Bobby McPhering, who did the incredible song Don't Worry Be Happy.
And this is the track named Getaway. It's about an arch, it's a temporal bridge to actually connect with what I feel the spirits of Arce because I spent with you and we spent maybe like a year and a half in this museum almost every week to connect with the spirit and sometimes we were by night or evening or on Monday when the museum is totally closed and to be honest, we were not alone.
It was like full of incredible inspiration all around and the legacy that we have and I'm very humbled about this project and I'm very excited to actually put my vision and my work to emphasize what is Arce's own code like Impressionism, Neopressionism and Pointyism.
I'm not sure if you say Pointy in English actually, but so it's about revealing the beauty of Arce through our eyes and through technology that we have access today. So there will be two pieces, two main pieces.
One is pure Biogen Art with Yeast, where we try to question, is there code into the living? And the second one is a piece with Joann Lescue about Sigma Lumina, where you can actually free mint through your breeze a piece when you go to the room, but I'm sure we'll dive more later.
Definitely. And it's definitely like a very immersive and captivating experience. But before we dive into this, Pierre Emmanuel, I'd like to switch the gears and maybe talk about the Musee d'Orsay a little bit and I assume that some of our listeners that come from the digital art space might not be very familiar with the museum.
So could you tell us more about its history and share with us how the Musee d'Orsay visions aligns with innovation and cultural change?
We can hear you just fine.
Wonderful. Hello, everybody. And thank you for the Twitter space. Well, the Dorset Museum is a pretty young museum. It opened 36 years ago.
It's a museum of fine arts located in the center of Paris, just across the Louvre.
It has the richest collection in the world of 19th century Western art with works of art from academic painters, but also realist painters, impressionists, as you said, post-impressionists.
And a lot of artists that are in our collection are still popular and well known today.
I can mention Manet, Monet, Courbet, Degas, Van Gogh, of course.
We had an exhibition in the last two months of Van Gogh this fall.
We also have Mary Cassatt, Berthe Morisot, Camille Clodale, Auguste Rodin, Gustave Eiffel.
So all these people are still well known today and pretty popular, big names, iconic works.
And what maybe sums it up for all these artists is that the 19th century and the turn of the century,
around 1900, was an era of remarkable and very, very rapid change.
All the artists that are in our collection were rebelling against conventions.
They wanted to cast off the rules of academic painting.
They rebelled against conventions and institutions, and they were inventing new styles.
So it was a time of permanent aesthetic revolutions.
And I would say a revolution in the very form of sensible experience.
When you look at Impressionism, Impressionism is a movement that tries to capture the shifting effect of light and color.
And this revolution in the very form of sensible experience tells a lot to people today.
So our collection is made of masterpieces by artists of the past, but it's part of our DNA to work with contemporary artists
and to try to work with them in order for them to create new pieces of work, new pieces of art that resonate with our collection.
And our collection is, so to speak, a source of inspiration for artists today.
Our artists of our collection were innovators of their time, and that's the reason why we like to work with the creators of today, innovators of today.
And back in 2022, 21, 22, when we saw the burst of creativity in the Web3 sphere, in the sphere of digital art and Web3, we thought it would be, it was natural for us to set foot in this sphere and collaborate with artists.
It's, so to speak, I think you mentioned a word that is very important to me.
You mentioned the DNA of the museum. I think it's part of our DNA to work with contemporary artists in the Web3 sphere, because these artists, like artists of the 19th century, are constantly innovating, not only in terms of norms or rules of arts, but
in the very form of sensible experience with the new digital horizon.
Yeah, thanks a lot for that explanation. And I want to stay with you for another minute before we move back to Agoria and Johan.
But the question I really wanted to ask you is, given the museum's DNA and the collection that's built around incredible historical and iconic work, how do you perceive the diffusion between tradition and technology?
And what really excites you most about this intersection?
Well, technology and science as a whole, I think, has always been at the core of fine arts and arts in general.
There has always been a sort of blend of tech, technological progress, scientific progress and new forms of art.
Let me just give one example or two examples. Gustave Eiffel, who was both an architect and an engineer, he wouldn't have been able to design and build the Eiffel Tower without the technological innovations of the time.
Same for Bartoldi, for the Statue of Liberty. We have a small reduction of the Statue of Liberty in our museum, but the gigantic dimension of the Statue of Liberty would have never been able to design without the technological progress of the time.
So the fusion of technology and art is for me quite natural, and it's part of our tradition as a museum to confront ourselves with new technologies because all the artists, whether they be painters, sculptors, architects, they always wanted to innovate.
They were looking for new technologies. Edgar Degas was constantly innovating in his painting. He was always looking for the new forms of painting. Same for Bartoldi, same for Gustave Eiffel, same for Camille Clodel and Auguste Rodin.
So I think it's quite traditional, so to speak, to be interested in technology. And the new frontier today, the new frontier, the new horizon is for us, the digital and the web3.
I love how you put this. It's quite traditional to be interested in technology. I'll reuse that code if you don't mind.
Agoria and Johan, obviously there are two big art pieces to this exhibition, but maybe I'd like you guys to start with Sigma Lumina. Could you maybe share the story behind that?
And obviously it seems like you deeply wanted to engage visitors and draw them into your creative process. So how did this concept come to life?
Maybe I'll start. So you mentioned, Pierre Emmanuel, that the museum was always kind of scandalous every time that art is presenting new works.
And what we think, what we were doing is we wanted to show that digital is fragile, because that's something, you know, like that's for me and Johan is quite important, because for people digital looks very rigid and it's called blockchain, but in a way the digital can be fragile and sensible.
So it was very important for us to bring the digital through something that is kind of physical. So we decided to build this Sigma Lumina, which is a sculpture, and the light coming through the sculpture will draw a shadow on the floor.
And when you're drawing the shadow, you might see it or not, but sometimes it will actually put to light a QR code. And this QR code you can scan it, and when you scan it, you can actually use it and breathe in your phone to unveil a piece that is a neural network that you uncoded.
And this, this neural network actually will bring to life some part of pieces from our thing. But what was important for me is like, we're going to show digital through what is a sense of life which is a breeze or blow, and also for the light and physical culture.
And also the fact that people who are going towards, they are not supposed to, of course, be firstly focused on web free, we're not supposed to be into digital art, and the fact that we know we bring this culture first to actually tease what could be in this room.
So when I was coming and visiting room, I was very happy to see today that a lot of people from all generations, old age, old background were coming to them to the room, just because they see this culture and the light around moving and, and I like to see, I like to say that there are ghosts on the floor and this
is like the spirits of the museum. And these ghosts are like moving to the point where you can see a QR code and you might flash it or not. And I love this idea of bringing like, you know, all kind of visitors to actually discover what is for all of us in this, in this Twitter space, what is digital art and actually to say,
they dramatize what is it. We are not like people who are doing things that are out of interest and maybe you could actually find it firstly funny to then dive in and jump in or, you know, community was the same with electronic music back in the days where
the first, the first party, the first records I went, I put out where people were telling me that that's not music or that's music will not last or it's just like a trend or whatever. And I heard the same like the last, the last years for digital art, which it's actually here for like almost 50 years.
So I think very interesting and I'm very grateful that a museum like our say is asking digital artists to, to put down the light on it and I think it's, it's something that is very interesting.
And I was so happy that I could bring you on because with you and we did this, this art series Compendai together. And we did like a lot of works in six years together. And I was really happy to, to, to come in with him because it is very also about this fragility about, about what is the code. So I was happy to have him.
Thanks for that, Evan. How did you approach Sigma Lumina? Tell us, tell us more about, you know, your perspective.
Yes, I everybody about Sebastian Agoria said almost everything. But what I, what I can say is that yes, it's my visiting the museum with Sebastian and all the museum teams that we, we get very impressed by all the work.
We know the museum already because, because, because it's a big museum in France, but by visiting the museum, we are very impressed. And so, yeah, with two or three days spending, spent in the museum, we had this idea of, we wanted something very physical.
So this is why it's a sculpture. And at the same time, we have like, we are like digital artists. So, so we wanted to make something digital. And we love this thing between physical and digital really, it's really the big point of this work.
And there is a kind of what I like personally, it's like there is a kind of magic, I would say, because if you see this culture, first, it's a beautiful sculpture first, then you can notice that maybe it's something happening with the light, then at some point, the light focus on the sculpture and then the QR code appear.
It's a kind of a magic trick, you know, then you scan the QR code, if you want, then you go into the digital world. But everything is very open.
As Sebastian said, I think that everybody can enjoy this because I mean, if you're not very interested in digital, you can just have a look at the sculpture and enjoy and look at the lights coming around.
And if you're like, like a geek person, you can scan it, mint it and do a lot of digital stuff. So what I like is, is that is very open and yeah, yeah.
I think magic, what you said Johan, I think magic is a good word. I love to see the faces of people when they first discover the QR code and then when they see the art coming on their phones.
And it's like, I think it's becoming magic because we don't feel the technology. And this is what Johan has been amazing is like, we don't feel all the technology troubles we had last year to make it happen.
I think it's when you don't see the difficulty and when you only see the things happening, I think we see it magical. I always wanted to know how the magicians are doing their tricks.
And actually, I always try to find out and when you find out sometimes, it was easy. But hey, I know it was not easy. So I think it's not magic. It's kind of like, yes, fantastic.
You know, and I have to think also like a fixation for Alpha to help us to, to make your own board actually, you know, like in two clicks when it works correctly because since we don't, we wanted to do also this, it's important to say it without screen in the walls because it's not that I don't like digital art.
But when you come to Orson Museum where, where you've only painted sculpture, I think it was important not to come and say, okay, we're going to put 50 screens in and put our art on it.
So the decision to come with the sculpture was also to avoiding the screens all around and to make it a real installation, but still defending who we are and or or deeper DNA.
So the fact that there is no screens was something very important for us in this in this first decision.
That's fascinating. And maybe before we move to the second piece of the exhibition, Seifert and, you know, how did you like approach this with along with the Feral file team in order to provide that sort of like seamless experience because I did try myself and I have to say I was impressed by how seamless it was.
Yeah, so I'd like first of all to start to echo what Pierre Emmanuel said about technology and art being evolving together, you know, whenever a new technology arises, artists tend to use this technology and it's novelty, it's how people usually find out about new technology through art.
And, you know, when I created FXash, I was so excited about blockchain as the technology being able to power a new kind of art, it being, well, not a new kind of art, but a certain kind of art in a new way.
And, yeah, I'm so happy now to see that this seed that I planted two years ago is now spreading and enabling projects which are sort of transcending the technology and using it in a way that's, you know, appropriating the technology for the vision of the artists.
You see Agoria speaking about, you know, trying to remove the, not remove, but sort of abstract digital layer by providing interactive ways with the physical components it created for the exhibition.
And, you know, our role in this is not exceptional, it's rather being a support and trying to see how we can make it easier for artists to materialize their vision.
And, yeah, we've been experimenting with live minting for a while now because I think it's a very, very interesting boundary pushing way of bringing digital pieces to a new audiences.
And so, yeah, we build tools for this particular purpose for two years now. And it was a matter, you know, of seeing how these tools can enable Agoria in manifesting his vision.
So I will say, you know, our work in this is very little compared to what Agoria actually created, but I'm happy that we were able to facilitate the process he had in mind.
Yeah, I mean, definitely cute us to you and the FX live team and that. And we also have Elizabeth from Feral File. Could you give us your perspective on how you guys approach this live minting experience?
Yes, of course. Hi, thank you. I first just want to say thank you so much for having us on today and for this fabulous experience partnering with all of you.
It's it's been it's been quite a feat. And I personally have a really deep connection with Musee Dorsey. So this is a huge honor on a on a personal level.
So I'm really happy to be with you all. And I also want to say congratulations to Agoria and all of your collaborators. The piece looks amazing.
I cannot wait to see it in person next week in Paris. I'm really looking forward to that. And I'll say a bit about Feral File and kind of our part in all of this.
So Feral File, we're an online gallery and an app enhancing the way that we can experience digital art. And we've had the pleasure of partnering with FX Hash and Tezos at a number of events in recent years to make live minting as seamless and enjoyable as possible.
Because we really think at the end of the day that it's a great complement to a profound experience of digital art made and exhibited in the in the incredible and groundbreaking ways that it is today.
And especially with with with institutions such as Musee Dorsey that's really experimenting with this kind of unchartered territory. So really hats off to you and your whole team for for inviting us all into this experience.
And I am the communications lead at Feral File. So I'm not one of the engineers. We have a team of incredible engineers who couldn't make it today.
But they they work tirelessly with with with the FX hash team to make sure that this is just, you know, what what Agoria and Johan were saying that it kind of feels like magic because we don't feel the technology that it just happens.
And it just feels like a natural part of the process. And so correct me if I'm wrong, but the way that I understand it is that when attendees leave the Sigma Lumina installation, they encounter another QR code, which they can then scan and claim the generative piece that was unveiled to them in the installation.
And when they do this, they it's, you know, like you said, two clicks. It's pretty simple. And you're able to mint that NFT with any Tesla's wallet.
You don't have to use the Feral File app, though, of course, you know, we'd love if you did.
But then that then that NFT goes directly into your Tesla's wallet and you have that in perpetuity. So, again, really, really grateful to be here with you all. And it's really a pleasure.
Thank you for that. Yeah, pretty incredible experience. Like you go to an exhibition and leave with a piece of art and a forever memory on the blockchain. Truly fascinating.
So we've spoken about Sigma Lumina, which was the first art piece of the exhibition or the event. And we have a second one, Agoria, you know, you're an artist that's, as we said, been navigating the realms of technology and science.
And through that prism, could you tell us more about interpretation of interpretation by Sakhar Mises, Servicai of the Pentere Studio by Gustav Courbet?
I hope I pronounced this right. And how you've approached it, you know, interpreting such an historical piece through the prism of art, science and technology.
Can you tell me how many times you try to say the name of this of this yeast? Because I couldn't sleep last night.
The first thing I want to say is we tend a lot to oppose the living and the digital, the physical and the digital. And what I think very interesting for me is to reconciliation both.
There is no reason to oppose the web to web free, for example, in my opinion. It's just like a metamorphosis. And if we think about the living, the living is also a code by itself.
If you think about the DNA, it's four letters. So the work we wanted to show here is like we had a huge question with the four scientists.
And it's just saying the name here because they they work so much on this piece with me that they deserve to be to be named.
The idea was like we have the choice of all the paint of the Orsay Museum. So we we try to find the one that things the most relevant for us.
And it was Gustave Courbet, a majestic piece named Latolier. So we see him in a studio, in his own studio painting.
And the painting is actually for me, for my eyes and for my friends' eyes also. It's showing the society. It's showing them actually all the class socials, the social class, sorry.
And you can see also like Napoleon, you can see Beaudelaire, you can see Jean-Claude, which is a major person in France at that period.
And all these make us think about the society that Courbet is painting is actually something that we should actually take as code information.
And this code information, we decided to elevate a yeast population into a bioreactor in a laboratory to actually do an analogy between the life of Courbet, the life of this period of Courbet and what the yeast could actually get as a stimulus in this bioreactor.
So we get a lot of data. I won't go too deep into details, but we get a lot of data.
What you have to think is in this bioreactor, you have like 10 million yards of yeast in this little place. We just use 10 million.
And from these 10 million, we actually get the bio information, the bio data information. And from this, we create a code that could actually help us visualize what the period of Courbet has made on this yeast.
And so we decided like five periods. As an example, I can speak about the Napoleon period, which was a terrific period in the country where so many people of the population died.
Of course, at this period of the movie, because it's experimental film that we are showing, you could see the effects on the paint of Courbet, which is actually totally disoriented and distracted.
I wanted the people to question when they see, when they watch this movie, question what they are seeing. Is it done through an AI? Is it done through a neural network?
Is it done through Photoshop or all the tools we have, like stable diffusion or runaway? But actually what they are seeing, it's actually an analogy through the bio data.
And I think it's very important for me to say that the living is at the base, the pure base of the DNA, it's a code, it's laters.
And we use all these laters of the living to make actually this paint moving and this film moving.
So I also decided to make these two pieces, this piece of Courbet paint and Sigma Lumina with Johan, these two pieces from the same installation, because they are both answering to each other.
I'm showing the living through the only screen of the exhibition. And when we try to show digital art, we do it with a sense of life with our priests.
I think it was very important also to make this balance, to develop the sense of merging both digital and physical.
I hope I don't lose everyone.
Not at all. I mean, you know, biological generative art and being interested in living code is definitely something that you've been doing for a while and it's impressive to see it at such scale.
Emmanuel, I'd like to get back to you and maybe you give us your perspective on this piece and the concept of studying the living and the living being art in some way or another.
What's your perspective on that?
Well, when I go back to the origin of the project, as Agoria said, it all started with a phone call around midnight, if I remember well, Agoria, on May the 31st, 2022.
And I didn't know at the time it would be such a wonderful experience, but I knew it would be an important step for us.
But what we didn't want at the time was to go fully digital for our first collaboration with a digital artist.
We wanted something different and really, as I said, art for us is a sensible experience, so we should not oppose the physical and the digital.
And that's why both artworks, both the two projects that Agoria proposed were for us important because they were both digital and they blended the digital and the living, the digital and the physical.
And they blended tech and emotion, art and science. It was your previous question.
So that was very important for us not to oppose two worlds, the physical, the living on the one side and the digital on the other side.
And the synthesis that Agoria found in collaboration with the scientists was for us maybe the key principle underlying the exhibition and that resonated with our philosophy.
So we are very happy that we are experiencing the living code, the blending of coding and living, physical and digital.
And that's the same for Sigma Lumina. What fascinated me was the link between the physical and the digital through breathing.
You know, you have to blow into your phone in order to make the digital artwork appear. And breathing in art history is very important.
It dates back from the neolithic. It dates back from the antiquity. Breathing has always been very important for artists.
And this is the link between the living and something entirely new, which is the digital reality. So it was fascinating and emotional.
Yeah, I mean, the overall exhibition is truly, you know, a fusion of variety of different disciplines, like we have the biological arts, cultures, the live minting.
And we also have music, which is fascinating as well. Agoria, I want to say a word about the music that you've produced for this exhibition and what role it has to play in the overall exhibition.
Yes, for sure. I just want to react one thing about what Pierre Manuel said. And for all of you who would be doing NFT Paris in town, we will do a conference at the Orce Museum about this piece, actually.
With two of my scientists, amazing dream team. One is Jean-Baptiste Boulet, whose work is the director of laboratory about instability and structure of DNA in genome, is working at a museum, which is the Museum of Natural History in the country.
And the second one is Nicolas Despras, which I did already pieces in the past with, and both of them are incredibly talented. And I think it might be very, actually also funny because they never agreed on anything.
That's also why I love this, to work with scientists, like even at this scale and this level, they are always arguing about things. Is the DNA exactly what we think or not?
And questioning all this is very, is actually a huge source of inspiration for me. So we will do like this conference on the 22nd, and I will be more happy if some of you are coming.
About the music, the song I did with Nell Rogers and Madison MacPherin is actually speaking about the fact that we can't travel in space, we can't travel in time, sorry.
But I see Sigma Lumina in a way, of course it's metaphorically, but I don't know if some people here did some other set of consciousness experiences, but I do really sometimes think that I could touch the spirits of the people and the artists exposed at the museum.
And I feel like Sigma Lumina is, in a way, this kind of temple getaway. And so the track we did with Madison is actually about this getaway, that we can take all getaway to to actually reach these spirits.
And I did this track and adapted, especially for the exhibition of our site.
It's a beautiful track, which I think you will be releasing at some point, if I'm not mistaken.
Yeah, I think we'll release it at the end of the exhibition on all Spotify and Apple DSP. But if you get lucky, because I'm very sorry for all the people and friends who couldn't get a ticket for the party.
They went too fast, like, I think in a few minutes, all the tickets have been sold out, but I'm gonna play the song during the party.
And you can listen to it at the exhibition anyway during the whole month.
Wonderful. And, you know, we were speaking about the fascination of being able to leave an exhibition with an artwork that's forever, you know, minted on the blockchain.
Lars, I'd love to get into how, you know, blockchain technologies supporting creators all over the world and enhancing, you know, artistic endeavors such as this one, but, you know, we've been speaking about FXSash and a variety of different projects.
Obviously, Tezos is a huge hub for, you know, art and creators. What's your perspective on how blockchain technology is unlocking creativity and enabling like creators to be able to, you know, monetize their works and all of that?
All right. I think you're probably trying to speak, but we can't hear you. Can you guys hear me? Can everyone else hear me?
Okay, cool. All right, we'll get back to Lars in a second. And we actually want to open it up for questions. So if you have any questions, please raise your hands and we'll get you up on stage.
But before we do that, Agoria, what, you know, what message or emotions do you hope viewers will take away from experiencing your artworks at the event?
The experience about, you mean about the party or the whole exhibition?
No, I'm talking about like the exhibition. Obviously, the party is going to be high on emotions. And there is no doubt about that. But it's more about the artworks. Like, what do you want them to think about? What do you want them to feel when they're experiencing the two art pieces of this exhibition?
I think that, you know, like, of course, I'm full of questions myself every day. And I look for answers endlessly. And in a way, I think, like, if I can put in a little sensibility and fragility about their vision about what is digital art.
What is also very important I didn't mention today is what we do also with my friends about the Cuba paint is we question actually the conservation and what will be the memory of the piece.
Because if we think a minute, like, the way we can conserve pieces is very different about what it has been, you know, for example,
I mean, million years ago, like 2000 or 3000 or 5000 years ago, when you was you were writing on on the rocks, actually, you can still find these rocks, what's happening, you know, if you go to God the Vasco, you can still see what's on the wall of the God the Vasco.
Could we sincerely believe that what we are actually meeting on the blockchain will survive that long. And what I think is very important to question is like, what will be the longevity of of digital art, what will be the longevity of all experiences and technologies, we are embracing it.
But I think it's very important to question this.
Yeah, that's, that's actually like a pretty interesting question. Oh, Lars, I see.
And actually, this is a perfect segue into the question I was asking you.
Yeah, I'm sorry, I think on my other device I can connect. First of all, good evening, everyone. And I want to say that I'm super honored to be here to represent Trillitec and the adoption hub for Tesla's and I'm so happy that these artworks will be living on the Tesla blockchain
and are already living on the Tesla's blockchain. And I actually had a moment when Agoria was speaking about like traveling through time or traveling through the spirits is when I when I last visited the Musee d'Orsay when the first project with Vincent van Gogh exhibition.
I had such a beautiful moment because I have always loved van Gogh, and I could see that his artworks or at least a analog of his artwork could exist on the Tesla's blockchain and I thought it was very beautiful.
And then now, another artist from a totally different time, Agoria, who I am a huge fan of already, and I'm super excited to go to the exhibition as well and minty artwork.
And why I think Sigma Luma is so special is because it showcases a part of blockchain that's very important to me and that's capturing not only a moment of in time or an artwork but really expanding the artwork beyond just a singular experience.
You're actually interacting with the artwork. This is noted inside of the artwork. This is actually part of the artwork itself so anybody can take home an experience, and that experience will then forever in time be present.
And I think that's something beautiful and I want to thank the Musee d'Orsay for experimenting with this technology and allowing Agoria to really take this a step further.
And yeah, I'm just very glad that Tesla's can be a part of this and I always hope for Tesla's to be a place for this type of creativity and also for institutional partners to experiment as well. So thank you.
No, you're right, Lars, actually. And I want to say one thing about this is we didn't mention a lot that when you're going to blow in your phone and then when you're going to actually create your artwork, it's a normal network.
This non-electric is actually giving homage about Orsay paints. So for example, you will have a Renoir, you will have a Monet, you will have a kybot, you will go back in your house or in your hotel if you're traveling to Paris with actually a piece inspired by this artist.
And I think it's kind of incredible that coming back from Orsay with a piece of Orsay, I think it's something we didn't emphasize enough. I think today is like you will actually come back with a piece of art from Orsay.
And this is incredibly generous from Tesos who actually in FX are shopping. This is for free. You will live in for free a piece with Renoir coming into your phone and that you will draw this through your blow. I think this is the magic Johan was mentioning before also.
Absolutely. So a reminder, if you want to come up on stage and chat with us, feel free to raise your hand. But while we wait for this, there is actually a few key pieces of information that we want to make sure that everyone is aware of.
So the exhibition started today and it's going to last till the 10th of March. But there are two key moments that are happening within the next few weeks. Obviously, as Agoria mentioned, on the 22nd, there is going to be a conference with four leading scientists that co-created the Saccharomyces art piece.
And that conference is going to be animated by Fabriz Busto from Boar magazine, if I'm not mistaken. And there is obviously the DJ set by Agoria on the 23rd. And that is going to be happening at the museum as well.
So lots of key events that are going to be happening. And I really, really encourage everyone to go and just visit the museum and experience this because it's truly special.
So it seems like people are a little bit shy today. So any last words from everyone involved? Pierre Emmanuel, Agoria and the rest of the folks would love to hear some last words from you. What are you hoping people experience and what's your message to the different collectors and people that are listening to us?
Maybe as a last word, just to say thank you a lot to Christophe L'Orébo, who is the president of the museum and the curator of the exhibition, and to Virginie Donzo, who has been here since day one helping us.
And to hold her in every day, every night. She was really dedicated and she has been amazing. And Christophe was like, I think it's, we need also like, you know, to have president of institutions like Christophe to get the risk actually to open the door to digital artists and give them like, not the total freedom because of course, in one and a half, we have like back and forth.
And we were working on this, but all the advices were actually help us to build the best piece. So I think it's very important also to mention that we need also like for all the digital artists and other co-systems to be thankful to these people who are actually embracing what we're doing and really open minded.
And of course, Pierre Emmanuel, he knows from the call that what I think about him. So thanks a lot for that.
Thanks, Ben. And thank you, everyone.
Guillermo, Nuel, Siford. Does anyone want to give a last few words before we wrap this up?
We are very lucky to be able to do this agoria season. As you said, it's not only about two artworks, it's an entire festival or season with a conference, a DJ set.
We'll have to be cautious when we dance around sculptures in the wonderful nave of the Dorset Museum, but this is an incredible chance for us to step in the Web3 sphere and create a permanent bond between the museum and the digital artistic sphere.
So we are more than happy that this agoria festival starts today. And I hope I'll see you in the museum for this fidgetal and very, very emotional and wonderful experience.
I can definitely tell you that it's on everyone's map. At least everyone is going to be visiting NFT Paris, digital art and through the Aston collectors.
I really hope that you go and see this because it's truly special. Siford, sorry I cut your off. I saw you unmuting yourself.
No worries. I just wanted to say I'm very excited to see the exhibition. I hadn't had the chance to do it, but it's always exciting to see innovation and thanks a lot to Muse d'Orsay for stepping in in such a unique and meaningful way.
I mean, it's quite rare in the space, so I think it needs to be said. So I'm super excited about this.
And if I could just hop in and say thank you on behalf of Feral File. Thank you so much to Muse d'Orsay, FX Hash, Tezos, of course, Agoria, Johan, Pierre and Mo. Thank you so much for hosting today. This talk has been wonderful.
And yeah, really looking forward to Paris next week and I'm really excited for everything to come as well with Muse d'Orsay. I feel like this is the beginning of something special and big. So really, thank you all so much.
Thank you everyone. Look out d'Orsay starting today till March 10th. Not to be missed. Thank you Agoria and congratulations to you and everyone else.
Thank you so much for listening everyone. And congrats to the one who managed to mint the first Lumina piece because we were doing tests with Johan and we didn't enable him in the right order. Someone minted the first one, so congrats to him.
Thank you everybody. Mint number one, reveal yourself. Thanks everyone. See you around. Bye everyone.