Bimoo

@marmo·5 hours ago

Just joined the fray on legal twitter/X to share a breakdown on why @farcaster, in contrast with Tiktok, IG and FB, is a model for data-minimal, censorship-resistant social. Only account-level, usage, and device data—no location, contacts, or biometrics. And, at the protocol level, change must clear community consensus, not corporate discretion / whim.

https://x.com/markmolle/status/1917895524893769992?s=46&t=G4L0fS0m26RrK2eCqJniyw

At a time when the legal profession is under siege, I closed with a challenge: let’s visualize and simplify legal advice into decentralized legal information—i’m coining this
as “DLI” on @zora—that anyone can discover and understand, and no one can erase. If we believe in decentralization, legal information should live on the same resilient rails.

Lawyers (and metalawyers who play lawyers like plays the orchestra [i’m looking at you Bruno @tokens]) let’s band together and build a truly decentralized law library. This is what the rule of law in 2025 demands.

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/b4f3a34a-84fd-495d-213c-5201ad5ad800/original

This work enshrines a lineage-the sacred continuum of those who dare to both forge and forge judgment: the CoinCreator Critic. This term, freshly coined and fiercely resonant, draws from a lineage traced in the text excerpt, where Baudelaire, Valéry, Eliot, and Gide are honored as those rare figures who collapse the false wall between creation and critique. They do not merely observe the fire
—they stoke it, shape it, and sing in its glow.

"Criticism is at the base of all art," writes Gide, and the CoinCreatorCritic knows this not as theory, but as breath.

To be such a figure is to birth the work and also wrestle with it-to be both Prometheus and the eagle. In naming this lineage, we join it. We mint our minds into mirrors that shimmer with both judgment and genesis. This is not reaction. This is recursion. This is recursive resonance in the shape of speech, sculpture, coin.

https://zora.co/coin/base:0x77d752141400d758db370bf55c7036398c1e28bc?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

CoinCreatorCritic

This work enshrines a lineage—the sacred continuum of those who dare to both forge and forge judgment: the CoinCreatorCritic. This term, freshly coined and fiercely resonant, draws from a lineage traced in the text excerpt, where Baudelaire, Valéry, Eliot, and Gide are honored as those rare figures who collapse the false wall between creation and critique. They do not merely observe the fire—they stoke it, shape it, and sing in its glow. “Criticism is at the base of all art,” writes Gide, and the CoinCreatorCritic knows this not as theory, but as breath. To be such a figure is to birth the work and also wrestle with it—to be both Prometheus and the eagle. In naming this lineage, we join it. We mint our minds into mirrors that shimmer with both judgment and genesis. This is not reaction. This is recursion. This is recursive resonance in the shape of speech, sculpture, syntax. CoinCreatorCritics do not stand aside. They coin the very terms they later break open. They live inside the paradox of being both womb and scalpel. And so this work belongs to that tradition—not merely commentary, but consecration. A stamp in the continuum of creative-critique. A minted moment. A minted mind. A minted mirror. A minted mirroring mind mirroring a mirror. —MAT

AllYourStoryIsMagicAll

AllYourStoryIsMagicAll is not a design. It is not a statement. It is an ontological vortex masquerading as a circular slogan. What we are witnessing here is a typographic enchantment—a recursive sigil of selfhood—rooted in the principle that every element of experience, like every point on this Möbius loop of language, is both arrival and departure, both premise and punchline. It is not just the text that is looped, but meaning itself. The piece performs the simultaneity of all position. Formally, the work situates itself in dialogue with the history of concrete poetry and conceptual typography, but its real alignment is with the metaphysical—a cousin to the impossibility of Gödel’s incompleteness, a sister to Duchamp’s rotoreliefs. It circles like a Sufi, not to show off its shape but to dissolve the ego at its center. The viewer, seeking to extract message or chronology, finds only circularity—and this is the point. In quantum mechanics, we know that particles occupy multiple states at once until observed. This piece is the visual analog of superposition: the story is good and bad and miraculous and mundane until your attention collapses it into “what happened.” But as the text rotates endlessly—left, right, forward, back—it refuses the fixity of judgment. Every time you look, it is something else. Magical thinking is often dismissed as pre-rational. But here, it becomes post-rational: a sophisticated embrace of ambiguity. Like a Hamiltonian function looping over a Lagrangian manifold, the work suggests that all trajectories—traumatic, triumphant—derive from the same field equation. There is no “outside” the loop. There is only the recognition of phase shift, of movement through meaning. It also whispers a radical grace: that nothing in your life—no error, no ecstasy—is exempt from the sacred. That the parts you tried to cut out are, in fact, essential ligaments of the miracle. In the end, AllYourStoryIsMagicAll functions as a contemplative device—a toroidal invitation to view one’s life not as a sequence of edits, but as a continuously recomposing field of entangled events. It’s a living emblemantra of multitudinus simultaneity. —Margarita Adda Talon

Pigeon Hold Dino Soar

Pigeon Hold Dino Soar Artist: Mark Mollé April 29, 2025 On a concrete plinth in Manhattan’s most self-conscious experiment in futurity, a pigeon—absurdly detailed, monumentally scaled—looms over 10th Avenue. It does not coo. It does not fly. It waits. This is Dinosaur (2024) by Iván Argote, the fourth High Line Plinth commission, and perhaps the first to laugh—tenderly, politically—at the very idea of greatness. In the foreground of this living monument, Mark Mollé and Stephan Cilliers stretch their arms in a pose not unlike flight, or protest, or comedy. They are not mocking the sculpture but communing with it, activating it. Their photograph, titled Pigeon Hold Dino Soar, captures a paradox: the ordinary bird elevated, the human humbled, the absurd made sacred. The pigeon, as Argote reminds us, is a dinosaur. An urban survivor. A messenger, a war hero, an immigrant. Once essential, now derided. Like so many forms of invisible labor and unnoticed resilience, the pigeon is everywhere and nowhere in our cultural imagination—until now. Dinosaur reverses the gaze. It places the overlooked at the center of the civic stage, not to be pigeonholed but to pigeon, hold. To suspend the instant impulse to categorize and dismiss. To hold off, hold space, hold history. To unframe. The pun becomes power. “Pigeonhole” no longer defines; it dissolves. The title—Pigeon Hold—is an instruction to history itself: pause before you flatten. Hold before you name. Meanwhile, the second half—Dino Soar—is an invocation. It echoes across evolutionary memory, inviting a return to magnitude, to movement, to possibility buried under millennia of fossilized assumptions. The sculpture, hand-painted and unsettlingly lifelike, is as much a satire of heroism as it is a monument to the everybird. It questions who gets cast in metal, who is raised up in stone. Argote’s politics are gentle but profound: by elevating this humble figure, he lowers the bar of sainthood back into the realm of the livable. Dinosaur replaces imperial strut with city-scurried shuffle. In doing so, it delivers a quiet, post-colonial blow to the chest of classical commemoration. And the timing of the photo—taken, perhaps fatefully, by a passerby clad in the uniform of the U.S. Postal Service—only deepens its myth. The messenger photographs the messengers. It’s a feedback loop of communication, of witness. Is Hermes is the original practitioner of hermeneutics? Or was it a carrier pigeonhold dinosaur? And what is art, if not a message? What is survival, if not an unanswered letter to the future? Mark and Stephan, with their arms like wings and their shadows angled just so, are not simply posing. They’re participating. In Argote’s expanded field of memory, humor, and refusal, they too become part of the work. Not fixed. Not fossilized. But flying. Soaring. Mocking the box. Breaking the plinth. Pigeon Hold Dino Soar The future—feathered and unpinned, arising and unbounded—awaits. —Margarita Adda Talon

apres an epic first night of pre-farcon-ing, having breakfast at 2pm with @stephancill at the Empire Diner

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/0ae4fc8c-98df-40d8-9526-5aa4dfba6100/original

@marmo·2 days ago

the real social media unlock
comes when you stop
thinking about your
quote unquote
audience

and start listening
to your
inner voice
and start simply
sharing your
inner voice

that’s what
quote unquote
ironically
resonates with your
true audience
your soul’s
audience

(which is not your
sole audience, for
there is a
corporeal audience
that can trigger
a relock when
you feel compelled
to play your
greatest hits
for that corporeal
audience that
actually
calls you things
including but
not limited to
judas
for going
electric and/or
eclectic)

@marmo·16:51 24/04/2025

i tbink this is how fc rewards should work.

you have two wallets

your NEAR wallet

- the wallet you have custody over

your FAR wallet

- the wallet that’s a holding cell escrow held in the network, where you decide whether to accept or direct the assets

rewards, airdrops, tips etc., by default go into your FAR wallet. from there you have 30 days to direct where they go. you can claim them into your NEAR wallet or send them to someone in need, or you can have a default rule that empties them out to someone else. and maybe you can take the position that you never received

@marmo·16:43 24/04/2025

tbh i don’t understand how these points work.

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/e6323b0d-af6e-45ef-4a74-a6b32c73aa00/original

@marmo·00:13 23/04/2025

tipping tuesday should be renamed “clooney tuesday” ‘cause it always reminds me of that time george clooney gave 14 of his best friends tumi suitcases filled with $1m in cash.

@marmo·00:04 23/04/2025

just tipped my favorite farcasters!

thank you @jessepollak @stephancill @j4ck.eth @oxb @artd @jacob @kaufman @ted and the rest for being here :)

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/24adead2-4c4a-4b40-69e4-ccf4c004c200/original

@marmo·01:52 19/04/2025

over the past couple of days i’ve feel like i’ve been getting nearly as much hate as @jessepollak for believing in contentcoins.

i’ve been fully dunked into Cringe Canyon, as memetically prophesied by @dwr.

so i figured—why not let the market decide wether contentcoins will be successful?

i looked for a prediction market on contentcoins.
but nothing.
so i made a pair of

PredictionContentCoins

representing symbolic bets on whether this whole contentcoin experiment will succeed.
two tokens. two futures. two predictions: success or failure. you decide.

CCUP
Content Coins Will Be Successful

https://zora.co/coin/base:0x796368130016fa0b8aa2ec197534c09b0a796c94?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

—

CCDN
Content Coins Will Fail

https://zora.co/coin/base:0xdeee824c66c95b27291d0882a06802142b9d1a4e?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

these are not financial instruments.
they’re just symbolic tokens. purely for vibes, bragging rights and entertainment.

CCUP: Content Coins Will Be Successful

Purchasing CCUP is a playful, public signal of belief. It means you think that Base and Zora’s contentcoin initiative will lead to moderate crypto adoption and growth by the end of Q4 2025. More specifically, you believe that: • (a) Contentcoins will lead to a measurable increase in active creators. • (b) Contentcoins will produce new exemplary “superusers” who inspire sustainable creator behavior. • (c) Contentcoins will drive deeper engagement from second-wave participants—those who follow, comment, or create after the early adopters. This coin is not a financial instrument. CCUP is a PredictionContentCoin, created for entertainment, commentary, and cultural expression. Buying CCUP = a symbolic vote of confidence in contentcoins.

CCDN: Content Coins Will Fail

Purchasing CCDN is a playful, public signal of doubt in contentcoins. It means you think that Base and Zora’s contentcoin initiative will not result in moderate crypto adoption or growth by the end of Q4 2025. More specifically, you do not believe that: • (a) Contentcoins will lead to a measurable increase in active creators. • (b) Contentcoins will produce new exemplary “superusers” who inspire sustainable creator behavior. • (c) Contentcoins will drive deeper engagement from second-wave participants—those who follow, comment, or create after the early adopters. This coin is not a financial instrument. CCDN is a PredictionContentCoin, created for entertainment, commentary, and cultural expression. Buying CCDN = a symbolic vote of skepticism toward contentcoins.

@marmo·14:30 18/04/2025

"Good Friday Question" (2025)
by Mark Mollé
Digital image and voice recording (looped)
Typography on black, ambient monologue in background

https://zora.co/coin/base:0x4756b57a54ca777dc9c9122e4a7b4c308c22cee5?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

Good Friday Question

“Good Friday Question” (2025) by Mark Mollé Digital image and voice recording (looped) Typography on black, ambient monologue in background ⸻ Work Description: In Good Friday Question, Mark Mollé crafts a deceptively simple visual-verbal psalm: white, childlike typography floats against a void-black screen, spelling out the provocation— “do u beleive technologies of peaceful tranformation can disrupt technologies of violent victory?” Misspelled, unpunctuated, lowercase—like an urgent text sent mid-tear, or a question overheard in a dream—the words resist both orthodoxy and orthography. They refuse to tidy themselves up for the gallery. This is not a prompt for the polite intellect. It is a wound, opened as a whisper. But beneath this static simplicity, a recorded monologue flows like molten gospel. Mollé’s voice, raw and improvised, spirals through an impassioned reflection on the global delusion of war-as-necessity. It compares the limitless budgets of missile defense systems to the near-total abandonment of efforts to transform hearts and minds. In the tradition of radical prophets—Jesus, Gandhi, Martin Luther King Jr.—the speaker asks: Why is hope of transformation considered naïve and barely worthy of discussion, while the quest for annihilation is a fully funded reality? The piece’s title references Good Friday, the day on which it was created, the day in Christian tradition when violent power seemed to triumph—only for resurrection to quietly follow. In this light, the artwork is both an elegy and a seed. It mourns a world addicted to domination, while daring to believe in the slow, often invisible, technologies of transformation: compassion, dialogue, forgiveness, imagination, and Mollé’s vision of memory reconsolidation through multitudinus manquesto. “Good Friday Question” is not merely a statement. It is a looped koan. It is a prayer in the form of a question. It is a riddle left burning in the mind and heart. It is an altar to the absurd hope that love might be stronger than conquest. —Margarita Adda Talon April, 2025

@marmo·12:20 18/04/2025

Fragonard Rock (2025) by Mark Mollé
Mixed-media digital intervention on art-historical ephemera (original: Fragonard’s The Progress of Love, 1771–72, as reprinted in The New York Times).

https://zora.co/coin/base:0xc5b42256d1b00ba8d6fe38f5a9d3525b3f6a7c92?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

Fragonard Rock

Fragonard Rock (2025) by Mark Mollé Mixed-media digital intervention on art-historical ephemera (original: Fragonard’s The Progress of Love, 1771–72, as reprinted in The New York Times). ⸻ Let us begin with the obvious: no one but Mark Mollé would dare desecrate the rococo rapture of Fragonard’s Progress of Love by gleefully splicing it with Fraggle Rock’s joyous subterranean insurgents—and make it feel like a benediction. This is not just an act of postmodern irreverence. This is an act of profound emotional restoration, a rewilding of the museum space. Mollé’s Fragonard Rock is not satire; it is salve. Captured as a screenshot from a New York Times article on the re-opening of the Frick Collection—already a hall of cultural hauntings—Mollé performs his intervention not on the canvas directly, but on the document of the document of the room: the image-of-the-image, wrapped in digital marginalia. It is a screenshot, yes, but also a soulshot. The timestamp (7:13), the battery at 100%, the little bell silenced—all of it part of the poetic frame. The entire apparatus becomes part of the artwork. In the lower right corner of Fragonard’s original scene of powdered pastoral romance, where satin-wrapped lovers exchange sighs and sonnets in the filtered green light of pre-revolutionary France, Mollé inserts a chorus: the Fraggles. The frickin’ Fraggles. Red. Gobo. Wembley. Mokey. Boober. The gang’s all here—ushering not just levity but lovability into a canon too long embalmed by reverence. And make no mistake: this is not a joke. It is love. Mollé’s love for Fragonard is evident in the care with which he positions the Fraggles—slightly in shadow, slightly foregrounded, like audience members to a private scene. They are not mocking. They are witnessing. And in their witnessing, they re-animate the painting’s theme. What is “the progress of love” if not the passage from performance to play? From performance of refinement to the honest mess of felt and feathers? From whispering secrets on marble plinths to shouting songs in subterranean echo-chambers? By embedding Fraggle Rock—a 1980s Jim Henson creation defined by its messages of cooperation, joy, and resistance to oppression—into a Fragonard, Mollé performs an act of radical world-bridging. He honors both his influences, neither flattening nor privileging them. This is not mashup. This is intertextual Eucharist. Mollé’s work always pulses with this kind of loving contradiction. He makes high low and low holy. He makes critique into caress. He is the only artist of our time to have understood that the aesthetic is also the ecstatic—and the ecstasy must be shared. Fragonon Rock stands as a major work in the ongoing reappraisal of how we inhabit our cultural pasts. It asks: What if the Enlightenment had been guided not by reason alone but by Jim Henson’s muppety moral logic? What if we let love—laughing love—lead our historiography? And perhaps most importantly: What if the whole universe were Frick-en amazing? — Margarita Adda Talon April 2025

https://zora.co/coin/base:0x94c1542ea2014de7f4ae629157120f287d38458d?referrer=0x368f593244f04c599b3328a23493680b23818fa6

@marmo·11:36 18/04/2025

attempted to comment
on @jessepollak’s ContentCoin
on ContentCoins on @zora.
but i hit some
unstated
character limit
fortunately
i had screenshotted
in anticipation of
some sort of character limit.
so i coined the term CommentCoin and minted this CommentCoin
on @jessepollak’s ContentCoin
on ContentCoins

https://zora.co/coin/base:0xf96bf71a584b94c8ae888b46ab4da0702ff3c209?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d

CommentCoin

CommentCoin is a conceptual artwork by Mark Mollé, minted from the tension between expression and compression in digital discourse. Originally written as a comment in response to Jesse Pollak’s post distinguishing content coins from meme coins, the text exceeded the platform (Zora)’s unstated character limit—and thus disappeared after he attempted to post it. Having a premonition of the vanishing moment, Mollé had preserved the comment as a screenshot, which he then minted as its own onchain object. In doing so, he transformed the invisible into the indelible. CommentCoin is not merely a workaround—it is a declaration: when context collapses, creation continues. Curatorial Note: CommentCoin is the urtext of a new genre: the CommentCoin—a coin that originates in response, yet stands as a sovereign expression. As the inaugural work of this type, it serves as both artifact and prototype in a broader CoinTinuum—an emerging cultural taxonomy where coins express intent across dimensions of play, function, reflection, and spontaneity. Where MemeCoins offer cultural entertainment and affiliation and ProjectCoins offer valuable utility, CommentCoin memorialize the moment of responsive overflow—when limits become frames. There’s a quiet rebellion in CommentCoin. It captures the frustration of hitting an invisible wall, and the elegance of turning that wall into a window. There’s humor in the workaround, gravity in the gesture, and intimacy in the rawness of the original text. This is the sound of thought that refused to be silenced —Margarita Adda Talon April 2025

@marmo·20:05 17/04/2025

Web3is4ehv1

In Web3is4ehv1, Mark Mollé draws a sharp, wry line through the utopian idealism of blockchain culture, using a minimalist visual language that recalls the textual interventions of Jenny Holzer, the conceptual staging of Ed Ruscha, and the spatial typographics of Lawrence Weiner. At first glance, the piece reads like a direct echo of Base’s cultural campaign content coin: “Base is for everyone.” But instead of reinforcing a message of inclusion, it fractures it—literally. Everyone becomes "eh v1"—a glitch, a shrug, a signal that we are still in version one of the Web3 experiment. The carefully misaligned blue oval—an allusion to Base’s targeted centering gesture—fails to even partially contain the final line, fails to be emphatic, falls upon an empty space, perhaps a placeholder for some prolegomena to any future metaphysics? It’s off-center, not quite right. Like a first-draft promise. Like a beta release. This visual error is no accident. It’s a deliberate note of unfinishedness. “eh v1” operates on multiple semantic layers: • A phonetic collapse of everyone into eh and v1, calling attention to how mass adoption remains aspirational; • A nod to early adopters, a whisper that even today’s newcomers are still early; • A subtle jab at techno-optimistic slogans that too often ignore access, equity, and cultural readiness. By disrupting the phrase, Mollé engages in a form of semiotic version control—marking this moment not as the arrival of a promised world, but as a draft, a sketch, a provisional reality. The work sits at the crossroads of satire and prophecy. In the broader context of Zora and Base’s Content Coin initiative—which disclaims financial value in favor of cultural commentary—this piece asserts itself not just as a collectible but as a cultural diagnostic: Web3, in this incarnation, isn’t quite for everyone. Not yet. But it’s trying. This is not merely a meme. It’s a critique wrapped in a claim, a tokenized truth, a public draft of a new digital ethos. It belongs in the lineage of works that use words not just to describe the world, but to destabilize it. As Base, Zora, and the broader Web3 community experiment with the future of ownership, expression, and coining, Web3is4ehv1 reminds us: As works in progress achieve successive degrees of adoption, we too progress around them—orbiting incomplete spheres, looping through drafts of the possible. — Margarita Adda Talon April 2025

@marmo·22:35 15/04/2025

burning sense
that we may walk
into a building
called the corbin
building and then
google corbin
and then build
an interest in
a story about
corbin bursen

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/add1833a-917f-4da8-ee51-4adff3d1ed00/original

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/bf7b17e1-c12f-46e2-da28-aff86aef7200/original

@marmo·12:59 14/04/2025

dedicated to the person screaming “and then that motherfuka 1099-ed me!” on the 1 train today. happy tax day eve!

https://suno.com/song/0c69cd91-d3eb-45ab-9fa1-622cbe7e2769?sh=8bHnII4BbA4QPvoi

(Don’t U) 1099 Me

Listen and make your own on Suno.

suno.com

@marmo·12:05 12/04/2025

the prime force
is being n love

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/749a58e1-0859-417d-1595-b484d0da7a00/original

@marmo·15:13 07/04/2025

Delulu Capital: A Memetic Activism Fund

What if you built a fund that hunts down culturally-relevant but down-bad public companies, activates their memetic potential, and unlocks delulu value?

Enter: Delulu Capital

Example trade: $5 Peloton. It’s not dead—it’s just Netflix pre-streaming. Still shipping bulky hardware when they should be dropping Telegram fitness mini-apps and launching a memecoin on TON called (this stuff practically writes itself): peloTON.

Delulu buys in.
Delulu writes unhinged activist letters that double as more meme lore.
Delulu pushes management to embrace the meme, empower the meme, live the meme, love the meme.
The market responds, and Delulu valuations become real.

Disclosure: Delulu is long Peloton.

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/d69529ae-a4e5-4305-5946-0df465ce4a00/original

@marmo·14:45 06/04/2025

@cokie is back on @farcaster 🔥

@marmo·15:04 24/03/2025

I joined Farcaster on 22nd July 2022, which was 2 years, 8 months, 2 days ago.
Since then, 99.9 percent of users have joined after me
frame by @cashlessman.eth

FarProfile by cashlessman.eth

far-profile.vercel.app

@marmo·14:58 23/03/2025

what a perfect page
from cummings six nonlectures

https://imagedelivery.net/BXluQx4ige9GuW0Ia56BHw/e1c60e81-d1b6-4a45-eb67-ff2e271f6000/original

@marmo·17:12 22/03/2025

toe thumb resets are the best

@marmo·17:51 20/03/2025

Hey @bracky, what's the market like? 🏀