Simone Stazi retweeted
Community Update: Your new Candy wallet, now powered by @moonpay
Where the migration stands, a first look at your new wallet, and what comes next.
Full update below↴
Simone Stazi retweeted
This is what France needs. The autists to go ultra instinct and stand up. This photo deserves a Pulitzer. The autism shield says “Not today, villains.” He’s channeling his inner Goku. Iconic photo.
Simone Stazi retweeted
My wallet wasn’t drained, but I truly feel for everyone who lost their NFTs today.
These aren’t just assets. For many of us, they carry memories, identity, community, and years of being part of this space.
Huge respect to @0xQuit for stepping in and helping protect so many assets during all of this.
I hope everyone affected is able to recover what they can, rebuild, and come back even stronger.
Still here. Still rebuilding. 🖤
-----------------------
Create a cinematic symbolic portrait of the uploaded reference character representing the NFT space after a major loss, inspired by the Japanese art of kintsugi.
The character itself has been broken into several physical pieces and is calmly repairing its own body using visible gold-filled seams.
This is not destruction.
This is reconstruction.
LIKENESS INTEGRITY, HIGHEST PRIORITY
The completed form of the character must preserve exactly:
• original head-to-body proportions
• exact eye shape, spacing, and stylization
• exact facial structure
• exact silhouette
• original clothing, accessories, materials, colors, and design language
Do not humanize.
Do not reinterpret anatomy.
Do not invent new facial features.
The fractures may divide the existing structure, but they must never redesign it.
Every detached piece must clearly belong to the exact uploaded character.
CORE CONCEPT
The uploaded character sits alone on the ground, partially broken apart.
Several sections of its body have already been carefully reattached.
Visible kintsugi-style gold seams run through these repaired fractures.
The gold follows only genuine break lines.
It does not spread randomly across the body.
Other pieces have NOT yet been repaired.
Several recognizable fragments of the character lie carefully on the floor around it:
• part of an arm, paw, claw, mechanical limb, or equivalent appendage
• a small section of clothing, armor, shell, or body structure
• fragments from the torso or lower body
• several tiny chips and shards from the original material
These fragments must preserve the exact colors, textures, patterns, and material identity of the areas they came from.
Leave clear empty fracture areas on the character showing where these pieces eventually belong.
The character is incomplete.
CHARACTER ACTION
The character is actively repairing itself.
One limb carefully holds one of its own detached fragments.
The other applies or presses gold lacquer into the broken connection point.
Capture the exact moment the fragment is being returned to its original position.
The repair is delicate and intentional.
No magical levitation.
The character physically holds and repairs the piece.
Already repaired areas show thin irregular metallic gold seams.
Nearby unrepaired fragments remain scattered across the floor.
The scene should clearly show three states simultaneously:
broken
being repaired
already repaired with gold
POSE
The character sits low to the ground in a tired but focused posture.
Torso leaning forward.
Head slightly lowered toward the repair.
Shoulders asymmetrical.
One remaining limb supports the body while the other works.
The pose must communicate patience after exhaustion.
Not defeat.
Not triumph.
Quiet determination.
NFT SPACE SYMBOLISM
The character represents the NFT space itself.
Do not use literal cryptocurrency logos, blockchain diagrams, coins, price charts, marketplace interfaces, or computer screens.
The metaphor must be carried entirely by the recognizable collectible character repairing its own fragmented identity.
Some fragments on the ground can subtly resemble pieces of a collection:
different color regions,
traits,
materials,
or recognizable design details from the same character.
Together they imply that pieces of the ecosystem were separated, but still belong to one whole.
KINTSUGI REPAIR BEHAVIOR
Gold repairs must be physically believable.
The seams are:
• thin
• irregular
• handcrafted
• slightly raised
• embedded inside fractures
• metallic rather than luminous
Gold should catch environmental light naturally.
It must NOT glow from within.
No neon.
No magical energy.
No fantasy veins.
The repaired sections must still show visible fracture geometry.
The damage is remembered rather than erased.
CAMERA & PERSPECTIVE
Use an intimate low-angle 35–50mm cinematic lens.
Camera positioned close to floor level and slightly off-axis.
The nearest unrepaired fragment sits extremely close to the lens and becomes heavily out of focus.
The character occupies roughly 60–70% of the vertical frame but remains slightly off-center.
Broken pieces create a diagonal path across the ground toward the character.
The camera should feel physically present beside the reconstruction.
No clean centered portrait.
COMPOSITION
Foreground:
large blurred fragment from the character lying close to camera.
Mid-ground:
the character actively reconnecting one of its pieces.
Background:
dark atmospheric emptiness with almost no environmental distraction.
The scattered fragments should form a visual path toward the repair point.
Large negative space remains above and behind the character.
DEPTH OF FIELD
Primary focal plane:
the exact contact point where the broken piece meets the character and the fresh gold repair is being applied.
Secondary focal plane:
the character’s eyes.
Already repaired gold cracks remain readable but progressively softer away from the focal region.
Near-lens pieces heavily blurred.
Farther fragments dissolve into shadow.
No full-frame sharpness.
LIGHTING
A strong cool directional side light cuts across the broken character and scattered pieces.
This light reveals the fractures, textures, and missing areas.
A restrained warm directional light falls specifically across the active repair zone.
The gold catches this warm light and produces narrow metallic highlights.
Already repaired seams farther across the character catch only occasional gold reflections.
The scene remains predominantly dark.
Deep shadow mass.
Minimal frontal fill.
No flat studio lighting.
No overexposure.
MATERIAL DETAIL
Every broken edge should reveal the character’s actual material structure.
If the character is:
vinyl → broken surfaces remain believable vinyl
fabric → torn areas reveal fibers and weave
metal → fractured edges retain metal structure
ceramic → edges reveal ceramic material
wood → breaks reveal wood grain
stylized / abstract → preserve its original material logic without inventing biological anatomy
Never expose bones, flesh, organs, or human anatomy unless they genuinely belong to the original character.
Identity always wins over realism.
Gold follows and joins these original materials without replacing them.
GROUND DETAIL
Several unrepaired character pieces remain on the floor.
Some are close to the character.
Others lie farther away in darkness.
A few very small chips surround the repair area.
One unmistakably recognizable fragment should sit in the foreground, making it immediately clear that the character is not yet complete.
Do not arrange the pieces neatly.
They should feel naturally scattered from something that has broken.
ATMOSPHERE
Quiet.
Sparse dust suspended in directional light.
Subtle haze behind the character.
No explosion.
No active destruction.
No chaotic debris flying through the air.
Whatever happened has already happened.
We are witnessing what comes after.
COLOR GRADE
Deep charcoal and muted blue-grey environment.
Original character colors preserved accurately.
Restrained metallic gold seams become the strongest warm accent.
Controlled saturation.
Deep blacks.
Natural metallic highlight roll-off.
Fine cinematic film grain.
EMOTIONAL DIRECTION
The character has been damaged.
Pieces are still missing.
Not everything has been recovered.
The repairs are visible.
Yet it is rebuilding itself with care.
The character does not become what it was before.
Its history becomes part of what it is next.
The visual message:
WE ARE STILL REBUILDING.
Some pieces are back.
Some are still missing.
Every fracture becomes part of the story.
OPTIONAL TEXT
If typography is used, include only:
"WE REBUILD."
or
"STILL REBUILDING."
Small restrained uppercase typography.
No other text.
FINAL CONSTRAINTS
No magical regeneration.
No floating body pieces.
No glowing fantasy cracks.
No neon gold.
No random gold veins.
No perfectly repaired body.
No hiding the fractures.
No crypto logos.
No coins.
No charts.
No computer interfaces.
No hacker imagery.
No crying.
No heroic victory stance.
No smiling celebration.
No centered symmetry.
No full-frame sharpness.
Several pieces MUST remain visibly detached on the floor.
Several sections MUST already be visibly repaired with kintsugi gold.
One piece MUST be actively held and repaired by the character.
The image must feel unfinished by design.
The NFT space is wounded, incomplete, and rebuilding itself.
ar 4:5
🤖 Made with AI
Simone Stazi retweeted
“Our scars can destroy us, even after the physical wounds have healed. But if we can survive them, they can transform us. They can give us the power to endure. And the strength to fight.”
- The Batman
#BatmanDay #Batman #allontheboard – at London, England
FREE MINT 🚨
Built Together by @peekcell is now live.
A tribute to the creators, collectors, supporters and friends who’ve helped shape the Based Minis journey.
Built together. Collected together.
Mint yours for FREE 👇
built-together.rarible.com/
Simone Stazi retweeted
👀🔥🔥🔥🔥🔥I am proud to announce that @CandyDigital is a launch partner of @opensea ‘s critical new initiative below and we are live now. @opensea and its superb management team will bring a whole new level of excellence to the secondary marketplace experience for @solana @metaplex NFTs. They are a vital part of “up and to the right.”
🙏🚀🚀🚀🚀📈📈📈📈👇
Solana NFTs are now live on OpenSea.
Buy, sell, trade, and bid on the top @solana collections.
One place for the NFTs you love 🌊
Simone Stazi retweeted
👀 On my mind this Sunday morning....Art, NFTs, and Bitcoin👇
The Oldest Blockchain
In 1958 @Sothebys 's sold a small panel of Christ for forty-five pounds. The catalogue gave it to Boltraffio, a pupil from the master's studio, and nobody argued. Fifty-nine years later the same panel sold at @ChristiesInc 's for $450.3 million, the most ever paid for a painting, under a different name: Leonardo. Whether the hand was fully his is still argued; the price was not. The wood did not change. The paint did not change. What changed was a list of names on a piece of paper.
Provenance is the auction world's word for that list: who had it and when. @ChristiesInc 's and @Sothebys 's have kept such lists since before electricity. Append-only, never rewritten, a new entry each time the hammer falls, and the whole thing verified in public by a room full of people with money at stake. If that sounds familiar, it should. The art trade has been running a blockchain by hand for centuries. The houses were the "miners," the catalogue was the ledger, and the transaction fee ran ten to twenty-five percent.
Notice what the list actually does. It converts an object into a legal ownership claim, "this one" and not the ten thousand copies, and it makes the claim checkable by strangers. Break the ownership chain and the object reverts to an argument, which is what that panel of Christ was for two hundred years: an argument, priced at forty-five pounds. Restore the chain and the argument becomes the Salvator Mundi. The market has always known where the value lives. It lives on the chain.
Last time I wrote that the banana was never the asset. @maurizio_art 's Comedian sold at Sotheby's for $6.2 million, and what changed hands was a certificate of authenticity and a set of instructions; the fruit came from a cart on the sidewalk, priced 25 cents. Everyone treated that sale as a joke about art. It was much closer to a true confession. Strip the theater from any great object, the Leonardo included, and the sale is always the same sale: a chain of custody, with something perishable attached.
Which brings me to the token. NFT was a name chosen for the wrong half of the invention. "Non-fungible" describes the object, and objects were never the hard part; we have had unique objects since the first signature on the first canvas. The invention was the ledger, a chain of custody (ownership) that travels with the thing on its own, checkable by strangers, with no house standing behind it and no clerk keeping it in a fountain pen. The token did not disrupt the auction world. It automated the ledger, which is to say the oldest thing in it.
And still, most NFT collections went to zero, and deserved to. The fashionable explanation is that the pictures were nothing but silly JPEGs. I don't think the pictures were the point. The collections failed because they borrowed bitcoin:native Bitcoin's instrument (the ledger) and ignored Bitcoin's lessons. By the time the minting started, Bitcoin had spent a decade demonstrating what makes a chain worth trusting. A supply fixed forever, under rules no founder and no committee can revise. A history nobody can forge. Trust accumulated slowly, block by block, through years of being declared dead.
The NFT industry took the token format and skipped the curriculum. Supply was whatever the issuer decided next quarter: ten thousand of this collection, then a derivative, then another. The scarcity was a corporate promise, and a corporate promise is not scarcity; it is a roadmap. And the trust that bitcoin:native Bitcoin spent a decade earning was simply assumed, then spent in about eighteen months.
I said last time that value is the product of scarcity and fame. The chain supplies neither. It only proves, and a perfect ledger attached to something nobody wants to remember is a birth certificate for a stone. What survived the crash had learned the curriculum, fixed supply and forgeable-by-no-one history and fans who keep score, and so, no surprise, the survivors obeyed the power law that has governed the auction market all along.
For years I quoted that power law from memory, and I told people the top hundred artists took perhaps eighty percent of the money. This summer I finally measured it, and my memory flattered the story. The real number is closer to half, which is still absurd. One hundred names, out of nearly two hundred thousand artists who traded at auction last year, took roughly half the money, as they did the year before, and the year before that. The share actually rises when the market shrinks. And who are the hundred? Mostly the dead. Death is the one supply cap no committee can revise, and the 2025 top ten did not contain a single living artist. The art market learned Bitcoin's lesson a century early: pay most for the supply that is demonstrably fixed.
Bitcoin itself is the limit case, a chain with nothing at the end of it at all. Pure provenance, with no object, no image, no banana. The proof alone turns out to be enough for the world to lend against, which is the job gold held, and a bigger job than being money.
Some time ago, on a panel at @ChristiesInc 's (my second favorite place to say something unpopular behind @Sothebys 's of course), I predicted that by 2035 more than half of the ten most expensive artworks sold in a year will have been made by machines. I took the pushback you would expect. Then, this summer, I ran the numbers, and the numbers pushed back harder than the audience did. A top-ten year lately means somewhere between $107 and $195 million of sales for one artist, depending on the year. The entire machine-art segment hammers about five million. I sat with that gap for a while. My own arithmetic now puts the odds of even one machine-credited name in a top-ten year by 2035 at roughly one in ten. The obstacle, interestingly, is not definitional. Artprice ranked my friend @beeple nineteenth among every artist on earth in 2021, one $69 million lot from the summit, and nobody at the registrar blinked. The obstacle is the curriculum again. A generative system can mint forever, and the market knows it. The machine that reaches the top of the hammer will be the one that learns bitcoin:native Bitcoin's oldest lesson and stops. A capped output, a closed edition, a credible death.
But I may well end up being right: either way the machines will make the pictures, and the question is who or what stands behind them. So provenance is about to grow a second column. For five centuries the ledger recorded who owned the thing. The next entry records who sanctioned it. Curated by, authorized by, chosen by, and in each case a human being put a name at risk. In a world filling up with AI slop or AI genius, trust is the scarce input, and the chain is how trust travels. By the way, this is not a demotion for people. Sanction by a human master was always the product. The Old Masters ran workshops; Rubens affixed his signature.
The AI flood is coming, images and songs and paragraphs in infinite variation at zero cost, and it will arrive the way these things arrive: gradually and then suddenly (to quote another great artist). That is not the death of authenticity. It is the largest subsidy authenticity has ever received. A world where everything can be copied has exactly one question left: which one is THE ONE. The answer has not changed in centuries. A list of names that strangers trust. The clerk is gone. The list survives.
The machines can copy the picture. They cannot copy the hands it passed through, and they cannot put a human name at risk behind it. Provenance was never really about objects. It is the record of humanity's choices.💪
And I am long on humanity. Very long.🔥🚀🚀🚀
@CandyDigital
"Heed the call" 🦇
@CandyDigital @javiert19253682 @Legacyt02 @prezunmasks @AngelRo13785916 @DeeOneAndOnly_ @AaronGaalema @edizkan_
#WeAreTheBatCowls
Simone Stazi retweeted
WE ARE THE BAT COWLS 🦇
11,544 Cowls. One Gotham.
Every Cowl has a story. Time we told it together.
Drop your Cowl below 👇
Let's see how many we can bring together in one place.
#BatCowls #WeAreTheBatCowls
@CandyDigital @batcowls
Simone Stazi retweeted
If anyone is selling a Cowl for a reasonable price, reach out! Would prefer some green in it but beggars can’t be choosers! 🦇
Appreciate some RTs fam 🙏
@CandyDigital @MachewsComics @batcowls
#BatCowl #Heedthecall





























