GALPHA Issue 01 Volume 07

Watching the sun dip lower in the sky, casting a golden glow over the landscape, we find ourselves nestled in the cozy nook of our thoughts, wrapped in the comfort of contemplation, with the warmth emanating from the flickering fire of the mind. Outside the world is undergoing its ancient transformation; the leaves, once a vibrant testament to summer's glory, now descend in a graceful dance to the earth. This change of seasons, this slow, deliberate lambada from life to death and back again, invites us into a space of reflection. Here, in this moment of a familiar transition, we are reminded of the cyclical nature of existence, where every end whispers the promise of a new improved beginning. Throw open a window and the air, sweet with the scent of wood and the hint of crispness, carries with it a bookmark for this season, in a chapter about the human condition, about the skeletons of our past that we'll become in the future, and the inevitable rebirth that follows. Even its scent beckons us to recognize not only the physical decay of nature but by extension the decay of other living things like our own creations—our ideas, our ideals, and our institutions—urging us to reassess their place in each our latest endless cycle of renewal.

In this season, skeletons of trees stand bared, stripped of their summer guise, revealing the essential structure beneath. Here, in the skeletal forms, we see not just the physical decay but a symbol of our own existential journey. The skeleton, universally recognized as death, also represents the underlying framework of life. It's the bare truth of our existence, stripped of all pretense and adornment, a stark reminder of what remains when all else fades.

In our pixelated tapestry of existence, the human form, like a leaf on a apple tree eventually falls, returning to the earth from whence it came. This cycle, this dance of life and death, is mirrored in the realm of thought, where ideas, too, flourish, decay, and fall back into the fertile soil of the collective mind. Just as we accept the body's inevitable return to the elements, so must we embrace the death of our ideas—whether they came to bear fruit or not, allowing our willingness to nourish the still budding, vibrant possibilities. This is the way of nature, the way of the cosmos, where endings are the prelude to new beginnings, where the decay of one form fulfills the need of another. In this endless cycle, we find not just an end, but a transformation, a rebirth waiting for you to pay attention.

The death of an idea or an institution can be as shocking as the death of a person. It might not be mourned, but it could be celebrated on its way out for what it has contributed to the collective consciousness. Just as the forest floor becomes fertile from the decayed leaves, so too does society gain from the public disintegration of outdated or harmful ideologies.

As we stand at the precipice of change, where the old gives way to the new, there's a palpable resistance, a moment where it feels as though stepping forward requires an extra push, an additional ounce of energy. It's like trying to peel your eyes from a sunset, knowing you must shift your gaze to the stars about to emerge. This moment might seem like a backstep, a faltering hesitation, but consider it more like to bending your knees before leaping. This crouch, this gathering of momentum, is not a retreat even though it can appear to be. As in life some lowering of oneself may be required in preparation for a quantum leap. It's in this bending, in this intentional focusing of energy coupled with action, that we activate and guide the forces already within and about us to propel ourselves into the new, to spring forth into a totally new paradigm, both different and better from the way we used to feel and be into the active realm of fresh possibilities.

This dance of life and death, of decay and rebirth, isn't just about physicality or even just about ideas. It touches upon the essence of consciousness itself. One might argue that our perception of life as a linear journey from birth to death is a misunderstanding. Instead, we are part of an eternal now, where past, present, and future coexist, where death is not an end but a transition in the ongoing cycle of existence.

In this seasonal cycle, we're invited to meditate on our movement within it. Are we resisting change like the leaf clings to the branch, or are we allowing ourselves to fall, to fertilize the future? Are we holding onto ideologies past their due, or are we open to the new growth that awaits?

We could see the changing of the seasons as a living commentary on all cycles of existence, urging us to embrace the moment, the movement toward decay of this moment, this note, this ideal into the emergence of the next.

As we reflect on the natural world's cycle of decay and rebirth, the parallel to our own societal structures becomes strikingly clear. The U.S. elections loom on the horizon, a time when we cast ballots not just for leaders, but for the immediate future of our financial landscape. Consider the skeletons of our financial system, bare and exposed, much like the trees in autumn. The deterioration of the American financial structure, with its inflation, debts, and outdated regulations, mirrors the decay we observe in nature. Yet, while nature welcomes rebirth, our political sphere often clings to outdated ideas.

The conversation around cryptocurrencies, like Bitcoin and others, isn't just about new tech; it's about the inevitable shift towards a system that many believe could rejuvenate our economy. Cryptocurrency represents a potential path forward, one that challenges the old guard's grip on financial control through crippling policies like unrealized capital gains on crypto, which simply don't align with the nature of digital assets. Herein lies the crux of the struggle: will the people allow the old shadows of the past to suffocate the nascent blossoming of a new era?

It is high time for the people to be able use the ballot to vote for a future where innovation is expected—but are we there yet?

Desultor embarked on his artistic path in 2021 and has rapidly become an iconic figure in the art world, blending the realms of analog and digital with an electrifying approach. Born out of the vibrant pop and subcultural milieu of 1990s Central Florida, his creations are a vivid tapestry of the past's tactile charm intertwined with today’s technological innovation.

Desultor's work is a dialogue between eras, where pixel art meets analog video capture, and traditional craftsmanship collides with cutting-edge digital techniques. His art, characterized by its electric colors and dynamic forms, often takes the guise of gif art, which captures the viewer's attention with its looped, kinetic energy. This fusion creates pieces that not only reflect the shifting landscapes of self-sovereignty and crypto culture but also challenge us to reconsider our relationship with ownership and identity in a digital age.

Since stepping into the spotlight in 2021, Desultor has made significant waves internationally, his exhibitions bridging the gap between traditional art spaces and the burgeoning decentralized art communities. His portfolio is as varied as it is thought-provoking, spanning from meticulously dank pepe collectibles to intricately detailed digital compositions, animated. Each piece tells a story of cultural preservation, autonomy, and the fluidity of value, inviting a reevaluation of how we define art in our increasingly decentralized world.

Desultor's art practice is a testament to his belief in art as a catalyst for innovation and critical discourse. He masterfully navigates the intersection of the tangible and the virtual, pushing the boundaries of what art can be, whether it's displayed on a gallery wall or exists solely on the blockchain. His work is not just seen; it is experienced — prompting viewers to engage with profound questions about permanence, identity, and the essence of value in modern society. Through his eyes, we see a world where art transcends its physical form to become a living conversation between creator, viewer, and the ever-evolving cultural landscape.

Max Capacity, a name synonymous with the fun avant-garde, is an artist who masterfully navigates the shimmering boundary between the analog and the digital. With roots in the early digital landscape of Tumblr and Twitter since 2008, Max has carved out a niche where the beauty of decay, entropy, and disintegration is not just celebrated but transformed into vibrant, dynamic artworks.

His palette includes the eclectic mix of glitch effects, AI-generated imagery, pixel art, animated GIFs, text, sound, and video, crafting a narrative around the obsolescence of technology. Max's work is a playful yet poignant exploration of how we interact with and fetishize technology that has fallen out of mainstream use, drawing viewers into a world where the passage of time is marked by color, movement, and humor.

Max's journey from the digital backwaters to international acclaim has seen his work grace the pages of influential publications like VICE, The Verge, and WIRED, and his pieces have been exhibited on six continents, with notable spots in prestigious institutions like The Museum of the Moving Image in New York and the Art Gallery of Ontario in Toronto.

Since pivoting to cryptoart in 2021, Max has embraced the blockchain revolution, minting his unique visions across Ethereum, Solana, Tezos, and Bitcoin blockchains. His foray into this space has not only expanded his artistic medium but also his audience, showcasing his work at high-profile NFT and crypto events and galleries around the globe, from Paris to Seoul, each location adding a new chapter to his ever-evolving story.

Max Capacity's art invites us to find joy and beauty in the inevitable march towards obsolescence, challenging us to see not just the end but the transformation and the new beginnings that come with it. His work is a celebration of our ephemeral cultures and their trappings, a reminder that in the digital age, even analog can be digital.

From the heart of Los Angeles, Maxximillian has risen as an artist whose creations are as much a part of the city's fabric as the Hollywood sign itself. Growing up amidst the city's endless sprawl, her art is a reflection of her deep-rooted connection to Los Angeles, where the opulence of the Hollywood lifestyle plays a starring role in her narrative.

Maxximillian's art has also traveled internationally, with exhibitions in Beijing, the iconic Times Square in New York, the luxurious setting of the Dream Hotel in Hollywood, historic Lisbon, and the festive atmosphere of Miami Art Week. Her recent notable achievement came with her feature at Beeple Studios for PepeFest 2024, marking her recent ventures into embracing meme art by receiving the honor of being curated by Beeple. Embracing Pepe as a subject and the meme culture vibes have opened up a new pathway for expression, blending traditional art forms with the immediacy and cultural commentary of digital media. This shift has not only broadened her interests but also redefined what fine art can be. Yet, even with this memnetic twist, Maxximillian remains true to her aesthetic signatures: 3D visuals, shiny metallics, highly stylized fashion and a penchant for pretty shiny and whimsical. Her pieces often delve into futuristic fashion, hinting at a probable future where technology and style are indistinguishable.

Through Maxximillian's eyes, LA isn't just a backdrop but a character in its own right, with its satirical wealth, visceral sadness, vibrant hip-hop culture and the pulsating life of its streets serving as endless inspiration. Maxximillian's art reflects Los Angeles; it critiques it, loves it, and transforms its essence into something new, something electric, something that screams of the city's soul simultaneously embracing its excesses.