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Alexander Van Glitch: Art as an antidote to Homo Digitalis



The undisputed protagonist of the 21st century, Homo Digitalis is the result of biological and anthropological change determined by the planetary use of the smartphone. Curved on the screen, constantly hyperconnected, Homo Digitalis navigates on the surface of existence letting passively transported by an unstoppable flow of images, impoverishing its ability to understand. The flow of images thus becomes a powerful analgesic that suppresses the rationality, the memory and the travails of thought, with the direct consequence that the succession of visual and auditory information creates a general lack of order and stability.

A visual culture, based on the obsession of looking, is a fragmented culture, as fragmented are the images that flow continuously under the eyes of Homo Digitalis: in this way nothing or almost can escape the emptiness, the oblivion, the forgetfulness.

The complexity of existence characteristic of the pre-digital culture – in other words, its ‘high resolution’ – is simplified, trivialized, fragmented, inexorably slipping towards ‘low resolution’, pixel evidence, glitch distortion.

Created exclusively thanks to the use of a smartphone, works are intended to represent a product and at the same time an antidote to Homo Digitalis, to the fragmented culture of compulsive vision and to forgetfulness. Pixels, triangulation, glitches, and other techniques of digital image manipulation simplify, fragment, and distort the subjects of the works, which in most cases are suspended in a black abyss: it is the black of emptiness, of oblivion, of forgetfulness.

Art as an antidote to Homo Digitalis

Fragmentation and pixels

The pixel is the minimum conventional unit of the surface of the digital image. At the same time, it is the unit of measurement of the superficiality and fragmentation of the visual culture of Homo Digitalis.

Almost unnoticed, pixels permeate our existence. We are immersed in a universe of pixels: we interact with pixels; we communicate via pixels; we observe pixels; we work with pixels; we spend our free time with pixels. These are the reasons that led the artist to make pixels the protagonists of many of his works: pixels that are not invisible but, on the contrary, emphasized, magnified. More: in the works the pixels acquire weight, volume, physicality, three-dimensionality, operating a fragmentation, a simplification, a trivialization of the subjects of the works.

Fragmentation and triangulation

Another technique Alexander uses to represent the fragmentation and simplification of the visual culture of Homo Digitalis is that of triangulation: the subjects of the works are broken down into an innumerable series of triangles, which – as in the case of pixels – acquire weight, volume, thickness, three-dimensionality. Homo Digitalis is reflected in these works as if looking into a broken mirror.

Distortion and glitch

The glitch aesthetic and the consequent ‘praise of imperfection and error’ are one of the keys Alexander prefers to represent the distortion of reality caused by the abuse of new technologies and of the smartphone in particular.

Emptiness, oblivion, forgetfulness

Most of the works – whether they are based on pixels, triangulation, glitches or other digital image manipulation techniques – are suspended in a black space: it is the black generated by Homo Digitalis; it is the black of emptiness, of oblivion, of forgetfulness.

Contemporary Icons Collection

Study for a portrait of Michael Jordan
Study for a portrait of Mike Tyson
Study for a portrait of Kobe Bryant
Study for a portrait of Prince
Study for a portrait of Donald Trump
Study for a portrait of Queen Elizabeth
Study for a portrait of Mark Zuckerberg
Study for a portrait of Kanye West

Nudes Collection

Contemporary Sacred Collection

Abstracta Chromatica Collection

You can check out Alexander’s work here:

Instagram: @alexandervanglitch




Ford is getting ready to enter the Metaverse with digital cars and NFTs

A month after the company announced significant personnel reductions, it has filed a trademark application covering its future initiatives in the Metaverse and NFT space.



Ford Motor Company, an American automaker, has filed 19 trademark applications across its key automobile brands as it prepares to enter the realm of nonfungible tokens (NFTs) and the Metaverse.

Mike Kondoudis, a trademark attorney licensed by the United States Patent and Trade Office (USPTO), disclosed in a tweet on Wednesday that the business had submitted a total of 19 trademark applications covering its car brands, including Mustang, Bronco, Lincoln, Explorer, and F-150 Lightning, among others.

The trademark applications include a projected online marketplace for NFTs and virtual versions of its businesses’ automobiles, trucks, vans, SUVs, and clothes.

Ford intends to produce digital images of its vehicles, SUVs, trucks, and vans that will be verified by NFTs, according to USPTO filings submitted by the automaker on September 2.

The business also disclosed plans for “downloadable virtual commodities,” or “computer programs,” that would include apparel, accessories, and parts for vehicles for usage in “online virtual environments,” such as virtual and augmented reality trade exhibitions.

Additionally, there are plans to develop an online marketplace for “others’ digital artwork” as well as “online retail shop services featuring non-fungible tokens (NFTs) and digital collectibles.”

Less than a month after Ford Executive Chairman Bill Ford and CEO Jim Farley announced significant personnel reductions from its global workforce to decrease corporate expenses; Ford has decided to enter the Web3 area.

Ford isn’t the first automaker to enter the Metaverse market.

While premium automakers like Bentley and Lamborghini have already launched NFT collections, automakers including Nissan, Toyota, and Hyundai have indicated ambitions to enter the fast-expanding Metaverse market.

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Crypto-Vultures Profit from the Death of Queen Elizabeth

Only a few hours after the Queen’s passing, more than 40 meme tokens bearing her name have been released.



Yesterday, according to Buckingham Palace, Her Majesty Queen Elizabeth II passed away. Although her loss triggered a global outpouring of sympathy and grief, it has also been exploited as a money-grab.

Elizabeth II, monarch
Grift endures eternally, but the Queen is gone.

There are over 40 meme coins on Ethereum and the Binance Smart Chain thanks to Queen Elizabeth’s passing (and at least one exploitative NFT collection).

While the news of the British monarch’s demise saddened people worldwide, cryptocurrency scammers took advantage of the occasion to launch dozens of meme coins with Queen themes on Ethereum and Binance’s BNB Chain.

Among the new crypto coins that were introduced are “Queen Elizabeth Inu,” “Queen Doge,” “God Save The Queen,” “London Bridge Is Down,” “Queen Grow,” “Rip Queen Elizabeth,” “Elizabeth II,” and “Queen Inu II.” Other tokens with the name of the next king, King Charles III, have also appeared. According to DexScreener, at least 40 separate meme coins appear to have been produced in the previous six hours.

The most liquid tokens, Save The Queen and Queen Elizabeth Inu, have already processed trade volumes of around $700,000 and $200,000 since their debut. At the time of writing, the price of Queen Elizabeth Inu is up 1,517%, while it has increased by 23,271% on Binance Smart Chain and 3,708% on Uniswap. Prices are incredibly unstable and exceedingly unlikely to persist.

The “Queen Elizabeth 69 Years NFT” NFT set has reportedly been produced. One image is said to represent each year of the Queen’s reign in the collection. The project’s aims should be questioned because Elizabeth II reigned for 70 years, not 69.

The crypto community, typically known for its gallows humor, mainly reacted negatively to the initiatives. When told about the NFT collection, NFT aficionado ThreadGuy said, “You’re going to hell.” Trader Byzantine General declared, “We’ve got to stop this crypto stuff.”

In 1926, Queen Elizabeth was born. She was the longest-reigning British monarch in history and passed away in Balmoral Castle at 96.

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One crypto sector, according to billionaire Chamath Palihapitiya, is experiencing a classic bubble cycle

One crypto sector may be going through a typical hype cycle, according to billionaire investor and software entrepreneur Chamath Palihapitiya.



In a new episode of the All-In podcast, the CEO of Social Capital discusses the sharp decline in trading volume in the non-fungible token (NFT) market.

Palihapitiya offers Coachella and Burning Man as examples of major music festivals that strive to be distinctive but may wind up being mostly the same.

The billionaire contrasts NFTs and the overall art market with the two music events.

“I do believe that there is something going on; the simplest way to explain this is with the Burning Man/Coachella scenario. Many of these things are similar, but when some people approach anything new, they are too insecure to accept that it is similar to another item, so they spend a lot of time attempting to convince you that it is different. When someone says that a time is different, it’s probably not that different, as stated in the Warren Buffett quote, is an example. Or consider the other famous historical adage, “Things don’t always repeat in history, but they rhyme.”

All of this is meant to imply that, aside from major advances in science, not much new has been discovered recently. We keep repeating the same patterns, and one of them is the social capital that comes from making certain decisions and then having those decisions validated by others in order to feel valuable. And this occurred in NFTs, as well as, I’m sure, in the initial stages of several artistic movements. These events are more comparable than dissimilar because they have presumably occurred in a number of other markets as well.

Burning man and Coachella are same. The art market and NFTs are both the same. It doesn’t need to be unusual; you can simply appreciate it because you think it’s cool. I would just take it with a grain of salt and tell anyone who comes to you asking why it’s so different.

DappRadar reports that earlier last week, trading volume on popular NFT marketplace OpenSea reached a one-year low.

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