When Paddy Fights

When Paddy Fights is rare digital art and a story of flash fiction by Joe Chiappetta on pixEOS Gallery.

When Paddy Fights

Paddy finally said what he had been thinking in frustration for decades; "Lofticuff Clan, I don't like losing... and I especially don't like losing to you! In fact, I absolutely hate it. And now I am ready to do something about it."

Some words come and go quicker than treats in a hungry dog's mouth. Yet these words--at least for Paddy--lingered. They had a sort of power. So he decided to spread them around. Paddy, his family, and friends drafted handwritten flyers with these exact words on them. There was something extra powerful about a growing group of unified people saying the same exact thing--and posting it for all to read throughout the town. In fact, it was the brevity of Paddy's words that unified them; their shared pain of failure made them a tribe of their own.

Meanwhile, Paddy's enemies, the ever-privileged clan known as the Lofticuffs, could care less. They liked that Paddy had always been the loser and subject to them in all too many things due to Paddy's poverty and low standing in society. With boastful and fairly aloof hearts, the Lofticuffs assumed this incident of Paddy's public outburst would be nothing more than a passing hiccup: a thing to giggle at and forget.

The irony of the whole situation never once occurred to any of the Lofticuffs. While they had oppressed Paddy and whole communities of people for the entirety of their selfish existence, it was all quite unnecessary. The Lofticuffs did not actually need anything from Paddy or his associates. Nevertheless, the Lofticuffs simply enjoyed the process of dominating others. It was their sick family sport, and they were the reigning champions at it thus far. Paddy suspected such things, and hated that too.

Therefore Paddy proceeded to further organize and gather all his weapons (which were not many), his currency (which was not much), his fellow underprivileged allies, and his few possessions... with one single focal point in mind. It was partly a mumbling question that transformed into half a prayer, and half a battle cry. "How can we use all our collective resources to defeat the Lofticuffs? We must defeat them--at least once. I believe it is surely possible, and I have believed this for a long time. Because if... no... when we do it one time, then we can do it again... and again. And then we can teach others to do the same."

This was the moment... that precious moment that changed history. Upon reflection, most others would say the pivotal point of Clan Lofticuff's defeat was in the final--and quite costly--battle surge with heavy casualties on either side. Paddy respected that: particularly the high cost of victory. Yet Paddy had an added perspective. He understood that the battle was actually won the moment he resolutely decided to have faith, take action, and never give up.

Art Gallery 70 Years in the Making: pixEOS

"70 Years in the Making" is new rare digital art by Joe Chiappetta which depicts an oscilloscope from the 1950s. It is animation that provides a modern-day glimpse into our art history roots--70 years in the making, and is one of the many artworks available in the pixEOS Gallery.

I really enjoy exploring my artistic roots to understand who has come before us to pave the way. Recent research has led me to the 1950s in Cherokee, Iowa. It was there in the American Midwest that a widely talented man, Ben Laposky, created some of the earliest known electronic visual art. Ben used an oscilloscope, which is a device that turns voltage into moving lines of light. He recognized these patterns/designs as unique artworks, and called them "electrical compositions" as well as "electronic abstractions." Back then, the only way Laposky knew to potentially monetize his animated creations was to take black and white photos of his abstract designs and exhibit them. Ben was a mathematician, Purple Heart recipient, and remarkable pioneer in the arts.

The steady advancement of computers in the decades to come would entice more artists into the (literally electrifying) field of electronic arts, both analog and digital. Seventy years later, excitement and innovation continues to run high in the electronic arts, with no signs of slowing down. This is especially true in the 5 year old field of rare digital art.

Attention continues to increase for online digital art markets--made even more apparent by the March 2020 closing of all physical museums and galleries due to the spread of a worldwide disease. Despite these global health issues, art collectors remain active with a real appetite to collect blockchain-registered art. All made possible--of course--through electricity, these artworks are issued in limited editions and tied to cryptographic tech running in the background. Just as cryptography regulates Bitcoin in a verifiably limited supply, the same is true for artworks, hence the name rare digital art. Also known as non-fungible tokens (NFTs), art ownership, release dates, sales history, and artist authenticity are automated through global computer networks.

The technology to issue rare digital art keeps evolving. The latest in this evolution is the Grand pixEOS Art Gallery. Operational since March 25th, 2020, a few features of the pixEOS Gallery are worth highlighting.

1. Gallery transactions (buying/selling) are fast--like blazing fast. That can be attributed to the team being active in the industry for many years and the fact that the EOS blockchain, on which the gallery operates, is known for its speed.

2. The artists in the gallery are a widely diverse blend of international talent. Some have been "around the blockchain" for many years, some are longtime pro artists yet new to rare digital art, and some are emerging artists grateful to gain instant access to global sales potential for their creative works.

3. Art collectors buy the rare digital art using EOS tokens or PIXEOS tokens, depending on how the artist chooses to list for sale.

4. Each collector gets their own unique page to exhibit their prized possessions and/or resell them for a potential profit.

5. Each time an artist's work is resold (when the collector who buys the work sells it to another collector), the artist receives a percentage of these secondary sales automatically.

6. Artwork can be auctioned off or sold for a fixed price.

7. Simple and complex motion is often added by artists to their static original artworks, creating a new animated art marketplace. Using GIF format, animations are widely created and collected.

While it is unfortunate that legendary electronic art pioneers of decades-gone-by were not able to utilize this exciting new way to distribute, monetize, and collect electronic artwork, many remain grateful to be active in such a lively legacy that has become a digital art revolution. To the future... to the pixEOS Gallery!

CryptoArt Shrugged: What To Do During Rare Digital Art Technical Difficulties

CryptoArt Shrugged is rare digital art by Joe Chiappetta on MakersPlace.

CryptoArt Shrugged:

What To Do During Rare Digital Art Technical Difficulties

Imagine for a moment this scenario. The most amazing art the world may ever see has just been finished, and you're its proud creator. Anxious to release your work for sale as rare digital art, you head over to your favorite online art market to launch the artwork to the public... yet... something's wrong! The marketplace is supposed to be live but it's temporarily delayed. Or other unexpected technical difficulties--with your entire preferred blockchain--make it impossible to immediately release such precious art. 

Would this now be the time to...
(a) Panic?
(b) Complain?
(c) Keep clicking buttons until your will be done?
(d) Leave this sketchy, experimental field forever?

The answer--probably--is actually (e), none of the above.

Therefore what should creators do when their preferred rare digital art gallery--in which they desperately want to release new artworks on--is having downtime or is delayed? The short answer is... something else. As with most things highly technical, new, and still evolving, proper development for mass consumption takes time and frequent revision. Rome was not built in a day.

Remember also some related facts of development.

• The Internet was quite fragmented at its inception. In fact, many sites only worked in certain browsers. Many computers did not even have a web browser. The first web browser was created in 1990, yet it took at least 8 years before the Web Standards Project started to push for the Internet to have clear standards for web browsers.
• While Bitcoin went live in 2009, it took another 6 years before anyone could issue rare digital art on top of Bitcoin (through Counterparty).
• With Ethereum launching in 2015, it was not until over 2 years later that anyone could issue rare digital art through Ethereum.
• Launched in 2018 as a faster blockchain with no transaction fees (unlike Bitcoin and Ethereum), major rare digital art markets on the EOS blockchain (such as pixEOS) will not go live until the later portion of 2019.

With these things in mind, the "urgent" feeling of disappointment or even frustration when delays bump through new technologies are--in most cases--not cause for alarm at all. It's all relative, and just a normal part of the development process. In other words, that's life; shrug it off.

Nevertheless, there is a way to make the most of such delays. Below are some useful professional actions that any artist can take when there are technical delays in publishing art through a preferred rare digital art market.

Rare Digital Art Downtime Game Plan

1. Think of more relevant tags and text to add to your existing artwork.
2. Re-share previously released, yet unsold art on social media.
3. Look around the web to see if this art would be good as a new submission for a contest or exhibition (which could get you extra publicity).
4. Let existing collectors know from you by direct message that you will soon be coming out with a new piece, and you can give them an exclusive preview.
5. Write a full article on your blog where your newly released artwork will serve as the main illustration, thus giving the artwork a wider potential audience.
6. Add that design to a merchandising site so fans can order it on t-shirts, phone cases, and more.
7. Review and revise pricing on your previously released unsold artworks.
8. Ask a colleague to post a review of your existing work.
9. Catch up on the necessary accounting work associated with your businesses so it does not all pile up.
10. Study what people who are more successful than you are doing.
11. Become a rare digital art collector.
12. Make related art, thus creating a cohesive series.

As anyone can imagine, the list of useful, professional, and forward-moving tasks that can be done during unexpected delays are quite involved and productive, in-and-of themselves. More could easily be added to this list as well. Those in the crypto-art field long enough know too well that a strategy to manage blockchain delays is simply a good thing to have. Therefore the prudent will pass the "downtime" wisely, turning it into "uptime." And soon--yet never soon enough in the moment--that preferred site that had you in such a bother due to delays will be up and running--and so will you--already.

Joe Chiappetta
http://SillyDaddy.net

The Art-Arcade Atmosphere on Blockchain

The Art-Arcade Atmosphere on Blockchain is rare digital art available on MakersPlace.

The Art-Arcade Atmosphere on Blockchain:
Commending Good Crypto Galleries and Gaming Projects

No one really needs to know what a good crypto gallery is, or a good crypto gaming project is... but once you do know, such tech innovations sure do open up a whole new world of opportunities! Both for entertainment purposes as well as for collecting digital art, an impressive amount of development is happening. Short for "cryptocurrency," crypto-galleries and crypto-gaming platforms are part of a growing international ecosystem that uses cryptocurrency to quickly pay for things like digital art or game items. Indeed, it's not that you need to know this, but many are already having fun with it as well as building unique businesses around it. Perhaps you should too.

Every complex ecosystem comes with many diverse and rapidly operating parts. It is a fragile balance. Think of one button in a video game arcade. Remove that button from the game, and game play is ruined. Besides, not many could wire that button back into the game effectively. Now add such sensitivity to the complexity of all the games in an arcade. On top of that, add a diversity of players, with all the unpredictability that comes with human nature. It's a whole universe of intricate pieces in a delicate balance, yet producing an unforgettable (and usually pretty cool) atmosphere.

Such balance of ecosystem parts is also the case with art and gaming on the blockchain. Many of today's collectors want their collection to be mobile, rare, transferable, valuable, auction-able, visible, highly promoted, secure... and the list goes on. Blockchains like Counterparty, Ethereum, and EOS provide key features for such an ecosystem. The cryptocurrencies that fuel these networks add to the mystique of "Hey look at me; I'm using weird, futuristic internet money." Yet beyond this gut-level appeal, there is a depth of true innovation going on underneath the hood.

Developing a cryptocurrency application that serves as a marketplace for rare digital art and gaming items is one thing--and a significant thing it is. Designing this marketplace to also be user-friendly, fast, respectable, compliant, and secure is quite another thing. Attracting engaged community members and customers is yet another thing: as is forging great partnerships, and of course, funding the project until it becomes self-sustaining.

The list of essential project components that lead to success is no small ensemble. There's also retaining customers and partners, moderating those who violate the project's terms of service, scheduling public events, managing team members and bounty programs, building cross-blockchain payment systems as well as payment systems for those wanting to pay in traditional currency, educating new customers, maintaining government compliance as laws change... and the list keeps going on and on.

Reflecting upon these moving parts, I must commend a number of projects for tackling these elements with perseverance. While there are more than these 3 that are worthy of attention, I focus on these because I have the most personal experience with their products, team members, and community.

• EverdreamSoft Crystal Suite: operates Spells of Genesis, one of the oldest (and still great) blockchain games, as well as a diverse rare digital art gallery with wide gamer appeal
• MakersPlace: a most user-friendly and versatile rare digital art gallery, also doing innovative things to gamify the collecting of art
• pixEOS: operates 7 active blockchain games, with a rare digital art gallery in the works

Has each project mastered every aspect of the points I highlighted? No... not yet. However, each project listed here does have real working products now. They also have a vision aligned with those above-mentioned points, as well as implementation and/or plans to back it up. As alluded to earlier, I can say these things with confidence since I am active in all of these communities, and a grateful user/artist/collector on each of their respective platforms.

So keep "blockchainizing" the arcades of today. Keep building in a delicate balance where none have built before. Keep creating a future that those who come later will thank you for.

Joe Chiappetta
http://SillyDaddy.net

Rare Digital Art Ownership Visualization

Rare Digital Art Ownership Visualization by Joe Chiappetta is available on MakersPlace

In understanding any new concept, it often helps to provide visuals. This is definitely the case with rare digital art. As a new ecosystem to release, catalog, sell and collect digital art, the growing field of rare digital art is fascinating for a number of reasons. For the first time ever, digital art can be coded to be entirely rare, sales could happen instantly and internationally through new monetary systems, royalties for secondary art sales can be built right into the market, the art can be sold for a fixed price or auctioned, artists can issue super-rare editions of only 1 or limited-editions such as 1 of 10. Mind you, I am only mentioning just a few of rare digital art's exciting features.

To illustrate what actually goes on when a person owns rare digital art, I have drawn up an imaginary universe where digital concepts are as tangible as the toes on your feet. Art collectors can buy this particular piece of rare digital art on the MakersPlace marketplace. It is a comical drawing that depicts a world lined with chains of data held in sequential blocks. That's where we get the term "blockchain." When someone buys rare digital art, they are actually buying a unit of cryptocurrency. Their account on the blockchain gives them a private key whereby only they can sell that crypto if they find a buyer. All this is packaged in an orderly and cryptographic manner on the blockchain. These blocks of ownership data are uniquely linked together so that the order and the data cannot be changed. Therefore the data on this blockchain has a decent semblance of permanence.

Is Art Really On the Blockchain?

While important data about art is permanently on the blockchain, what about the actual art's permanence? The art on the blockchain is a different, yet completely related story. In most cases, the actual art image is (gulp) not hosted on the blockchain. Rather the art is usually hosted the way most digital images are hosted: on a file hosting device called a server or multiple servers in physical locations, with the image being delivered (or "served") when someone on the Internet goes to a particular website (or image-enabled blockchain wallet). Therefore the art is as permanent as the Internet, the blockchain that holds the art data, and the servers that host the actual image.

With rare digital art, while the image does not truly reside on the blockchain, it's file name and web address are coded to be linked to a particular blockchain. So we can enjoy a little irony in the fact that art on the blockchain--in most cases--is not actually on the blockchain. Yet the art data, ownership and link to the art are on the blockchain.

Is Rare Digital Art Actually Rare?

While we are on the subject of irony, there is one more big one to cover. In the case of rare digital art, the art is... uh... not actually rare. In most cases, the art image is announced and uploaded to at least a few social media sites, plus the artist's blog, and then people share it over and over again on social media. Servers deliver the image to everyone viewing the art on the marketplace. So copies of the art are all over the place. Nothing rare about that. Yet as discussed in the previous section, all that doesn't matter--not one bit. What is rare is the crypto token that the art collector buys. That token cannot be copied, thanks to cryptography. This is where rarity comes in. When a collector buys rare digital art, it is a statement of value. It says "this art is so valuable, that I want to be on record as its owner so I can show it off in my collection, or sell it as I see fit, and I will do it all through the only economic vehicle that represents that art: its cryptocurrency token."

It is on top of these slightly ironic cybernetic rails of truth that art and tech pioneers started rolling out this new generation of artwork. We call it new, yet this was going on as early as 2014 in small groundbreaking circles. Little did people know that history was being made, and a whole industry would rise up from these humble and virtual beginnings. Yet here we are... making history... making art (kind of) on the blockchain. It seems only fitting then, since there have been movements of impressionism, cubism, futurism, and now... there is blockchainism.

So in making such a history, writers have to write about it. Artists have to make art about it. In the case of this rare digital art, the story needs to be told--or better yet shown--regarding what a person actually owns when they purchase rare digital art. What is owned? In short, it boils down to a few blunt facts:

The Short, Blunt Answer: What Do I Own When I Buy Rare Digital Art?

• It's nothing you can touch.
• Your purchase helps fuel a crypto crazy creative market ecosystem.
• You bought into a crazy risk with the potential for crazy rewards that can just as easily drop to zero in value or go sky high.
• You own cryptocurrency with a pretty face.
• A unique crypto token is what you own; the art is what you see.

If any of this appeals to you, then we are probably destined to be friends. So all aboard the rare digital art train!

Joe Chiappetta

http://SillyDaddy.net

Silly Daddy on Pixels

Illustrations and comics from as well as about the entirely innovative pixEOS crypto-art ecosystem

Family comes in many shapes and sizes in my latest piece of digital art. I drew this BeastEOS Family illustration on the pixEOS app. There you can find many little characters I have created, along with all sorts of other pixel art and graffiti from other creators and passing adventurers. As the creator of the long-running Silly Daddy Comics, I often cannot resist to put a family theme into my work. That's why you see in this minimal illustration a little child beast happily following his father beast on the very first giant digital pixEOS canvas.

In fact, my artwork, in the form of comics, animations, and illustrations has been increasingly featured in a number of professional articles directly from the pixEOS crypto-art project. Built on the EOS cryptocurrency network and based on a lot of community feedback, PixEOS already has a fine online art/game/gambling/crypto/graffiti app that is up and running--and incredibly cool. The team has many other great elements for artists and collectors being added to the pixEOS ecosystem soon. It is definitely a project to engage with now, as well as keep a keen eye on for future developments sure to expand the boundaries of art on the blockchain!

Can you spot my artwork in the pixEOS official blog? I am prominently included as one of their illustrators in their articles about the pixEOS Merchandise Shop, as well as an article about general ecosystem updates, and also an article about a cryptographic code-cracking puzzle.

It is very likely that soon you will also see what I would call an epic illustration from me having to do with the pixEOS community. What I consider an epic illustration is a more detailed drawing with many characters in it while also communicating themes on (usually) multiple levels. I do not do epic illustrations every day. Most of my illustrations and comics these days are what I would call brevity illustrations. A brevity illustration is one that has just one or two characters in it and communicates usually only one simple concept. As can be implied from the titles, brevity illustrations usually don't take that long to complete, while epic illustrations take quite a while to finish. Obviously, the above illustration of the BeastEOS Family is a brevity illustration, yet of epic family proportions, right?

Joe Chiappetta
http://SillyDaddy