g00ds white paper

g00ds

NFT framework for minting natively digital physical objects into the public domain

Disclaimer: This white paper has primarily been conceptualised on the basis of a specific use-case, namely, art. The author refrains from guaranteeing that the models described in this white paper could be applied to other disciplines while also reminding the reader that NFTs only came to their own through the propagation of digital art thanks to the exploratory mindset of artists on one hand and the lack of instrumental requirements and low adoption threshold of art on the other.

Rationale. A natively digital distribution method of physical objects linked to NFTs would allow democratic availability beyond material possession, geographic delineation and capital limits by detaching propietorship from ownership. Decentralized hosting of the physical objects’ documentation including its design files formatted for digital fabrication provides part of the solution, but the main benefits are lost if the access to and usage rights of those files are restrictive. This would constrain the object’s availability to the centralized, proprietary relations characteristic of physical objects as we know them today. I propose a solution to the usage rights problem using NFTs that contain the documentation of the underlying physical object and represent its patronage carried out by open-sourcing the documentation upon minting. Despite the use of multiple novel technologies, no coding or software development skills are necessary to implement the solutions described in this white paper as it pertains to the content and release method of established formats.

1. Introduction

The potential of individuals and institutions to collect art hinges on the autonomy, mobility and guaranteed authenticity of the art. The pinnacle of this format is the modernist selfcontained artwork which belongs nowhere but is at home anywhere – like a Piet Mondrian painting or a Brancusi sculpture. The level of objecthood of an artwork is then proportional to how collectible and thereby compatible with methods of circulation in the existing artworld it is. Art tied to what an object can be and even more crucially for this white paper – art tied to the hand of the artist.

Easily circulated and verifiably authentic NFTs have created a market for digital objects that previously were not considered “scarce” or “ownable” let alone “collectible” (except for within a few niche scenarios). Ironically, one of the most pressing questions in this completely digital art economy quickly became “how can traditional mediums like painting or sculpture best interface with these new technologies?” This combination requires contending with a paradoxical dual-existence: a financially liquid, logistically lightspeed NFT and a physical object that ages, wears and can at-best be sold through an auction house or Ebay over the course of weeks before embarking on a less-than-lightspeed voyage through the postal or courier system.

Physical objects as software.

By re-thinking the way objects intended as digital-physical hybrids are designed, issued and circulated, a “best of both worlds” scenario can be achieved. On a practical level “phygital” NFTs have thusfar lead to broken promises, exorbitant shipping costs as well as inevitable dissociations of the two parts. On a more philosophical level, these existing models are tormented by the dissolution of the aura of the artwork which is caused by the obfuscation of the “original”. For a “phygital” object to exist, one or the other half needs to be “translated” and so far the tendency has been to digitize the physical. Digital g00ds introduced in this paper approach it the other way around: using purpose-made files and digital fabrication, they “devirtualize” ie. make concrete or materialize the digital. No longer is the hand of the artist necessary, and the privacy of parties, as well as the efficiency of resources, can be improved upon by relying on decentralized manufacturing.

g00ds 2 white paper

2. What is a g00d ?

A g00d is an NFT containing the schematics for an object which can be produced by anybody after its purchase by somebody. Ownership for one and access for all.

In essence, the creator of a g00d produces documentation (including written instructions and manufacturable schematics referred to from here onwards as “design files”) for a tangible object and offers them up for submission into the public domain in exchange for their mint price. The contents of the documentation are secret until an interested party pays the mint price set by the creator and mints the NFT revealing the exact information necessary to create a physical copy of the g00d. Now that the NFT is created and is in the wallet of the purchasing party, they and everybody else can see its contents. Whether to simply get the design files for themselves or as an an act of charity, the buyer has bought access to the info contained in the g00d for everybody. Anyone can materialize a tangible version of the g00d now, but only the buyer owns the NFT – but not the IP. Depending on the nature of the object released as a g00d and the intentions of the creator, its now-owner (the party who minted it) or any future owner of the NFT may receive special rights and benefits like the right to a unique and blockchain-backed “editioned g00d”. That is, owning the NFT of a g00d may include perks in addition to the NFT already serving as proof of one’s honorable patronage of public g(-oo-/-00-)ds on the blockchain.

As the design files are made public through minting, anyone who wants a physical copy of the g00d can use the underlying files and make it. This may be as simple as printing out an A4 sheet of paper or more demanding like feeding a vector file into a lasercutter or an STL-file into a 3D-printer. This process does not require any involvement from the creator nor from the owner of the NFT of that g00d. If properly designed, formatted and deployed, the resulting DIY-made g00d will physically perform just the same as if its original creator made it.

The difference between this g00d arrangement and “right-click saving” and then printing a picture of a Creative Commons 0 -licensed (extremely permissive and common in NFTs) artwork, is that the g00d’s artwork was intended to be printed. While a rogue printout of a CC0-artwork might suffice for some purposes, in the context of art, the manifold and minute decisions involved in realising an artwork make all the difference; is it a random bootleg look-alike or the actual artwork?

In the above CC0-example, what is being printed is a REPRESENTATION of the artwork, while in the case of a g00d intended for printing, it is the ARTWORK.

A historical precedent that can help illustrate the different parts and functions of a g00d can be found in the work of conceptual artist Sol LeWitt (1928-2017). In the 1960’s LeWitt started creating artworks he termed ‘Wall Drawings’. He conceived of the artworks and made careful descriptions of them, but they were made by draftspeople. Buyers of a ‘Wall Drawing’ received its Certificate of Authenticity (COA) and a diagram of the artwork. They were given its ownership and the idea using which the artwork could be realised by skilled labourers. There is an entire sub-genre of similarly formatted art called “Instructional Art”.

Reconciling the above in terms of g00ds, the COA is the NFT on the blockchain (or perhaps more descriptively for both cases “certificate of ownership”). LeWitt’s Diagram is the contents of the NFT (its media, description and documentation). The Wall Drawing equals a physical of the g00d and lastly instead of LeWitts draftspeople, the g00d is made using one or more digital fabrication methods like a printer/plotter/cutter/CNC etc.

Sol LeWitt, Wall Drawing #47 (1970)

3. Formatting

Reviewing the drop format, file formats and the makeup of an NFT utilizing the g00d standard introduces the transactions, tokenomics and select examples of applications.

A glossary of terms used in the following sections:

CAD - Computer-aided design

CAM - Computer-aided manufacturing

RWA - Real-world Asset as used in crypto and specifically in DeFi. Often talked about as collateral for a DeFi loan, it is essentially a physical object somehow related or tied to the blockchain. For the scope of this white paper, the author adapts it to mean “real-world artwork” or what is commonly in the NFT space called a “physical”.

Documentation - The full array of design files and instructions made by the creator of a g00d which can be used in conjuction with CAM to materialize the g00d in question.

Printed g00d - A RWA of the g00d made using its documentation. An open-source, DIY version of the g00d.

Editioned g00d - A RWA of a g00d commissioned by the owner of a g00d’s NFT and in turn made-to-order by the creator of that g00d. An editioned g00d is a creator-made, numbered and blockchain-identified original stand-alone artwork.

Artist proof (AP) - An extra copy of an edition of art that was traditionally kept by the artist for the purpose of authenticating artworks of the same edition by way of comparison against the AP. Common practice in the art world when dealing with processes that involve multiples like cast sculptures or print-making editions.

Digital birthmark (term invented for this paper because ‘digital signature’ means something distinctly different in blockchain context) - A unique physical identifier based on a feature embedded in the digital source material of a piece of hardware. Its purpose is to help identify and authenticate the specific instance of hardware.

Public domain - “Creative materials that are not protected by intellectual property laws such as copyright, trademark, or patent laws. … Anyone can use a public domain work without obtaining permission, but no one can ever own it.” - Stanford Copyright and Fair Use Center (It must be specified that despite nobody being able to “own it”, here“it” refers to the IP. Owning an NFT containing and representing that IP and its dedication to the public domain is certainly possible as well as owning a material instance of the application of that IP.)

Public good - “A good that is both non-excludable and non-rivalrous. For such goods, users cannot be barred from accessing or using them for failing to pay for them. Also, use by one person neither prevents access of other people nor does it reduce availability to others.” - Public goods (economics), Wikipedia

For a great blockchain and NFT glossary, see MoMa’s Web3 Glossary

What makes something made by -insert name- consists of the sum of their decisions during the making process which are guided by their unique style and affinities within and in-contrast to conventional methods. These are the things that a rogue print of some CC0 NFT can never accurately reflect and thus will not represent the work of its original creator. These are also the things that constitute the “design space” of a g00d and what is covered in its documentation.

The documentation of a printable g00d eg. a digital drawing would ideally – in addition to the drawing itself – outline many of the aspects involved in turning the CAD-file into a RWA. Things such as the type and size of paper, the printing technology, the scale of the image, the amount of border etc. all the way down to possibly even the color sampling settings and drivers used for the printer - or the creator might determine that it can only be printed with one specific printer model. It is entirely up to the creator to decide.

A creator like Trash Art pioneer ROBNESS could infuse the process of printing their artwork with their unique dispositions by determining that their g00d must be printed while drunk at the nearest print house and on the cheapest paper in black and white.

All of this info in the documentation of a g00d can be packaged in a folder similar to the format common within the “maker community”. These freely shared projects online are often downloaded as a single ZIP-file which includes the CAD-data like the 3D-file(-s) and a README.txt-file with brief written info like basic settings for a 3D-printer as well as a few tips or notes from the creator like “for added durability part2.stl can be printed on its side” or “do not print with ABS-plastic or the edges of frame.stl will warp”. Depending on the nature of the g00d and the complexity of its process, the README-file could also be a PDF in the format of a IKEA-assembly manual or the initial ZIP might include peripheral STEPfiles for machining tools and jigs for a highly custom low-tolerance build.

NFT format

Once the documentation for a g00d is ready, an NFT can be prepared for sale. The multimedia acting as the visual representation of the g00d is entirely up to the creator to decide, but a design file from the documentation may not be the best fit. This is to protect the not-yet-redeemed documentation from ”ripoff” and premature printed g00d attempts. The natural media of choice would be a picture of a finished printed or editioned g00d –possibly a video combining footage of the CAD files and the finished resulting RWA.

In terms of structuring the NFT, the documentation of the g00d can be attached to the NFT in many ways. Before creating the contract, it is advisable to upload the multimedia (=conventionally referred to as the “JPEG”) and its documentation to a decentralized hosting solution like Arweave or IPFS. These contents can then be linked to the NFT in its contract (as is the case with almost all NFTs except on-chain NFTs). The multimedia is linked to tokenURI and the documentation is inserted into the ”description” as a hyperlink. For reference, see how 3D-files are attached to Frank Stella’s NFTs (link on page 14).

For a relatively simple no-code solution, the author recommends Manifold studio with which it is possible to create a creator-owned contract, host the NFTs on Arweave and have a custom mint page.

Drop format

In this first scenario, the NFT is a unique 1/1 NFT although as with any g00d, there is a theoretical possibility of an endless amount of RWAs produced of it. The sale of the NFT acts as a one-time payment to the creator and a donation of the g00d incl. its IP which is open-sourced effective immediately following the sale. The resulting NFT becomes a hub for information about the g00d, its documentation, owners of possible editioned g00ds and of course the on-chain provenance of the NFT itself.

An example of a g00d in its simplest form, released as a 1/1 NFT:

Ethereum user illustrator.eth has produced a fabulous mandala on their iPad and they would want to publish and sell the artwork. To appreciate the calming effect of its sacred geometries, illustrator.eth wants it to exist as a print on paper, not as a graphic on a screen.

They make a printout of it at home and find that in order to achieve the desired effect it must be printed out on 4 separate A4-sheets. They prepare the four square-shaped PDFfiles using Adobe Illustrator and write a README.txt file with instructions of how to print and tile the parts with the option of framing it with the correct size border and frame measurements. They then prepare an NFT and set its mint price at 0.5 Eth (at the time of writing ~ $900). Before the NFT is sold, its previewable media merely shows a picture of the finished artwork on illustrator.eth’s wall with the title M4NDAL4 and the description “printable 4-part mandala on paper released as a g00d” written on the mint page.

Friends of illustrator.eth have enjoyed their work in the past, but do not own any of their artwork nor do they understand NFTs. They are, however, excited about the chance to have some at home. They promote its sale on their social media and user yogi.eth mints the NFT. It now boasts all the necessary files and instructions for yogi.eth and everyone else to use and print their very own version of illustrator.eth’s artwork.

Drop format involving multiple editions

If a creator wanted to fractionalize the mint price of their g00d, they could release their g00d as an edition of multiple NFTs, but while this has its perks, the arrangement also requires some additional work on the contract side. A high mint price for a g00d does limit its potential collector base, but this also simplifies the process significantly. In order to issue a g00d as an edition of NFTs (presumably with the combined total price of what the price of the same g00d would be if it were a 1/1), all the editions need to be sold before the documentation can be released.

This multiple editions model can be thought of as a form of crowdfunding in which the outcome is conditional of the actions of others. Practically speaking this model requires setting the NFTs’ metadata as something else pending the sale of the last edition and updating the metadata with the actual multimedia, description with links to documentation etc. once it has sold. This conditionality could be coded into the smart contract (the preferrable trustless method) or it could be done manually (requiring trust and delivering inferior efficiency).

Despite its shortcomings, this format of multiple NFT editions can also make perfect sense in the event that a creator also wants to issue multiple physical artworks. Treating the g00d’s release as this kind of a “phygital” NFT drop helps eliminate the possibility of a buyer receiving nothing other than a placeholder-NFT if the remaining editions of NFTs do not sell. Instead, every buyer is guaranteed to atleast receive an editioned g00d.

4. Editioned g00ds

Editioned g00ds disrupt the most popular form of NFT+physical drop in the author’s corner of web3 – the 1/1 pair. This convention is relatively simple: a unique physical object like a painting is photographed to create an NFT acting as a kind of ”digital twin”. The NFT is then sold with the premise that the physical (which in reality is simply the original) will be sent to the buyer. This method is troublesome because it is not geared for an online world - instead it works from physical to digital in the same manner as a pre-web-era Sears catalogue. Lossy photographic documentation of an object, a delivery process requiring trust and as a cherry on top: the web3 sacrilege of doxxing via exchanging ”government names” and contact information for shipping.

An editioned g00d is an RWA made by the creator. It has the potential to greatly increase the desirability of minting a g00d and unlike the printed g00ds, it comes with a certain guarantee of quality by virtue of being made by the creator. Certain technologies required to make the best use of documentation included within g00ds may be prohibitively expensive or complex for a novice to employ. In such cases a collector might be more interested in directly acquiring an editioned g00d instead of gaining access to the underlying documentation so that they could then create a printed g00d themselves.

The crucial differences compared to a printed g00d are as follows: firstly it can only be made for or commissioned by an owner of an NFT of the g00d and secondly it is made by the creator themselves. “Made by” is used loosely here as no blockchain transaction – or any RWA delivery as a result of one – should require international shipping nor should it compromise either party’s identity.

Tokenomics of editioned g00ds

An editioned g00d can only be acquired by the owner of the NFT representing that g00d. In other words, only whoever minted a g00d into existence or bought the NFT on the secondary market has the right to commission an edition. In respect to the selling of an editioned g00ds, the creator can include an editioned g00d with the mint price of the NFT (consistent with existing 1/1 model discussed above) or they can merely grant the minter the exclusive opportunity to purchase an editioned g00d as a separate purchase.

As with NFTs usually, there is an endless amount of options when it comes to the pricing of this purchase and the creator can do anything from setting a fixed amount ($, € or Ξ) per edition to pricing them relative to their edition number (the price of each editioned g00d multiplied by the edition # to disincentivize large editions). The creator can leave the number of editions at just 1 or fully open to be influenced by the minter and potential future owners of the NFT who then virtually control the amount of editions. Alternatively, the creator can set parameters for the issuance of the editioned g00ds like setting a maximum overall supply, maximum supply per collector or something more arbitrary like maximum supply per decade.

Instead of creating a new NFT for each editioned g00d, the information about who has been issued which edition is updated by the creator in the metadata of the NFT of the g00d. This way the NFT of the g00d acts as a kind of public ledger in of itself: transparently reporting the state of that specific g00d and more importantly avoiding the issue of duality between having to move both an NFT and an object in case of action on the secondary market. Philosophically this also more accurately reflects the role of each part in the overall framework since there are no digital twins involved, only a single digital master file and either prints (not logged on-chain) or editions (logged on-chain) of it.

NFTs as repositories of physical objects, access tokens for physical artwork & guarantors of provenance.

production partner

creator

mint price

design & mint prep

not-yet-minted NFT

minting of NFT

secondary market sale of the NFT

editioned g00d documentation

multimedia

NFT

smart contract interaction of the mint event

description: link to documentation+ info about editioned

multimedia of finished RWA

traits/properties: 1st RWA ed. owned by primary collector

description + link to documentation + mention of having an editioned g00d as an additional dimension

traits/properties data:

1st edition RWA owned by primary collector

2nd ed. by 2ndary collector

2ndary collector’s name and edition # added to traits

accessing the docs

production partner editioned g00d

2ndary collector

primary collector maker

maker

maker

DIY

printed g00ds

Network diagram showing the parties and transactions around an NFT with the opportunity to create editioned g00ds of it which is sold on the secondary market and a 2nd editioned g00ds is made of it.

Manufacturing an editioned g00d

As opposed to the conventional 1/1 model with a pre-existing artwork which is reduced to a photograph, editioned g00ds start with the digital CAD-file and are produced on an ondemand basis. This means that f.ex. a hand-made painting is not compatible with the g00d format (neither as a printed nor editioned g00d). A painting could, however, be released as a g00d if it was formatted as a file intended for a pen plotter.

Even though the creator is involved in the making of an editioned g00d, the process of making one should still rely mostly on CAM (just like with printed g00ds). This is because these automated fabrication technologies are currently our best way to mitigate the inherent translation issues and ”slippage” between the physical and digital realms.

The process of producing an editioned g00d is based on the idea of decentralized manufacturing. In our current, centrally manufactured model objects are made locally in one place and circulated from that epicenter to buyers globally. In decentralized manufacturing, objects are produced on-demand in the same locale as the buyer so as to avoid the need for warehousing and global logistics. In the same way, an editioned g00d can be manufactured from the CAD-files using CAM in the same locale as the buyer. Upon receiving information about which continent, country or city the buyer wants their edition sent to, the creator can find the nearest production partner that fulfils the technical quality and material requirements necessary for the g00d’s manufacturing. The creator then orders the edition from the production partner by sending them the documentation necessary for the manufacturing of the g00d, pays for it and connects the buyer to the production partner so the two of them can agree on delivery. The production partner acts as a trusted 3rd party which limits the counterparty risk compared to the current models, but is still far from perfect. This way atleast the entire process can be carried out without the need for either party to know the identity of the other as long as they share some channel of communication online.

In some cases it may not even be necessary to find a local production partner as online printing services like Shapeways or Materialise already operate on multiple continents. This way a European creator can easily put in an order pending a delivery address which a North-American buyer can provide which leads their North-American production facility to getting the job. Granted not all production partners are going to be readily receptive of the 2-party client arrangement but it is reasonable to assume that it could be done by e.g. contacting a sales representative whose contact details are shared by creator to the buyer.

If you want a physical version of digital media, you’re not exactly looking for ”hand-made”.

Proof-of-ownership and authenticity

Proving the ownership of an editioned g00d should be very simple given that the NFT’s metadata includes the owners of each edition. This would atleast be the case assuming the collector is the first owner or that the creator has been informed and able to update the metadata if they are not the first owner. Eitherway, in an aftermarket situation the burdenof-proof falls on the party who acquired the edition and there is a myriad of ways this transaction could be logged which are beyond the scope of this paper.

Ensuring the authenticity of an editioned g00d is more challenging, but the following outlines some best practices. Fortunately there are multiple methods to resist the chances that someone tries to use the publicly available documentation to produce a fake by trying to pass a printed g00d for a legitimate editioned g00d.

One of the ways that this issue has historically been addressed is the use of Artist Proofs (AP) when dealing with editioned artworks. For editioned g00ds this would simply mean always producing 2 copies at the same production partner with the same files and having the second sent back to the creator. In the event that an editioned g00d needs to be authenticated, it could then be compared to the AP’s material, production quality, age and to some extent inevitable imperfections. Seeing as this practice somewhat contradicts the ideal scenario in which editioned g00ds could function globally without the need for overseas shipping, there are also other ways around it.

Since the editioned g00ds are completely separate runs of the g00d, the creator can go the extra mile with them and include their own signature. In keeping with the CAD to CAM methodology, however, the signature would need to be included in the file(-s) used for producing the editioned g00d. A digitized, but handwritten signature is advised instead of the creator’s name merely written in a stock typeface. Nevertheless, this authentication method is limited in its efficacy against forgers and so a more discrete solution is in order.

The creator can use an ever-so-slightly modified file for the manufacturing of each editioned g00d. If there are multiple editions, each editioned g00d should have a different modification. The intent of this modification is to embed a “digital birthmark” into the resulting RWA. The purpose of this birthmark is to change something imperceptible but measurable about each editioned g00d which only the creator has the corresponding file for. This variation from the publicly available documentation should not be blatantly obvious and thereby possible to identify and then also include in a counterfeit. It could e.g. be adjusting the roundness of a certain corner by 3 millimeters (~1/10 in), or changing the tint of a certain color almost imperceptibly. The goal is to achieve such a small deviation that it would not be obvious even if someone who is not the creator was trying to find the birthmark by comparing a printed and an editioned g00d. Specifically for 3D-printable g00ds it would be important that the change be so small and/or in such a location on the object that it not show up in comparing a 3D-scan of the editioned g00d and the publicly available 3D-file of the g00d.

None of these 3 methods are mutually exclusive so a creator can use all 3 of them simultaneously.

Although there are solutions to similar problems with authenticating “phygital” objects using NFC-chips, those are not included in this paper as they would involve tampering with the stand-alone nature of editioned g00ds. The purpose of the described precautions is not to somehow token-gate the edition and force it to have the same owner as the NFT. Instead these steps are presented as ways to allow the editioned g00ds to exist and circulate independent of the NFT as standalone artworks. In this case it just requires some extra tooling to meet the baseline requirement of unique art objects (ensured authenticity) because the art objects have never come in direct contact with their creator.

5. Sharing

Up until this point the entire concept of a g00d has revolved around the radically opensource vision of decentralized objects disseminated as software, but g00ds do not necessarily need to be dedicated to the public domain.

In the context of the cypherpunk culture and hacktivism atop of which the blockchain space is built, public good funding just makes the most sense. In fact public goods funding is one of the main social causes driving the crypto community and this is consistent with its direct lineage deriving from the early internet days of building in public and thinking of the online sphere as somewhat of a “commons”. Specifically in the NFT space community, users are used to a model of digital artworks being released under Creative Commons 0 (CC0): only 1 person at a time can own it, but anybody and everybody can view it or use it as they wish. The author has previously released work under the CERN Open Hardware License (CERN OHL) suggests g00d creators check it out for licensing complex builds.

As the creator of this white paper, I only ask that the documentation be made public – even if under restrictive terms – so that future artists, makers and creators alike can enjoy the fruits of our labor and build upon our skills and knowledge as I have been able to in the making of this very white paper.

As with most other specific aspects of releasing a g00d, the copyright terms and attribution conventions are entirely up to the creator to decide.

6. Conclusion

No longer bound by the hand of the artist nor the pipelines of the postage system, art on the blockchain has already found many dynamic and relational expressions between the participants in web3 and g00ds bridge the culture to real-life. It is a materially impactful NFT release format that employs previously overlooked file types, public goods funding, digital fabrication methods and decentralized manufacturing to establish a framework for how physical artworks and NFTs can interface productively. A centripetal aspect of the g00d format is the treatment of NFTs as distribution channels and platforms in of themselves without losing sight of their transformative transactional aspects. Reconciling traditional forms of artwork while retaining their autonomy with the logic and opportunities of new cybernetic systems of commerce and circulation requires the artwork to become a system rather than a single asset. NFTs as hyperobjects.

7. Bibliography

List of just a few of the valuable CAD/CAM, 3D-printing, Instructional art, public goods, NFT, maker-culture and DIY adjacent precedents and artistic practices that informed the making of this white paper and the g00d format altogether:

◦ #FreeHawaiiPhoto by Cath Simard

◦ UV Production House by Joshua Citarella and Brad Troemel

◦ 3D-printed sculptures and CAD-tool transparencies in the art of Colette Robbins

◦ 3D-printable fashion NFTs by Danit Peleg

◦ Combination of DIY and pro-level CAM in the work of Nik Kosmas

◦ PCB sculptures and media-specificity in the NFT work by Sterling Crispin

◦ Digital institutional criticism and media archeology in the art of Skye Nicolas

◦ Digital 3D-assets bleeding into the real-world in the art of Manuel Rossner

◦ tall by shl0ms

◦ Loot (for Adventurers)

◦ Preludes by Trevor Paglen

◦ Traces of slicing software and 3D-scanning in the work of Sophie Kahn

◦ Software-infused “nature” in the work of Mark Dorf

◦ World-building and interactive NFT media experimentation in the art of Tan-Tan

◦ Digital 3D-artefacts and sculptures of Auriea Harvey

◦ The sprawling digital and physical medium crossovers in the art of Simon Denny

◦ Experience Based NFTs by marketing agency Manifold

◦ Daydream OBJKT 6, 3D-printed sculpture and NFT Rasmus Stride

◦ NFTY Print Whitepaper

◦ The unwavering conviction and variation in media in the art of Amir H. Fallah

◦ Geometries by Frank Stella