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mark mollé

@marmo

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Of Miraculous Coincidences n Coincidental Miracles. This one’s special. It’s the first time I’ve ever been able to express the paradoxical juxtaposition that happens when you emerge from an artistic experience that superposes itself upon your homebound being. Layered a live Arcade Fire show (Ready to Start / Sprawl II) with a poem composed en the way from the Brooklyn Paramount back to my home in Chelsea, intercut with real-time Apple Maps navigation. Concluded that a coincidence is a cynic’s miraculous wave collapsed into a particle state. This piece marks a new phase in my work—a form I’m calling the SUPERKOMBINE (Rauschenberg and Johns meet within the Super-Kamiokande neutrio detector…making the underapparent more apparent). And I suspect there’s something uniquely maieutic (μαιευτικός) about the Zora’s content coin-incidence that birthed this miracle. https://zora.co/coin/base:0x872907634e456cd8796c31929ecf7aa95aef2002?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d
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“Cast the net on the right side of the boat and you will find some.” They did—and pulled up 153. John 21:6: This piece is about that net. And this cast. The first ministries, in every tradition, were all peer-to-peer. No hierarchy. No gatekeeping. Even when the apostles tried to shut others down and establish a system of authority, Jesus shut it down: “whoever is not against us is for us” Mark 9:38 Same goes for crypto. The content coining movement on is preaching the gospel of decentralized creation. Decentralization isn’t “everyone buy Bitcoin.” That’s Bitcoin idolatry. It isn’t about hoarding coins— it’s about casting nets of content far and wide on decentralized networks. It turns us away from creating for centralized platforms that monetize us, and calls us to mint on decentralized networks. https://zora.co/coin/base:0x1454d8d217f17e7353edcb4d764f25687614076a?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d
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My conversion to crypto Zorastrianism marked an epistemological break—from the Satoshi epoch to the Jessatoshi epoch. Satoshi solved the double-spend problem. @jessepollak solved the more normatively pernicious coiner caste problem. He said the quiet part out loud: Crypto still runs on a hierarchy. Coining is reserved for a priesthood of elite devs, artists, meme lords, & technocrats. Everyone else? Coinsumers. Normies. Bagholders. Jessatoshi shattered that divide. He crossed the tech moat and @dwr.eth’s cringe canyon. He crucified himself on the cringe cross to make coining democratic, profane, sacredly ordinary. He handed us the mint. Not just Base—but a new base layer of decentralized belief. He is Jessatoshi. I’m Martoshi. And now you too can easily suffix your addiction to centralized means of cultural creation and transform into a ___toshi. https://zora.co/coin/base:0x1b5e06f1c3ae27b204fce455f766ab32fd9a8f85?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d
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so last night i had dinner at Ella Font with one of my most intellectual and crypto skeptical friends: andrew bradfield. (context: i told andrew to buy bitcoin in 2011. he didn’t. but also didn’t seem to care that he didn’t. so i NEVER brought up crypto with him.) until last night, when i set one goal: get him on Zora so i hit record on my iphone 16 pro and started filming mid-steak frites. i thought his Zora-pilling would be quick and easy. i was dead wrong we fought over duchamp, barthes, foucault, chomsky, rumi, the frankfurt school, spiral puttees, life, death, the perenialists, meister eckhart, ibn al arabi, jacob horne, dvořák, grief, jesse polack, and content coins… now i want to turn the raw iphone footage of the dialectic of his discursive resistance (andrew’s greatest fault is that he has the temerity be a Hegelian) into a short film. my dinner with andré for the onchain era any ai editing tools you’d recommend? Descript, Adobe, something (seriously?!) called Vegas Pro?
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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.
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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
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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. https://zora.co/coin/base:0x7e5e70ddcc1adb34e3734fb51f7d6412ca3ff707?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d
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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 @stephancill 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. https://zora.co/coin/base:0x36eb6b12cd98eb877fa693f420efd8abad0ac624?referrer=0x52da438ebc256c23fec296d86c0db0b249fd188d
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