Monthly Archives: November 2021

Destroying the Labour Party: slowly and then all of a sudden

Not even 100,000 more votes would ever justify this shambolic and autocratic government. This is the way we used to feel under successive Nationalist Party government administrations and the feeling today is only stronger.

I can explain why a previous government official and now government lawyer, Anthony Degiovanni feels the need to go on a radio programme and publicly blame Daphne’s murder on her son. Degiovanni is what in Maltese we call a bużużlu: someone who is given government jobs and public contracts not for his skills and contributions but out of political favor, nepotism, or for political ends. Calling him an apparatchik would be too generous because he isn’t capable of much. His role is simply to be a full-time cheerleader to the party in the government. There are many others like him and you can see these bażużli regularly commenting on Facebook supporting their respective ministers while recycling the propaganda issued by the OPM through the Labour Party TV station, ONE. Degiovanni is more of an insider having been a bażużlu for many years now. He is also the Chairman of the Labour Party’s publishing arm Sensiela Kotba Soċjalisti (SKS) with his only contribution to the committee being the siphoning of money earned from our books to ONE.

One of the ways that Eddie Fenech Adami slowly destroyed the Nationalist Party while it was celebrating successive victories at the polls was by filling the Nationalist Party front lines and government entities with total idiots whose only ability was to cheerlead. Today, the Nationalist Party pays a heavy price as the many old idiots who are still in its front lines don’t have the intellectual rigour to address the surmounting crisis their party is in.

At the same time that Robert Abela is plundering the public coffers to buy out his election victory and turning our hometowns into yacht marinas, Abela is piling up the Labour Party’s front lines and government entities with his useful idiots. Labour is heading for elections with an assortment of new candidates which include Nationalist Party dropouts, and yet even more ONE propagandists. The latest appointment to the state’s energy agency Enemalta for the position of CEO is the previous head of Mata’s passport for cash scheme and someone who has never seen a natural gas price chart before being appointed to his new post.

Abela’s self-interested political drive will lead the Labour Party to a similar fate to that of the Nationalist Party. When its political cycle starts to ebb and the wave comes crashing down, it is going to be the rabble of idiots who will be left to collect the pieces.

A new Benny Hill episode featuring the Speaker of the House

The Speaker of the House of Representatives, Anġlu Farrugia was one of the ex-Labour Party officials who complained to the State’s Daphne Caruana Gaizia Public Inquiry about the Labour Party being hijacked by rent seeking politicians and corrupt businessmen.

It was refreshing to see previous Labour stalwarts decry the decadence which Joseph Muscat brought upon the Labour Party, but words will have very little weight in history when they are not matched with actions, more so when they are matched with actions that contradict said words.

Anġlu Farrugia had an opportunity to show no tolerance for corruption after Rosianne Cutajar was reprimanded by the Committee for Parliamentary Standards in Public Life for failing to declare her cash bribe given to her by Yorgen Fenech. Instead, Anġu Farrugia chose to act like a total coward by sending Rosianne a formal letter notifying her of the committee’s decision. In response to Anġlu Farrugia’s failure to act sternly in the face of unbridled corruption, Matthew Caruana Galizia has asked for his resignation.

Farrugia replied to Matthew through the greasy lawyer Ian Refalo who has been a regular fixture in Joseph Muscat’s rent seeking regime by taking multiple contracts from various ministries and positions and also defending its casualties. Farrugia’s reply is not worth the time reading it, but here it is for the sake of posterity.

Following this exchange, the personal assistant of the Anġlu Farrugia and his wife turn to Facebook to insult Matthew Caruana Galizia with some semi-literate comments good enough for the banality of evil.

The Speaker of the House, and his relatives supporting him on Facebook are telling us in clear terms that they don’t understand the extent of the collapse of rule of law, neither do they understand the meaning of the word gravitas in a delicate situation when it should be applied to the maximum.

We are in the Benny Hill period of our political stage. An autocratic populism where those who are supposed to uphold the standards of life contribute to its deterioration by their banality and evil.

Dumb and Dumber

Every previous government administration and prime minister has an event or a major factor that characterises its core history. For example, in Dom Mintoff’s case, it was industry due to the explosion of the manufacturing industry. For Eddie Fenech Adami it was the European Union. For Lawrence Gonzi it was simply the collapse of the Nationalist Party. For Joseph Muscat it was the rent seeking boom and Daphne’s murder. For Robert Abela it’s simply Benny Hill politics charcterised by cabinet ministers inaugurating parking lots.

At this point in time, It is fair to say that that we have a dumb Prime Minister leading a Benny Hill-style government with Chris Fearne being the only technocrat in the house. Allow me to explain concisely in point form.

1. The boy who’s in charge

Upon the announcement of the candidature of Roberta Metsola to the post of European Parliament President, Abela claimed that he was going to support her candidature despite the fact that she tarnished Malta’s reputation in the European Parliament. Now, let me get this straight. I am not a fan of our members of the European Parliament given the irrelevance of the European Parliament itself and least of all a fan of Metsola.  I, as a writer and a historian without filters, have a license to tell stories and entertain people in various ways including by being petty and trashy. The prime minister does not have this license even though he constantly acts like an infantile idiot without any gravitas. In such a moment, Abela could have been the bigger man and simply say something dignified of a statesman such as a comment how Metsola represented the competitive and thriving success of every Maltese abroad, but no, he had to act like an idiot because, in fact, he is one.

Abela is more of a boy and less of a man with the intelligence of a teenage gym rat and a vision of a headless chicken. His lack of emotional and intellectual development stems from the fact that he never worked an hour of his life and had everything set ready for him by his peers. He got lucrative consultancy deals from Gonzi’s administration thanks to his father and eventually became leader of the Labour Party thanks to Joseph Muscat. Practically, he has no political or economic achievement to his name and his international perspective does not extend beyond the limits of Rome being the furthest city any Maltese village lawyer goes to in the penultimate pinnacle of their success before they reach their zenith by becoming robot bureaucrats in Brussels.

Having been launched into power without having anything to show for, Abela is very insecure, so he wants to assert his power with an election. However, he is deluding himself. Labour voters don’t care who is Pope as long as the Church is intact and while the Nationalist Party is still in ruins, Abela is riding the wave. And as he is immersed in his extreme infantile frustration for not having the acknowledgement of the general public, he is raiding the public coffers and splurging on as much as he can to literally buy out the country for his re-election. What do you expect an over-grown infant with power would do?

2. The fundamentals

Do you remember Richard Sultana “Tal-Farfett”? People used to be entertained by his absolute conviction that he would get elected by promising to give anything to everyone. Robert Abela will give you anything as long you support him. As of now, there isn’t enough data to cover in detail the government’s splurge in corrupt and rent seeking practices, but employers have been complaining that there is a huge government employment drive that is draining workers from the private sector.  The government’s recurrent expenditure has grown by up to 300 million Euros in the first half of this year alone as compared to last year, yet only around an additional 56 million Euros have been earmarked for recurrent expenditure in the health sector as compared with last year for the whole year. Meanwhile, contractors are already fighting over a yacht marina which Roberta Abela has promised them, while the construction industry keeps being pumped with free public money and generous subsidies. Abela thinks he can easily insult people’s intelligence by saying the most outlandishly stupid remarks. Despite the fact that industrial real estate is an extremely prised and rare asset in Malta, Abela had the audacity to call the lavish 20 million Euro expense on a car racetrack in an industrial estate as an “investment”. The government will also be building another vanity project to pay more contractors and party donors with a ridiculously useless expensive building to host seized goods.  There was a time during Muscat’s administration when industrialists were coming to Malta looking for industrial real estate and couldn’t find any available, now Robert Abela is plundering it in the crassest manner possible. To add insult to injury, Abela claimed in his typically bombastic fashion that he lead the country in its worst economic crisis ever. The little idiot doesn’t even know enough of his country’s history that what he faced as a leader amounts to nothing compared to what our forefathers and foremothers had gone through. He is even much better off than Gonzi given that Abela has the privilege of the European Central Bank’s free money QE policy.

Abela took over a strong public coffer. By the time he will be gone his successors will have to find ways to start paying the bills. We’ve probably never had a prime minister this wreckless in our history.

3. The Pandemic

Robert Abela has made a total mess out of the pandemic. Hadn’t been for Fearne we would have probably have had a disaster. Constantly pressured by his ruffians and shady figures in the tourism industry, Abela decided to fully re-open the country in the Summer of last year allowing the reopening of the cheap island party industry model. He placed another idiot as tourism minister, Julia Farrugia Portelli, who went on the BBC and said that our mechanisms will keep our country safe just right before the said parties were the cause yet another spread of the virus leading to the eventual shut down yet again. Abela threw all the blame on his minister, Julia Farrugia Portelli and fired her from the post. Very convenient for him to throw his mistakes onto others. Don’t expect high standards from this kid. Crazy to think that the only thing that stands between Abela’s total stupidity and our lives is an adult in the room.

4. The Restoration of Rule of Law

So far, apart from replacing the previous police commissioner, Abela has done practically nothing to restore justice and rule of law in our country. Despite all the bombastic talk about the great reforms taking place in our country, what is actually happening is that Abela has imposed total censorship in the public broadcaster and is turning state entities into means of electoral leverage. So far he has protected Joseph Muscat’s allies by placing Edward Zammit Lewis as Justice Minister and is keeping Rosianne Cutajar in his parliamentary group while she is preparing for reelection. Most of Muscat’s rent seeking and corrupt executives like Johann Buttigieg and Robert Musumeci have been kept in power as well. So far, the police haven’t moved in on any politician and despite the rubbish talk about being serious on corruption, the government has so far made no moves at all to recapture back corrupt proceeds made out of the Electrogas and Vitals deals. The quarter of a billion Euros deal over the government’s old people’s home is also going through. Meanwhile, there remains an unresolved elephant in the room which is the fact that this government, appointed Victoria Buttigieg as attorney general despite having been the same deputy to the attorney general who covered up the corruption of Joseph Muscat and his friends.

5. No vision, no future

Robert Abela has no vision for the country. He has never made any significant or contributory public service. When Lovin Malta asked Robert Abela what he knew about my story of the irregular refuelling of a Russian warship under Joseph Muscat, he said he knew nothing of it. OF course, he knew nothing of it: Robert Abela was only a consultant to Joseph Muscat in name but not in reality. Think about it. What actual use did Joseph Muscat have for Robert Abela other than to get him to tag along for grooming and useful political ends?

Somehow, some progressive reform may seep in given Labour is in government. Free public transport had long been in the plans of Joseph Muscat’s vision of the country. Abela will apply it. But god forbid the metro works starts under Abela’s administration for that will be the day when another potential rent seeking boom will come. It will be yet another bonanza to the construction industry while the young generations keep getting priced out of the property market.

It is also important to keep some facts under consideration. Free public transport should be viewed in the context of the overall quality of life which is rapidly deteriorating to the extent of making most young people desiring to leave.

In the end this may be Robert Abela’s greatest legacy: the great exodus of the young generations. 

Prosit Ministru. Ok ħabib?

PS: I think that the government is saying a lot of bullshit about its marijuana reform. But more on that in another post.

 

Tribute to a Stanislav

Robert Abela is going to have a very hard time finding a replacement for the government’s most powerful bureaucrat: the state treasurer. The Permanent Secretary of The Ministry of Finances, Alfred Camilleri has made a name for himself in the government bureaucracy as a stern and dutiful technocrat. Once, in a Facebook post, Jason Azzopardi accused him of forfeiting a PN electoral victory in 2013 for rejecting the then government’s idea to lower energy prices.

Alfred constantly said no to indecent proposals by Ministers and other government bureaucrats and these came to him frequently. The only sad thing about his career is that he didn’t have enough power. In my latest book, I recount the story of how Alfred Camilleri frustrated Socar officials by delaying the signing of the Electrogas deal after insisting to introduce a condition along with the government guarantee which would have transferred the project to the government in the event the guarantee was effected.

Alfred’s career in the public service spans 44 years, having been appointed to the important post of state treasurer in 2006 after heading the National Statistics Office for ten years.

Throughout his career, he has been highly regarded by fellow bureaucrats and has led by example. He was also one of the only bureaucrats in the whole system who understood the culture industry owing to his habit of regularly consuming all kinds of art from books and theatre. As a finance and numbers guy with a passion for arts and culture, he could understand the culture industry way better than most of the culture executives in the government.

After a long and gruelling career, he is going to be much better off looking after his health and reading books. He also has a lot to tell and recount and I hope that we will keep learning from the legendary mandarin.

Crooks judging crooks

Photo courtesy of MaltaToday.

Despite being totally corrupt, Joseph Muscat tried to constantly keep up appearances and for a good deal of time, lied his way through successfully with the help of an effective and sophisticated propaganda machine. This time round, Robert Abela has no pretensions about the standards of government, cabinet and parliamentary group wallowing to the level of a wet pigsty full of shit.

Yesterday, Justice Minister, Edward Żammit Lewis of Ok ħabib? fame who also, previously consorted with Yorgen Fenech, handed down an official reprimand to his mate and co-conspirator Rosianne Cutajar, for also conspiring with Yorgen Fenech and receiving a bribe of around €50,000  disguised as a brokerage fee. This perfectly-crafted crooked set-up is brought to you by none other by the socialist government of Robert Abela in an innovative way of doing socialism by flagrantly making a mockery out of corruption and turning politics into a shit show. They aren’t even ashamed of their connections while revealing themselves for what they truly are: just a crooked gang of pigs in politics desiring to be mobsters. Rosianne Cutajar’s lawyer, is also Keith Schembri’s lawyer, Edward Gatt.

But when it couldn’t even get weirder the crooks continued to surprise us even further with their horrific low standards and piggish behaviour. Halfway through the proceedings, Żammit Lewis takes off his mask and tells his parliamentary colleagues that he has the flu as he wipes off his nose from whatever is coming out of it. “I try my best to keep up with my duties he says” such as hiding from justice behind the Justice portfolio, covering up for other political co-conspirator friends and just being a shameless representation of the rent seeking paradise.

Ok ħabib?

Why NFTs will disrupt the culture industry

I bought my first artwork for LM50 when I was 16 years old. It was a piece by Steve Scicluna, or “Il-Maku” as we used to know him back then. The artwork is signed by the artist on the back making its source identifiable. I bought the artwork to keep for my personal enjoyment and not to sell it again, but I also bought the artwork with the opinion that it will conserve the value spent on it in terms of fiat. My opinion is based on the premise that the artist’s work is valuable to others as well since if there are no other people valuing the artist’s work, I would not be able to exchange the artwork back for the equivalent monetary value I had purchased it with.

I have worked in the culture industry for many years and have also followed the crypto space closely apart from owning crypto-currency since 2019. As someone coming from the book and publishing industry, I can attest that crypto is nowhere to be seen in our industry. The situation is also very similar with regards to other culture industries, but it is probably worse in the book and publishing industries which in the West are mostly run by traditional and very conservative men and families.

Non-fungible tokens have made it to the press this year with headlines of people selling images of rocks for more than one million Euros each. There seems to be a mixture of amazement, shock, awe and perplexity about these stories. In reality, similar things happen in the physical art market on a daily basis where strange and weird artworks are sold for ridiculous amounts of money such as when a banana wrapped with duct tape was sold for $120,000  and Jeff Koons’ Balloon Dog sold for $58.4 million. 

But how ridiculous is it that an image of a rock was sold for such an amount? Or, is it, really?

NFTs are basically an innovative technology where the files are uniquely and digitally signed by cryptography on the blockchain providing proof of origin through the uncensorable and unchangeable blockchain ledger. This is an excellent application to the world of art where proof of origin and identity are issues that art historians grapple with on a daily basis. In addition, given that NFTs are transacted on the blockchain through cryptocurrencies such as Ethereum, NFTs can be directly sold by the artist to the buyer in a verified transaction. This basically means that the artist has the means to directly sell his or her artworks without a third party. This is a technology that greatly empowers the artist by giving the artist the means of its own trading and pricing mechanism.

Here’s what’s getting many people confused, however. This technology was created or rather discovered by cryptographers from the blockchain and cryptocurrency world and not people coming from the culture industry. NFT technology wasn’t discovered or created by a group of culture industry executives who were figuring out how to maximise their gains, but instead was applied as a pricing and trading mechanism for artworks by cypherpunks themselves knowing very little about art in general. These cypherpunks applied the technology on their own by creating some of the first NFT artworks which today are going for millions of Dollars.

Once NFTs were introduced and began to increase in popularity thanks to platforms like OpenSea, the first initial massive buying sprees of NFT artworks took place by holders of crypto-currency who previously would not have bought a physical artwork. Coders and developers were creating artworks created by digital artificial-intelligence software from very simple illustrations by artists. Some artists got to collaborate with other coders and developers to transpose their art digitally while a handful of established artists like Anthony Hurd and Beeple (Mike Winkelmann) took the opportunity and sold their own NFTs.

So far, the trading volume on OpenSea, one of the most popular NFT market places, has topped 10 billion Dollars. Most of the buyers don’t seem to be the typical collectors you would see at an art gallery buying or exhibition. Most of the buyers seem to be people loaded with crypto who through NFTs have discovered art. Meanwhile, some auction houses like Christie’s and Sotheby’s have tapped on the opportunity and started auctioning off some of the most popular NFTs such as the Bored Ape Yacht Club series. Yet, so far, NFTs and crypto are still something rare in the culture industry in general. It seems like that NFTs have a life of their own distinct from all traditional culture industries – and it’s growing fast. The total market volume of NFTs is rapidly catching up to the trading volume of the physical art market which globally spans around 50 billion Dollars per year.

What’s happening is clear to me. Crypto has begun a paradigm shift in the world of finance Now, crypto has begun another shift in the culture industries. Given that the traditional culture industries are still very distinct and far away from the crypto and blockchain industries, what is happening right now is that a new culture industry based on the blockchain and NFTs is growing and this new culture industry will permeate all other culture industries and radically disrupt them.  Why do I believe so? It is very simple, I think.

NFTs have hugely empowered creators by giving them a mechanism that enables them to directly trade their product and price it at their will without any third party interfering in the process. In addition, platforms like OpenSea have enabled artists a literal marketplace where they can promote and showcase their NFTs. This is a very big deal. Artists have always been at the mercy of middlemen and publishers to publish, distribute and earn money from their work. In addition, the emergence of big tech such as Amazon, Google and Facebook has squeezed the margins of practically everyone in the culture industry. Book publishers became dependent on Amazon while musicians became dependent on Youtube. News publishers became dependent on Google. Indeed, the internet had opened up a multitude of opportunities for artists to expose their work, but the monetisation of art and culture on the internet seemed to be increasingly controlled by a few.

Now, imagine, if book publishers would no longer need Amazon to promote, sell and distribute their work. Imagine if artists wouldn’t need Google and Facebook in order for them to promote and sell their work. Imagine, if content creators didn’t need a middleman to sell, promote and distribute their work and they could do all that by themselves on blockchain networks using crypto-currencies as means of exchange. How would that happen? It’s difficult to imagine how it would happen, but the use-case is there, the potential is there, and the space is growing exponentially. Here we are not just speaking about a dress change but of a total and radical change of the economics and dynamics of the culture and publishing industries. Let me just give you an example of myself.

My personal experience

I’m a book writer and have been involved in the print and publishing industry since 2005. I’ve seen how Amazon has decimated our industry and grew into a behemoth at our expense. The value that Amazon was creating seemed to be mostly to their shareholders as most of the jobs they created seemed to be unfulfilling low-paid jobs and this comes in great contrast to the culture and publishing industries which traditionally created decently paying white-collar jobs which offered very fulfilling experiences. Bringing in some of that money back taken from Amazon into the publishing industry would create more value in the economy. One way which Amazon decimated the book industry was by acting as the main arbiter for prices. Amazon’s pricing model was based on cheap book prices with tight margins with the aim to sell as many books as possible. The same model was applied more vigorously to ebooks and today, ebooks are culturally considered to be inferior products to physical books due to their lower prices. Profits in the ebook space are razor-sharp thin and for most small publishers and authors don’t even exist. Big tech has forced everyone to literally give out their work for free just to be distributed and accessed over the internet. Think about it. You expect to pay a lower price for an ebook as compared to a physical copy, don’t you? You sly little fox. And why would you? The industry has forced you to think that way because of its pricing model. In reality, an ebook has more functions and usability than a physical book, so why would it be cheaper? With my ebook, I can scan and look for words in a second while with a physical book, I’d have to flip pages. I can also copy text and transfer the ebook to a friend more easily than handing out the physical book.

Is there a way to regain control over the ebook pricing model?

Enter NFTs.

I have recently released my book, a work of non-fiction with stories that journalists and its protagonists were interested to read in advance of publishing. The book is my perspective as a historian and previous government executive on Malta’s rent seeking regime. NFT technology gave me the opportunity to sell and price my work in ebook format in advance of publishing in print by simply uploading the book cover as an NFT with a hidden content of the PDF of the ebook uploaded on Pinata which would be accessible once the NFT was bought. The price of the NFT was 0.1 Ether, which I thought was a fair price to those who wanted to use the information in advance of the print publication. The launch was a relative success with 2 institutional clients which were media houses offering to purchase the NFT via cash transfer since they didn’t transact in crypto in their books. This operation enabled me to seed the print publication which then went on to become the top number 1 best-seller in Malta. One of the protagonists of the story, previous Minister of the Interior Emmanuel Mallia, bought the NFT with Ethereum.

Now, to get to my point, my application of NFT technology enabled me to turn my ebook into a collectable, and through its sale seed the print publication of the book. Had I launched the ebook in traditional formats and channels, there would have been no way I would have made the same relative success. In addition, I have also added value to my product through scarcity and this value will be pegged to the value of Ethereum. Therefore, with my work as NFT, I am also betting that Ethereum will either conserve or increase its value. I would not have used NFT technology had I been of the opinion that Ethereum would fall in value. In this way, I have turned the ebook into a historic collectable while the print version is distinguished as the product intended for the retail market and which is widely available as a paperback at the price of €15.

My NFT collection

I have been buying art and historic items since I was 16 years old and it’s one of my only vices and guilty pleasures. I own historic coins, old books, art pieces, posters of events and other stuff. Currently, I’m collecting some NFTs to keep to myself and some others with speculative interest. I’m of the opinion that NFT technology is the emerging principal manner in how digital art and ebooks will be transacted. Given that we are still early in this incoming phase of disruption in the culture industries, I think that many NFTs right now which are being sold for what seem to be large sums of money do actually hold a lot of historic value. However, this premise is also being made on the condition that blockchain itself does not become disrupted. Although there seems to be a lot of research into quantum computing, the prospect that quantum computing will go mainstream and disrupt everything we know of the digital world still seems very improbable in the near term. My speculative opinion is that blockchain technology and cryptocurrencies will disrupt way much many industries and before they become disrupted themselves.

The culture industry is very fragile and is run on old models. Once NFTs take a major role in the culture industries the archaeological and historic-first NFTs will be viewed as collective items of a newfound technological era. Just like when buying the first LPs, the first tapes, the first books, the first ebooks, the first, the first video games, the first CDs, and more…. However, I am also aware that like in any other cultural industry, the artistic products sold in the NFT market may have a 90% chance of losing all their value. Like in any other art market it is only a minority that will thrive and survive the test of time.

So, I’m placing my bets.

Cunning Foxes

One of the main use cases for NFTs is profile pictures and for profile pictures, people often use an avatar: a figure which represents the person. My first NFT was my avatar. I chose my avatar to be a Cunning Fox because at that time I was looking for something cheap yet aesthetically decent. I bought the Cunning Fox because I liked the art and its simple and rebellious nature. I’m still using it today and I intend to keep using it as my main avatar.

Ether Tulips

The crypto-currency industry has often been called by its critics a bubble similar to the tulip mania: an irrational exuberance over an asset which although useful is exaggeratedly priced due to excessive speculation. Apart from being a historic NFT forming part of the earliest NFT artworks ever released, Ether Tulips hold great cultural significance in the crypto space for representing the greatest allegory to crypto, albeit potentially wrong, making the cultural significance even more valuable due to its irony.

Ether Tulips from part of the third cluster of historic and archaeological NFTs. According to NFT historian WhiteRabbit1111, NFTs issued in 2018 are part of the earliest clusters of NFTs ever released. The first cluster of NFTs amount to less than ten projects and have been released between 2014 and 2016. The second cluster of historic and archaeological NFTs have been minted in 2017 and amount to less than 20 projects. In 2018 more than 100 projects were minted one of which was Ether Tulips. As of 2019, there were thousands of projects available. The amount of NFTs available for sale already exceeds the one million mark.

Cyborgs Arrival of Chaos

I was one of the earliest investors in Cyborgs Arrival of Chaos, or “Ether Cyborgs” as they are more popularly known. Eventually, I helped the artist by editing his text for his third generation of Cyborgs. The artist used artificial intelligence software, basically an algorithm, to create a series of avatars based on his specifications. The artist used the concept of cyborg for the avatars to project a being half human and half robot. The idea behind the cyborg is that our present living condition is developing into an insensitive state which runs on mechanical logic rather than human sensibility. The third series of Cyborgs practically contains a 30,000-word autobiography of the artist himself depicting his struggles with life and mental health. Each piece of writing directly reflects the particularities of the artwork itself.

Unusual Whales

I’m invested in Unusual Whales because it is one of the most popular cultural icons of the retail trading mania which started during the lockdowns of the Covid Pandemic. The Unusual Whales NFT also provides a small market data service to both stocks and NFTs – it’s like a Bloomberg terminal for retail traders specialising in option trades and NFTs.

Fame Lady Squad

The Fame Lady Squad are the first-ever all-female avatar project. The project has an interesting story as well. The founders of the project were men but when they revealed their identities, the women who bought the NFTs of the project organised a rebellion and forced the founders to hand the project to them. Today, the project is fully run by the women who own the NFTs.

Ether Lambos

I bought an Ether Lambo to celebrate my best-selling status, however, these are also the first luxury cars minted as NFTs and also form part of the third cluster of historic and archaeological NFTs of 2018. In addition, the smart contract was created in 2017. Ether Lambos have a lot of cultural significance in the crypto space given they represent the popular saying “When Lambo?”, which can be considered either as a figurative way of asking when will the price of crypto increase exponentially or when will your crypto holdings eventually became as valuable as to possibly buy a Lamborghini.