Gm. Gm. Welcome, everybody. How are we doing today?
Gm. Gm. I'm good. Hey, guys. Um, before we get started. My name is John. Oh, I'm running the
prohibition account. I just want to mention for everybody that's here, please definitely share
out the space. Let everybody know that we're here and we're hanging and we're getting into
all this fun stuff around process since with Domino and retrago. Um, so let everybody know
show up the space so we can get some more folks tuning in. Um, a couple other just quick housekeeping
items. Um, prohibition is an open on change on our platform. This collection will be going live
in just about an hour and we'll get into all of the details around this collection. Um, super, super
cool. So stay tuned. As soon as pretty much this space ends, we'll have the official launch of, uh,
of the collection on prohibition. So without further ado, I want to welcome Domino. I want to
welcome retrago. I hope, can I call you by your first name or are you not doxed? Would you
rather me not retrago? Um, it's okay. Okay. So Fabian, I'll use Fabian. Domino, how are you doing
today? I'm good, man. Just been, um, working very hard the last week. So, um, finally got some rest
and, um, yeah, super excited for this. Yeah. So, um, we'll get into all that you're doing and
there's a ton that you're up to as always, but I would love just for a quick introduction to let
everybody know who you are, what you're about, um, how you kind of got into the space, but I guess
to start, like, tell us a little bit about yourself. Yeah, my name's Domino. Um, I'm a
multidisciplinary music artist. Um, I direct my own music videos films. Um, I do my own,
um, fine art pieces and explorations. I've done quite a lot of collections in different forms
and mediums and things. And we, uh, we're adding that to the list today with this, uh, gen drop.
So what you, was it music? What, what form of art came first for you? Was it music? Was it,
um, you know, theater? Was it film? What were your earliest memories of kind of getting into
the arts? Yeah, I, um, I was a close up card magician from eight to 20. Um, so that was my first
focus was illusion and performance with, um, cards and psychology and, um,
some mentalism things, some, just a whole wide range of, um, entertainment through, um, that type of,
um, just ideology, I guess. And, um, yeah, in high school, um, I started performing spoken word
poetry. Um, so I started combining those things and love the performance aspect and just using
a mic. Um, and then I ended up finding music because, um, I was doing a public speaking seminar
at the high school I went to and I ended with a spoken word piece and the student came up to me
and was like, yo, I would love to listen to this with music. Um, it would be really great.
Um, so I started chopping up, um, vocal samples and, uh, old orchestral pieces and stuff like that.
And that was the, um, the original music I was making. And then over the years just kept
making music. And, um, like I said, doing art drops I've drawn since I was a kid and I just
started combining everything together. And yeah, now, now we're here.
Do you see all those kind of experiences as different things or are they all kind of the
same to you? I wouldn't have necessarily guessed that you would go, I mean, I guess there's a
performative aspect, but to go from, um, magic and sleight of hand and card tricks to, you know,
to spoken word, but were those transitions very natural to you or how did, how did you kind of
have the ability to evolve in that way? Yeah, to me, they're literally the same thing. Like
literally, um, there's crowd control. There's a script. There is, um, an emotional tie. There
is a beginning, a middle, and an end. Um, there's a height. There's drama. There's jokes.
It's literally, it's like stand up comedy. Like it's the same exact thing. And I see that for
music too. Um, that's what it really did for me though was show me that like learning a craft,
especially in a performance craft is the process is the same for all of them. Um,
you learn the basics, you learn the foundation and then you practice endlessly and then you
get into more niche things and start finding your own voice. And, um, yeah, all the other details
seem to be pretty much very similar, at least in the processes. Um, the outcome is sometimes
different, but even with, um, with what I was doing with performance magic and all that,
the outcomes were pretty much the same from spoken words and music and, and all that,
depending on what the goal was. Does that make sense? The, the feelings are the same.
Yeah. Like say, say I'm doing a, I would do this, um, I need to find better verbiage for this,
but I would do this trick where I would make my heart stop beating and I would have someone
holding my pulse and my pulse would slow, slow down and stop, um, for them. So the audience
is watching their reaction. And that was always so interesting to me because it's one person
having this experience and the rest of the audience experiencing it through them. And I
feel very similarly to music and music performance and things like that. Um, but that one was
obviously very dramatic and very like the reaction is shocking. Um, and so with, with
music, spoken word and all those things, it's, I think it showed me to define what I want the
reaction to be so that I can best create the process and effect, um, to reach that goal.
If that makes sense. Yeah. And maybe, maybe I'm getting ahead of myself a little bit,
but as we kind of fast forward into this world, and I guess even just for all of us kind of
broadly speaking, having this internet connective community, are you able to gauge people's
reaction to your music in the same way or I guess to your art in general, or have you
found that to be challenging or, you know, are you, have you found ways around it?
Um, obviously with the internet, it's a little different because it's just comments.
You're not visually seeing someone react, especially with performance magic. Like I
would have people running away, like literally running and screaming. And
you know, that's obviously very different from like a tweet of like, Hey, I love your music.
Um, but that's where like live performance and stuff comes. Like I was doing live streams for
a long time and seeing people's reactions online in that way became just something I
got used to and could read a little differently. But that's honestly a really great point
and shows me a lot in this moment of like, why it's easy to feel, um, like something
didn't hit the right way when it actually maybe might have for people and you're just
not able to like see it online. So that's a, that's a really great and interesting question
that I think we should all be talking about more honestly.
Yeah, having some sort of IRL component is always necessary. I think as, even as we
get further and further along in the, in the digital culture. Um, so, okay. So you're,
you're obviously multi multi-disciplinary. You have a lot of interest in a lot of different places.
How did web three come about for you? Did it take you a minute? Was it super obvious
in the beginning? What was sort of the light bulb moment for you getting into
web three blockchain NFTs, things like that? Yeah, it, it really was the pandemic. Um, 2020,
um, I just threw myself completely digital and I already was like doing a lot in that world.
And then I saw, um, a bunch of visual artists and painters that I already followed dropping
their work on the blockchain and finding a lot of success. So I was like, whoa,
these people that are fully being themselves are being rewarded for the work that they're doing.
I was like, Oh, this seems like a place I could probably, uh, do well in, in terms of like
connecting with people. Cause all my work is always so emotional and conceptual. I was like,
Oh wow. Like this is a place where people are accepting creatives in a different way.
So I was very excited by that. So all of 2020, I watched it, um, was just seeing what was
happening and learning all these terms and all the, all the things. And, uh, what do you,
what do you, um, recall anything from those early days that really sticks out to you as like a,
a moment or something that you really kind of like took away from?
Um, yeah, I mean, I was watching like very specific artists that, um, I'd rather not mention,
um, for a plethora of reasons, but, um, watching them do continuous drops, um, and go from like
literally, I watched them go from like $10 prints, physical prints being sold to $10 digital versions
to then $20 digital versions to then a hundred. And then suddenly it jumped and they were doing
thousand dollar drops and then became 10,000 and upwards of a million. And watching that whole
journey, um, and seeing the response not be about some BS, but actually be about the work and
about the person making the work. That's what was the most significant to me. Um, it wasn't
necessarily like I saw this huge drop and was like, wow, I can make hella money. It was,
I watched it for a year and watched, um, people that weren't involved in the art space, uh,
learn everything about it and fall in love with these artists. And so I was like, Oh,
that is the exact type of person I'm looking for, for my art and my music and someone that
actually gives a fuck and is also interested in the person making it. Um,
so yeah, all of 2020 I watched that and, um, I ended up minting my first art piece,
which wasn't music. Um, it was my sketch drawings, um, that I had done my whole life
that I'd never released or anything. And I dropped one and, um, sold for an ETH in like three days.
And I was just freaking out. I was freaking out and I was sprinting around my yard and
jumping around and shit. And then that just continued. And I shifted the Twitch streams.
I was doing three or four week to, um, like artists focused things. I just shifted my whole
thing towards the space cause I saw the value and, um, yeah, started doing museum showcases
and I was interviewing collectors in 2021 and, um, doing these big, like artists get togethers
online and just all these events. Um, because I saw the whole of there not being like community
leads, um, in the space and, um, that wasn't really great. And it gave me this hub of artists
and creators and, and collectors that actually cared. So then I just kept, uh, kept going and,
and I dropped, um, my album, Possessance volume one. Um, and that just went insanity, uh,
led to a collab with Rolling Stone magazine and all these other big ass. Yeah. Tell us,
tell us about that. What was the Rolling Stone experience like? Um, it was dope. What did it,
what did it do for you? Yeah. Um, I got an email, which was crazy. That was a really crazy email to
open. Um, it was like, Hey, we're doing this collaboration with 12 artists and we want you
to be the music artist. Um, so I did a drawing that kind of put together all the pieces I
dropped at that time in a collage form it's available right now. And, um, they used it for
their first, uh, digital collectible drop. Um, my art was in the Rolling Stones logo. It was a dream
the hell as a music artist, like it was a fucking dream for the first collab ever. And, um,
yeah, it, um, it was crazy. They, uh, they did a Rolling Stones event that we got to go to here
in LA and, um, they were showing our art everywhere. Our art was literally all over. Um, little John
performed. It was really interesting, but they, they took really, really, really good care of us.
And, um, yeah, it was a good time. It definitely spread out my reach and gave me something on the
resume that's a bit more official. And, um, yeah, it just opened my eyes a lot to what like, a,
that entities like that will just do things in retrospective. Um, and also they'll,
there are entities like that, that will really take care and focus on the artists in a way
that's like positive and not taking advantage of. So it was dope.
It's so amazing, man. And what a, what a great time in 2021. It was a lot of fun. Um,
going back for just a quick second, what was the decision to have your first drop,
your first NFT drop, your first web three experience be non-musical and to be kind of
purely visual? Was there a deliberate choice there or did it just kind of feel natural?
And after kind of being in the space, soaking up all this knowledge,
what made you decide to finally take the leap and do your own thing?
Yeah. Um, there was no music. Um, there was a couple things and a couple people, but like,
there was no community for it. There was no anything. So I knew that the whole game,
especially at that time was fully visual and it wasn't like, okay, I'm going to learn how to draw
now. I'll do that. It was, Oh shit. I've drawn my whole life and I've created these visual pieces
my whole life and films and stuff. Maybe I can finally, you know, like put it out there and
see how it connects. And it really, really connected. Um, so, so eyeopening for me. And so, uh,
such a big moment for me to, to feel that, um, appreciation for something I was really afraid
to show people. Um, and then I, uh, from that, I had built momentum from there. So I was like,
okay, now it's time to lead all these people into my music. And so I did that in a way that
continued, um, with visual artists. So for the album, I collaborated with seven visual artists
in space and they all, uh, did the song art and we did a custom contract so that we could have
our own mint page and they minted the entire album at one time. So it was like this tech backing,
um, through my dev team props and Bitcoin ski. And, um, yeah, I wanted to go fully
independent because at that time, like platforms were really running the game
and it felt like what labels were doing in the music industry. And I was just not about that.
So, um, yeah, it all just kind of made sense and flow together and just worked like that. Like
for the album, I was supposed to drop it with a platform that's really significant still today.
And they ended up falling through the last two days before the album dropped. So it just like,
that wasn't even supposed to happen like that. And then it just did. Um, so it worked out really,
really well. Yeah. Could you just quickly explain to the audience what the importance of being
independent is for you and just some of the things that you've observed, um, why is independence?
And then why is also blockchain sort of helpful in that mission of kind of remaining independent?
Yeah. Um, it's, uh, I probably have a different opinion on it today than I did then. Um,
but I had a lot of trauma from like just the music industry and stuff. And, um, I, it's pretty
much since I started music, I was like, Oh, like there is a way to do this independently
without losing creative control and becoming a machine for the industry. Um, and so I was
really adamant about that from when I first started music in high school, because I saw people
like Mac Miller coming up and doing that. And I saw people like chance coming up and doing that. And
it just fit, it fit my vibe and it fit like my community building focus and how I wanted it
to be about people, um, and not necessarily a product. Um, so that's just always been really
important to me. And now, um, I still feel that importance and I will never let go of my
creative control, but I also see the walls and the ceilings from being completely independent.
You know, it requires, it still requires partnerships, um, with entities so much
bigger and larger that have so much more reach and wealth and, um, ability to help.
So something about web three that has really benefited me is that it's the relationships
that have now equaled out to being able to like connect on partnerships or sponsorships
or collaborations, um, that have really pushed me to be able to create pieces I would not have
been able to at all. So, um, yeah.
Yeah, that's a, that's a very powerful tool to have. And as you say, it comes with,
you know, being an independent artist, whether it's music or visuals or any other medium, um,
it's really challenging to be kind of, I call it left brain and right brain to be
creative and to kind of have your business stuff together and marketing and all these other
components. But, um, you know, even in our space, there's a real collaborative nature where I feel
like you can kind of also build your team. Like you said, you have a dev team, you know,
who can help kind of, you know, build out these worlds for you on the tech side. And, um,
it's just a really powerful kind of ability that you have to bring all these worlds together. And
I want to also highlight, it's just one of the kind of things that I really appreciate about
your work and your position in the space is, as you kind of, I guess glossed over it slightly,
but I want to give some more love and attention to the fact that you've used your voice to also
like incorporate other artists. And, um, you mentioned you had a project release where you
curated a group of visual artists to kind of help interpret the album on a different,
on a different level. And these are some artists that I've loved and come to appreciate from a
different, sort of a different angle. But I know when we started really connecting, it was,
oh, you like the same artist that I like, and you've actually already been curating this
collection of work. Um, I don't know, what is it about collaboration that kind of sticks out to
you? And maybe we'll segue that into, um, persistence, the generative collection.
Yeah. Um, I mean, it's literally all about reach and creating something that I could not
create otherwise. And in the past, I've tried to do a lot of things by myself and the, the
creation lacked because of that, whether it was a music video or a song or an album,
at one point I self-produced an entire album because I was like, I'll just do it by myself. And
it just, it can't be what I want it to be because I don't have all those skills
and I don't have the time to really be a master at, at everything, you know, it just doesn't make
sense. So, um, I was like, okay, well, I'll just go to the greats at each thing and just
try to collaborate with the greats, um, per their, their skill and their medium, you know.
And so it just, it was always that, and I, I like look up to so many artists in so many
different mediums that I just want to create with. So it's, it's a combo of, you know, selfish
reasons for collaboration and the fact that it'll just be better and do something I can never do
like this. And that is a great segue because I couldn't, I would never be able to do this.
And now I get to be part of it and it feels, it feels really special.
It's really special to have you too, man, because the generative art community and the, the sort of,
um, I don't know, the generative art spaces as well as in terms of being on chain is still,
in my opinion, very young. You know, this is a long road ahead. And I find that
incorporating other artists who wouldn't necessarily be so straight ahead generative
artists coming in and having their approach to what they want to see done in this medium
can help the, the medium grow. Having different perspectives, different outside vantage points,
different things they want to say, different practices coming in and experiencing generative
art in different ways will help grow the genre. And so it was really cool to just get you involved
and see where you took it. Um, so maybe just quickly before we get into the collection and
we, we bring up Fabian, was there anything about generative art that kind of spoke to you?
Had you known about it prior? Obviously you're kind of in the art community as well.
What do you know about, what did you know about generative art before coming into this world?
Um, and what did you learn? Yeah, I mean, it was one of the first, um,
it was one of the first things I saw in the web three space, um, was generative art. And
it was always really special to me, like the Fidenzas and
these pieces that were created by code that were so beautiful. Um, and I, I just, I understood it,
but never got involved and they were always out of my like collectability range. Um,
but I just, I loved the idea of like the code, like the art is in the code. And I think that's
really cool. I think it's really dope. And the process is so interesting in terms of collecting
and, and experiencing it. Um, so yeah, it's always been something that I've wanted to do
that I just didn't even have access to or know how that would even work. Um, so through this
process, it's been so dope to just throw stuff at Fabian and be like, yeah, I'll be right back
and then come back and be able to do this like crazy thing. Um, that's been like really, really
fun. And so, yeah, I just want to quickly introduce Fabian. Fabian has been a part of
the prohibition community for a while. He's done a couple of other collaborations that have been
really fun. Um, and we're so grateful to have him part as part of our community, but also grateful
that he, um, was willing and able and interested in doing this collaborative collection with you,
Domino. Um, Fabian, I guess generally speaking, maybe we can do a quick background on yourself
as well. And then how you kind of got into generative art. Sure. Well, um, I'm an architect
and visual artist and a creative coder from Colombia. I just started to create, um, art with code,
like one year ago, because I have always loved math and art. And then I found that
uh, I was able to create art with math. So I started to dig about that and learned
the necessary to create my first code. So that way I started to create art by code. And then
I joined the prohibition fund that has been an amazing journey. And I'm very grateful
because of that, because I have opportunities like this, uh, to collaborate with, uh, great artists
like Domino and to create this, this, uh, amazing project, uh, we are presenting today.
So Fabian, for you, what, um, this isn't your first sort of generative art collaboration.
What is it about collaborating in this space that really resonates with you?
I think that the different perspective, you know, uh, each person, each artist in, especially if
they come from another type of art, they have a different perspective, um, on how to, to, to
create art. And I think this is the most exciting thing about doing collaborations because, uh,
for example, Domino have some ideas that I didn't try before. And I was like, how can I do this with
code then? And that's pretty exciting to, to then be able to do, uh, to create that idea in code.
Beautiful. Well, we're, we're super grateful to have you both. And, uh,
it was really fun to just watch this project take shape,
you know, considering Domino, like you said, your ideas and Fabian with your kind of visual
expertise, um, to watch it all come together was really special. Um, so Domino, maybe you
can tell us about the collection. What did, what was the idea for the, for the visual,
the sort of creative direction? What did you have in mind and, uh, where did the inspiration come
from? Yeah. So my, my album trilogy, Possessence, it explores the pursuit of success specifically
with, um, with music and what that, what, what happens when you receive that success when you're
on the stage and what happens after and what does that fall like? And is there a fall and just all
the questions that arise with the pursuit of massive, um, success in the spotlight?
So for this, I thought it would be sick to explore what those types of stages could look like. So to
me, this is like the stages that, um, you kind of accept your success on. Um, and so we
came up with this concept of using shapes, um, which is really cool. And I see these shapes as
kind of like the person on stage. Um, and we, I threw it at, um, Fabian to, to find a way that
when we click the art, the curtain can open and close. Um, and I think that feature is incredible.
And, um, just being able to interact with the stage feels very, um, it feels very right. Um,
and having the option to close the curtain, to open the curtain or leave it in somewhere in the
middle feels, um, significant for wherever you are in your journey with success.
So the collection is meant to sort of represent a stage?
Got it. And there's obviously a very specific color palette. That's more, I think, just sort of you
as an artist, right? But yeah, talk about maybe some of the choices with the shapes and the
colors and the interactive ability. Um, and were there any challenges? And I guess I could open
this up to both of you. Um, yeah. Did you find maybe Domino? It was
Will you repeat that question real quick? Yeah. Just to, just to kind of make it,
make it succinct. Um, what were some of the initial challenges, if any,
of just kind of translating this vision into a generative collection?
Yeah. For me, since I was just like conceptualizing, not actually writing any, any code,
um, it was like, okay, what is it? You know, like what literally, what is it? Um,
and coming to this spot obviously feels so aligned and the process seemed pretty, um,
straightforward to Fabian of like, yo, here's the concept. Here is the, the pursuit of success.
And, um, I can't remember when we came up with the kind of like stage idea,
but I feel like it was when we added the curtain process and it just kind of became a stage all
of a sudden. Um, so the process for me was very like explorative and, um, able to just be focused
on an idea and an aesthetic. Um, and then seeing it come to life was like magic every time.
Because it just like would be implemented into it. And that was so fun for me to just like,
cause I was at the end of the day, I was experiencing it as it was being created, um, the same way y'all
are about to. Um, so that was like a lot of fun. It, I'm so used to doing everything. So to just
be able to like throw stuff at Fabian and have it come back and be exactly that was really,
really amazing. Yeah. What about you Fabian? Any, um, any interesting, you mentioned that there were a
few either critiques or certain pieces of input that you had actually never dealt with before. Can
you talk about what those were and what some of the challenges were maybe on your side of things?
Yes. It was a challenge for me because, um, I had, I had to, to, to try, uh, to, uh, catch the essence
of what Domino have the his concept and then translate that into code. Um, first, uh, I tried
to like make an idea of that visually and then try to translate that into code. So, uh, it was
challenging for me. Uh, I sometimes I had to think a lot how to, to create
thing for me. Um, then for example, the idea of the curtains, how, how to create the curtains,
how to create, uh, the, the static of the, the waves of the curtain, uh, the how to close the
curtains when click, uh, how to close and everything. And in the meantime, everything has
to be harmonic and all of that. So it was challenging for me, but I'm very happy for
the experience. I'm very happy with the results. Yeah. And so for, for you, Domino, um,
um, what do you hope that people sort of take away from the collection? Are there any
Easter eggs? Are there any traits? I guess from an aesthetic perspective, but just generally
speaking, what do you hope people take away from experiencing this collection? And I just also
want to mention, if you go to prohibition.ar right now, you can actually explore the algorithm,
view the different possible outputs you may find when you mint. Um, you can actually interact as
they've mentioned with the collection by sort of opening and closing these curtains,
which obviously, as Domino mentioned, kind of comes to represent, you know, the, the being
on stage and the story through the music. But are there any other aspects, Domino, that you hope
that people kind of take away from experiencing this collection? Man, it's really the experience
of it. It's really the experience of seeing all the pieces. Like as I've been just refreshing
and seeing new pieces, I'm like, wow, like it's like, there'll be some that are so minimal
and some that are very, the opposite, like so loud and so much happening. And that just feels
so appropriate for the artist's journey with, with success and being on stages. It's like
sometimes the room's going to be empty, you know, and other times it's going to be crazy.
And whether either are good or bad doesn't really matter. It's more about the experience.
And so I feel that way with this, like I hope people just can go through and like
click through all these different explorations of what that feels like. And what that feels like
for them, because both, both are appropriate. And even I'm just clicking through right now and
opening and closing each curtain on each piece gives like a different experience of a reveal,
which is really interesting to me and being able to choose if you're going to leave the
curtain open or closed on your, on your pieces. It feels so appropriate for the, for the
damn. Yeah, I hadn't even thought about it that way. Me either until right now.
The choice, the choice is yours. And it comes to represent maybe how you interpret,
how every individual interprets. Yeah. This story and, and, and, you know,
maybe projecting their own experiences onto this collection. That's really special. Really special.
The collection will be live as we've got about 20 minutes, guys. And Fabian, I did,
I did message you. We just want to make the, make sure the collection is unpaused.
If you don't mind when we're getting ready to mint, but the collection will be available in 20
minutes, prohibition.art, it's on the homepage right now. It's 111 pieces at 0.01. So super
reasonable. And Domino, not to put you on the spot or anything, but do you, do you think about
utility? How do you incorporate, if people go and they've never minted from you before, they're
generative art people and they come to this collection, they really love it. And they want
to get involved in your career and in your story and in your journey and in who you are as a person.
Where would they go? Where do they, how do you kind of organize your community? And then what,
what sort of things do you do for your community that feel particularly special?
Yeah, man, that's a great, that's a great question. For me, it's all about the experiences,
like the same way of what we're just talking about with this collection. And I feel that way
about my whole thing at this point, because like, I don't have everything in one place. And I don't
have a simple, oh, here's, here it was from the start and finish and everything I've ever done.
So it's very much so a like, right now, at least a like, if you know, you know what's up.
And if you don't, you're going to be extremely surprised at not only the quality of work,
but the amount of it. Because at this point, I think with this drop, I've almost touched like
a variation of like, most of what you could do in the space. I'm unsure what else is left.
So yeah, I, I do live events all the time. And I include collectors and different aspects of that.
I just dropped a vinyl of the album, and I'm sending out collectors a discount for that if they want it.
And I'm bringing live streams back very shortly. As soon as I move, my whole personal life has
just been insanity. So the community events have been a little slowed down. But yeah, yeah. And
then I got the album right now out and it's free to collect. And the song art evolves with
the Spotify streams. And there's 100 versions of art for every single song. And that's completely
free to be a part of. So I feel like where can people find that? Oh, just on my pin tweet.
Yep, everything's there. All right, head over to Domino's profile, check out the pin tweet.
And you've got everything there for you. So there's 100 different
possible artworks for each individual song. And then as the streams increase, the art changes.
Exactly. Yeah, based on rarity. So the song's popularity is affecting which art it is.
And at the end of 60 days, the art will be locked forever.
Thank you. I think so too. And it got completely slept on. So thank you. We're really, really
proud of it. I love that you just continue to evolve and to try new things and to stay
experimental and, you know, quick on your feet. I really love it, man. Yeah, I'm really impressed
by you. And I've always been a big fan of yours. And I'm just really so grateful that you would
work with the prohibition community, put your trust in us to deliver this collection in the
way that you envision it, especially as it means so much to the content of what you're
saying and the stories that you're speaking with your personal experience and just what
it could mean for everybody else that wants to experience that. Random question for you,
was there ever a decision to put music in the generative art collection? Or was there,
and I guess maybe even just broadly speaking, do you often it seems that you kind of keep them
separate, like the art kind of helps drive the narrative or build a world around the music that
you're eventually releasing? But do you ever put music in your artwork and vice versa?
Oh, yeah, I have animated pieces with scores of scored artwork of scored film pieces. I
for volume two, my last project, I drew all of the original song covers. So that's what's being
evolved is my is my art. But yeah, yeah, 100%. What about you, Fabian? Are you particularly
musical? How did this how did this collection resonate with you?
I think the this geometric language, and the color palette resonates with me a lot. So
that's what I like the most of this project, the different patterns you can have
by using code that needs to have mathematical logic. So behind this, there is some mathematical
logic. And, and it's amazing that you can have this kind of too much like disorder outputs,
but also those that are most simple. Yeah, Fabian, speaking about the code and the geometric
nature, were there any surprises in the algorithm that that stuck out to you?
Anything that you maybe didn't expect? Yeah, always. And always, when I when when I
develop a project, I have an initial idea. And I create the code. But always, I'm refreshing the
code starting again and again. And I always find some output that blows my mind that that I have
never thought I was able to create something like that. So yeah.
I love that. I love that. Well, hopefully we see more collaboration from both of you
in different forms. Fabian, you've obviously been a great champion and collaborator of
other people's work. And this is your work, too. You know, this is your code. So I don't
mean to I don't mean to diminish at all. This is a true collaborative effort. Domino with with the
with the vision and then View Hargo with the with the code. And what we get is some real magic.
I always say it's like a one plus one equals three. You know, you bring two great minds
together and you get something totally, totally beyond. And we're just so grateful to have you
both. So just a reminder for everybody, the collection goes live in just under 15 minutes
on prohibition dot art. It's called The Stages of Possessence. It's one hundred and eleven pieces
of point oh one. And you can get it on prohibition dot art. You can pay with credit card.
You can pay with different tokens on different chains. You can pay with main net Ethereum
if you want. You can pay with bridge to eat if you want. There are many, many options.
And for even for those domino, if you want to let people know or Fabian or anybody here,
you can now also create a wallet just signing in with Google. So you don't even need to go
through the hoops of metamask and all that stuff. We know we've kind of soft launched,
but for all of the non-native folks that love your music domino, they can really jump on
to prohibition and mint some of these literally with a credit card and with a with a custodial
wallet. Super easy. So looking forward to the success of the collection. But already in this
effort between the two of you, I find this to be beyond any sort of metric of success
with minting and things of that nature, although we want it to do well. So I'm rambling a bit,
but I just want to say thank you to you both. I guess anything else you want to mention,
domino, anything else you want to plug and then we'll send it over to you, Fabian.
No, I'm just grateful, man. This has been a dream for years now. So I just
I feel excited to just be able to experience it and see it and honestly have one.
I'm just hyped on that. And Fabian, you killed it. You went absolutely crazy. And it's just
it's been so great to work with you, man. Thank you. Thank you. I'm very happy to have
working with you in this project and very proud of the output of this project. Thank you.
Well, on that note, everybody be sure to share the love, let everybody know that we're having
this conversation and that also that the mint is going live in just a few minutes.
Let's support our brother in domino and now officially, you know, part of the prohibition
community. So congratulations again, guys. Thanks so much for tuning in. Thanks for taking the time
and looking forward to to the drop. Thank you so much. Thanks for tuning in.
And yeah, congratulations, guys. Thanks so much. And we'll see you. We'll see you at the mint page.
Take care, bro. You killed it. Let's go. Bye, everybody. Bye. Bye. Thank you.