1/1 Frames listed on Foundation. Check here: https://foundation.app/@the_philosopher

Foundation Frames (check Foundation)

Ethereum Whale Monsters are beings from the metaverse and crypto space. They are usually born from greed, and they take over their hosts, turning them into hungry shadows. The last Ethereum Whale Monster was born a hundred crypto years ago (which is equivalent to a full human year), when Tura's mother was killed by Gigacorp and her father was consumed by one of these creatures. Gigacorp was a really greedy community that could spawn Ethereum Whale Monsters. This monster consumes everything in its own way and subjects artists, investors, curators and collectors to its own hunger. Now it is 2065, and Tura can see Gigacorp's ethereum whale monsters being born every day. Gigacorp was created by Eye followers, after they acquired the Cube of Days and the Metaverse Code, thus arising to power. 

Read more about the metaverse lore in:
https://www.curate.page/t/eyegallery
https://www.voxelslore.com/index.php?title=Main_Page

Ethereum Whale Monster

Listen to the NFT music of hell and avoid getting rekt! 
(Turn on the sound)

REKT

David NFT, after leaving his life as a statue, started working in the Trash Vault, guarding the rarest NFTs of the great Meta-Architect!

David NFT is safekeeping the Trash Vault

By building a frame to represent the lights of the city, The Philosopher talks about the world of marketing. Marketing is the main motor of NFT sales. This makes us think about how much of our art is associated with advertisement and how much of what is bought is bought by aesthetical reasons or marketing and fomo reasons alone. Anyone from the NFT world is used to publicize their work on social media and understand it perfectly how their art must become a project, and that project must produce fomo. This is a way to think NFTs not as objects of aesthetical appreciation, but as mere assets from the crypto world. Now we can look at The Conceptual Frames series and ask ourselves how much of it is made to aesthetical and conceptual appreciation, and how much of it is part of a marketing project.

Conceptual Frame #07: The Frame of City Lights

The quick changes of colors in these frames express some feelings embedded at psychedelic experiences. All experiences of this kind make us think about the philosophical discussion between realism and idealism, regarding the existence of the external world. Psychedelic experiences can give true insight on the nature of reality, or are they mere illusions that cannot show any truth? Can God be found by these kinds of experiences? Can God be found at all? As an unlockable content, you can send me your mailing adress and I will send you a physical book I wrote on Metaphysics.

Conceptual Frame #06: The Frame of Psychedelic Experiences

We can understand social networks as frames to our art. But which kind of frame? How does it interfere with our art, and what does it say when we place an art object within it? To whom our art is presented when it is shown in this environment? Social Networks seem open and ready to receive everything we wanna present, but at the same time, we dance like electrons within it, when we try to have our voice really heard. Social networks are thought to give us political voice, but this is not true for most of the time. NFT decentralization is like mass communication decentralization: we now can talk to everybody, but not everybody in fact will hear you. To be heard and to be seen is the greatest weapon of our times, for the citizen and for the artist. Can we go beyond this frame? Can we go beyond the limitations of social networks and to be really heard? Can we place our art outside the frame of social networks and give it an environment that stimulates a different experience? Are virtual worlds a way to scape this limitations, or are they just another frame? Is there a way to scape?

Conceptual Frame #05: The Social Network Frame

The Electronic Coin Frame represents the current moment of art, in which it is sold on marketplaces in exchange for cryptocurrencies. While decentralization amounts to the artists’ participation in a more general community, it does not change the inequality between large and small artists, developed and developing countries, gallery represented and self-curated artists. How are we supposed to think about the effects of NFTs in the economic development of artists? How much did NFT change and how much artists are walking in circles craving for development? Creators: The Philosopher and Gustavo Manute.

Conceptual Frame #04: The Eletronic Coin Frame

In this is GIF by The Philosopher and Blu Wasen Simon, we have a powerful homage and a critique of the subject of diversity in the world of contemporary art. The rainbow and its symbolism are used as a means of identifying with the collector, and not as a way of actually expressing a fight that one wants to fight. It is certainly a way of expressing pride in one's sexuality or affectivity in a world that prejudices the different. But notice that the work makes the frame transparent in front of the rainbow flag. When we present our feelings under the banner of diversity, diversity becomes bigger than us, engulfing our individuality. And the work has a sense of television interference, to show that the art world does not present works of art as a pure feeling of the artist or as a pure expressed concept, but with a commercial interference, which NFTs seem to have increased significantly. At the same time, then, that this is a work critical to how the art world treats the theme of diversity, commercially, it is also a work tribute and a tribute to all this diversity, treating it also commercially, since this NFT is also for sale. Thus, we also build a self-criticism.

Conceptual Frame #03: The Frame of Diversity

A criticism of Christian prejudice against many types of social marginalized, contradictory to the very essence of the doctrine. / Eine Kritik an christlichen Vorurteilen gegen viele Arten von sozial ausgegrenzten Menschen, die dem Wesen der Lehre widersprechen. / Uma crítica aos preconceitos cristãos contra muitos tipos de pessoas socialmente excluídas que contradizem a essência da doutrina.

Mt 25, 31-46

But when the Son of man comes in his glory, and all the angels with him, then will he be seated in his glory:
And before him all the nations will come together; and they will be parted one from another, as the sheep are parted from the goats by the keeper.
And he will put the sheep on his right, but the goats on the left.
Then will the King say to those on his right, Come, you who have the blessing of my Father, into the kingdom made ready for you before the world was:
For I was in need of food, and you gave it to me: I was in need of drink, and you gave it to me: I was wandering, and you took me in;
I had no clothing, and you gave it to me: when I was ill, or in prison, you came to me.
Then will the upright make answer to him, saying, Lord, when did we see you in need of food, and give it to you? or in need of drink, and give it to you?
And when did we see you wandering, and take you in? or without clothing, and give it to you?
And when did we see you ill, or in prison, and come to you?
And the King will make answer and say to them, Truly I say to you, Because you did it to the least of these my brothers, you did it to me.
Then will he say to those on the left, Go from me, you cursed ones, into the eternal fire which is ready for the Evil One and his angels:
For I was in need of food, and you gave it not to me; I was in need of drink, and you gave it not to me:
I was wandering, and you took me not in; without clothing, and you gave me no clothing; ill, and in prison, and you came not to me.
Then will they make answer, saying, Lord, when did we see you in need of food or drink, or wandering, or without clothing, or ill, or in prison, and did not take care of you?
Then will he make answer to them, saying, Truly I say to you, Because you did it not to the least of these, you did it not to me.
And these will go away into eternal punishment; but the upright into eternal life.

Mateus 25:31-46

Mt 25, 31-46: Here, in the garbage can, Jesus, our brother. / Hier in der Mülltonne, Jesus, unser Br

"The Defective Frame" represents the preponderance of digital art over physical art, but also the errant way in which artists are entering the world of NFTs. It seems that the free hands of this market direct them to reduce their prices and produce only certain types of collectibles. Artists forget that art should not be made for the collector, but to satisfy the artist himself. This work serves to remind us that we must watch this new world carefully, even more when one realizes that this work itself is part of this same world.

“Foundation Frames (check Foundation)” collection

Ethereum Whale Monster