Reiniscouple and
In the early years of the NFT revolution, digital artists found in ERC-721 and ERC-1155 not just tools, but shields — mechanisms to validate art in a medium defined by its limitlessness. Non-fungible tokens gave us the power to point at an image and say: “this one is unique.” But digital art, like the networks it inhabits, never wanted to be unique. It wants to be copied, shared, DMed, projection-mapped and blockscanned.
As McKenzie Wark reminds us in My Collectible Ass, the value of art no longer stems from its rarity, but from its circulation — from how far it travels, how often it's referenced, recontextualized, absorbed into the culture. In this light, the NFT, when seen purely as a certificate of artificial scarcity, begins to feel like a contradiction: it cages the art just as it learns to fly.
James Beck takes it further in his essay about the creative class minting its own currencies. Artists aren’t just making images anymore — they’re founding economies. Each project becomes a symbolic micro-nation, with its own rules of value, participation, and exchange. What if the value of art lies not in owning it, but in being part of it?
This is where our story begins.
Rather than clinging to non-fungibility, we’re migrating toward ERC-20 — the standard for fungible tokens. Not because we want to reduce art to money, but because we already understand: every digital artwork is also a symbolic currency.
A fungible token allows anyone to own a fraction of a work. It’s not about having the “original” — it’s about belonging to its economy. The collector becomes a co-author, a stakeholder, a participant. The artwork breathes as its tokens move. It exists in the market, yes — but also in the community, in the liquidity, in the act of sharing.
Imagine a piece titled Vanishing Point. Instead of minting it as a single NFT, it's launched as 1,000,000 $VANISH tokens. These tokens represent the work. Holding $VANISH tokens you’re part of its existence — maybe you gain access to exclusive drops, remix rights, governance in future versions, or simply the cultural gravity of being involved.
The artwork is no longer a .jpeg on a blockchain pedestal. It’s a network of meanings. A living system. A poem with a price chart.
Each piece becomes its own market. Each ERC-20 token is not just a currency — it's a social link, an aesthetic investment, a ticket into a shared world. Art stops being a rare item and becomes a liquid system. A cultural architecture where scarcity gives way to participation.
That doesn’t mean value is diluted. In fact, it emerges more clearly: from adaptability, community, presence, and relevance.
As Beck says: the creative class is minting its own coins. We’re simply following that logic to its most radical — and beautiful — conclusion: currency and artwork are inseparable parts of the whole.
By letting go of artificial exclusivity, we unlock a richer terrain. One where art is alive. Where the market is not a museum wall, but fertile soil. Where collectors are co-creators. Where liquidity doesn’t kill the poetry — it accelerates it.
If non-fungible NFTs were the first step in the emancipation of digital art, then fungible tokens may be its flight. A leap beyond the object. A choreography of code, image, and affect. A new territory where art is no longer a possession, but an ecosystem.
And within that ecosystem, each transaction is a brushstroke in a collective masterpiece.
If you want to know more about our movement in this new and exciting market, come an see our new Echoes artwork, represented by the $ECHOES token.
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