Thérèse B.

curious analog & digital image maker & story teller | stills & moving | doing research | exhibited & published | |

[Thérèse B. @houseofthereseb]

My main interest & focus is – people, places & the different traces & expressions they make & use, now & in the past. I'm currently rebuilding my online pressence. You can find some traces here.
• https://t.co/Dbq2PGU5RW
• https://t.co/MqrgvI4fOs

[Mariam @AghaeeMariam]

Back stage of my new performance exposition in Paris
Over there, is still night.

[Thérèse B. @houseofthereseb]

@DavidSHolz Update |
https://t.co/Z6Ebq9zfR3

[Thérèse B. @houseofthereseb]

@DavidSHolz Would be exciting if you're developing with Abbas, hardware gear making it close to having ones personal VR-cube room at home, as imagine way back. https://t.co/79IIWQEIuw

[Thérèse B. @houseofthereseb]

Regarding #web3Gallery/ies and navigation, I always compare the experience of entering the VR-Cube / Kuben at KTH/@KTHuniversity way back. Entering it was wicked.
Info: https://t.co/ZvII0HNID6
Model: https://t.co/VSTJ6Gcxno

[Thérèse B. @houseofthereseb]

Update |
https://t.co/Z6Ebq9zfR3

[Thérèse B. @houseofthereseb]

Regarding #web3Gallery/ies and navigation, I always compare the experience of entering the VR-Cube / Kuben at KTH/@KTHuniversity way back. Entering it was wicked.
Info: https://t.co/ZvII0HNID6
Model: https://t.co/VSTJ6Gcxno

[Thérèse B. @houseofthereseb]

@sudiprokaya Simi 🙃

[Thérèse B. @houseofthereseb]

@papadupapadu Thanks for the comment on IG! Fab work. Low the visual flow, and the use of sound & music. 👏👌

[Thérèse B. @houseofthereseb]

@abcdjabcdjabcdj 😄

[Minh Do @minhsmind]

AI filmmakers are one of the MOST in-demand people in the creative industry right now. This is the dilemma right now.

There are NOT enough AI filmmakers, partly because being really good at editing, cinematography, AND actual AI skills is a LOT to master. The very best AI filmmakers are very rare.

There are 6 entities that are hunting for them, causing a squeeze in the job market:

> Big studios - want to hire AI filmmakers for experimental and research projects
> AI studios - they’re experiencing demand for their own projects and clients and need AI filmmakers to train and work on those projects
> AI tool companies - want to hire AI creative directors and filmmakers to showcase their tools
> AI streamers - who want to fill up their catalog with AI content
> Ad Agencies - nobody cares if an ad is made with AI. Agencies are training up their own people to do AI to cost save on ads and…
> Brands - are demanding quicker, cheaper, and more variety and since it’s so easy, they’re also hiring to tinker and even shorten feedback timelines

While one side of the creative industry is losing jobs, demand in this industry is exploding and not abating. AI skills are very easy to learn but VERY hard to master.

[alejandro cartagena @halecar2]

gm from Madrid✨

Excited to host the work of all these dedicated artists as part of the @FellowshipAi Daily program, who continue to explore new ways of using digital tools to tell their stories and explore their ideas about art.

@alsoguppyme_
@Ethereal_Gwirl and @LeMoonSynth
@__mindeye___
@francdisa
@All_Al_1
@_blumquist
@liminalcorp
@0nastiia
@kurupuri0
@JenPanepinto
@x_new_worlds
@andrea_ciulu
@Barbara_Chira
@Ibl3D
@cutsdatflo
@no_hygiene
@BirddogAI
@dontbuy_
@VikkiBardot
@abcdjabcdjabcdj
@mr_relative
@UnoParticular

[Brian Roemmele @BrianRoemmele]

You have seen her 1000s of times over 2 decades.

You may not have noticed.

After this, you will see her everywhere.

She has influenced millions.

Why?

Read along with us…

[Thérèse B. @houseofthereseb]

@dagmarbressel 🫂 🫂🫂 ❤️

[alejandro cartagena @halecar2]

Visibility, attention, and support are not decentralized.

I think this idea that NFTs somehow escaped gatekeeping is one of the biggest myths the space keeps telling itself. It sounds good because blockchain infrastructure is technically open; anyone can mint, anyone can buy, and everything is transparent on-chain. Fine. But visibility is not decentralized. Attention is not decentralized. Support is not decentralized. And those are the things that mostly determine (especially online) who gets to exist culturally.

The reality is that NFTs reproduced a lot of the same social structures as the traditional art world almost immediately. A small group of artists became canonized early, collectors clustered around them, platforms amplified them, and then everyone else was told the ecosystem was “open” while competing for scraps of attention in an economy driven almost entirely by visibility algorithms and insider networks.

The success rate for artists experimenting natively in NFTs is not radically different from the traditional art world (something I personally have experimented with first in my trad art career because I am Mexican and not in the USA or Europe, and secondly in NFTs because I was late and not doing generative art). We act like this was some mass liberation event for artists, but how many actually built sustainable careers? How many received long-term support? How many got to keep experimenting after the speculative wave cooled off? Very few.

The artists who succeeded were largely the ones who were selected early, platformed early, supported by collectors early, or given enough visibility to build communities around themselves. That’s not an insult, it’s just reality. It mirrors traditional art structures much more than people want to admit. In both systems, a very small number of artists are given enough oxygen to continue evolving publicly while most others remain invisible despite producing meaningful work.

And I think this obsession with “nativeness” sometimes ignores how much of NFT culture was financially accelerated by speculation rather than by some fundamentally new social model. The transparency argument is interesting technologically, yes, but transparency of transactions doesn’t eliminate power structures. You can see the hierarchy more clearly, but the hierarchy still exists. Maybe even more aggressively because everything becomes publicly quantified.

You can literally watch social consensus form in real time around a chosen set of artists and collections. You can watch people chase wallets, mimic buying behavior, perform affiliation, and build prestige loops. That’s not the disappearance of the art world. That’s just a faster and more financialized version of it (which is fine!).

And this idea that traditional art is slow and NFTs are somehow more democratic because they circulate faster, I don’t fully buy that either. Fast circulation often benefited speculation more than artistic depth. A lot of artists became trapped producing for velocity, relevance cycles, timelines, floor prices, and engagement. The market rewarded constant visibility, not necessarily sustained artistic thinking. This I would also argue, is one of the biggest problems of our space. One could argue that great gestures take time, not just efficient network distribution.

I also think people romanticize “community” in NFTs without acknowledging that communities are often formed around asset performance first and art second. Not always, but often. If prices collapsed, communities frequently disappeared too. That might tell us something important about the underlying structure of our space.

What drew myself and many traditional art people into crypto initially wasn’t simply that it was “new.” The art world is constantly exposed to novelty. What was compelling was the temporary feeling that alternative forms of circulation and patronage might emerge. This felt like I was going to skip the gatekeeping I had experienced for being born in the South. But over time, what actually I saw emerged was another status economy with its own elites, its own language, its own institutions, and its own mechanisms of exclusion. Partly why I decided to create the projects I create was because I saw the massive opportunity that existed but that artists would need help to be seen, supported, and collected.

NFTs are the most exciting space for contemporary art right now IMO. I fully believe blockchain has meaningful implications for provenance, digital ownership, artist royalties, and online-native cultural forms. But I think we have to stop pretending the ecosystem escaped human behavior or escaped the concentration of power.

It didn’t.

The same dynamics exist everywhere: a few artists become legible to the market, a few collectors shape discourse, a few platforms dominate visibility, and most artists remain structurally peripheral no matter how “open” the infrastructure is.

That’s not failure. That’s just culture. The mistake is pretending that code dissolved it 🤔🫣🥺

[Thérèse B. @houseofthereseb]

@BrianRoemmele In 🇸🇪 we have Gloria 🪩
https://t.co/2kmRDldR0b

[Thérèse B. @houseofthereseb]

@BrianRoemmele In 🇸🇪 we have Gloria 🪩
https://t.co/2kmRDldR0b

[Thérèse B. @houseofthereseb]

@TomLaroc @theorybeats @fatbeats @ChipFu @BustaRhymes Tom, You're really working it with your team! 👏 👌🔥

[Thérèse B. @houseofthereseb]

@TomLaroc @theorybeats @fatbeats @ChipFu @BustaRhymes Tom, You're really working it with your team! 👏 👌🔥

[Swati Chakraborty | photosbyswati.eth @photosbyswati]

Good night!

I cross my heart, wear my wounds like a shining emerald, aglow in the ember of life - but my mind is my best kept secret - like a turban wrapped around my imagination, my beloved eccentricity, my indomitable spirit.

Red Turban-Wrapped In Mystery
Copyright ©️Swati Chakraborty

[Brian Roemmele @BrianRoemmele]

This is 63 year old the_tunegirl, she later in life found analog modular synthesis and loves building every sound live with nothing but Eurorack.

She just made her debut at Awakenings.

This is what never giving up on passion looks like.

[Brian Roemmele @BrianRoemmele]

“Wait so you’re telling me…”