notadao.dao: NFTs, phygitals, and art in real life

Guidelines and suggestions to understand notadao.dao’s journey

Recent history

According to Collins, NFT was the word of the year, and this marked a further step towards mass knowledge of crypto-related concepts and another push forward, for the crypto-sphere, towards the mainstream audience. The concepts of tokenization, digital scarcity, and digital ownership are now comprehensible for those around for a while. Still, we must not make the error of thinking that these have already reached everyone. People around us, from all walks of life, cultural backgrounds, and different interests, still have no idea of what is happening on-chain, or simply on CT or on Discord. Sometimes, they don’t even know what Telegram is. And believe it or not, these are the majority.

In 2021, “you are early” has become a meme, because those who approached the cryptosphere only in 2021, were in fact, not so early. But, this doesn’t mean that those who arrive in 2022 will be late. Friends, this is the year of maturity. Looking at the big picture, it’s possible to realize that Bitcoin has just entered its teenage (best wishes for your thirteen years, grandpa!), Ethereum is six years old, and the NFT space has just been born, it is living its spring.

Although the concept of non-fungible tokens had already been put into practice by Kevin McCoy in 2014, the underlying technology has not seen luck until today. McCoy tried to put a straightforward concept into practice on the Bitcoin blockchain: the artist would monetize his or her work without needing an intermediary. This concept was fed to the general public too early, during the growth phase of the platform economy, when a trusted third party (the platform) was still necessary to create the magic.

Today, Millennials and GenZ are much more comfortable interacting with the token economy, and it seems that they are ready to trust a code, a predefined set of rules, rather than a platform. It would not be surprising if, in the coming years, we witness the proliferation of decentralized, transparent, unquestionable housing, delivery, social networking, and gaming platforms, where users dictate the terms and conditions of use through governance tokens. Since McCoy’s time, everything has changed; the token economy is rising, so it’s flourishing a good set of opportunities for artists, collectors, and curators. In this context, NFT became the word of the year for the Collins dictionary, and 2021, in change, was the year of NFTs.

State of the art

Who is an habitué in the cryptosphere knows well that even the stronger trends last probably a few months, and the market seems almost saturated up to date. The emerging projects are no longer naturally successful for their artistic value. They are successful if they are launched and pushed by well-known personalities in the sector or because already successful artists or companies minted them before. Nowadays, OpenSea is populated by dogs, cats, monkeys, punks, which are nothing more than extensions or imitations of the original collections. In the meantime, these collections are reaching floor prices never imagined before. Owning them represents a status symbol not only on social media but also IRL.

Big brands like Pepsi, Bud (renamed beer.eth on Twitter), Nike and Adidas are assaulting a new slice of crypto consumers. Not to mention the appearance of a long list of celebrities who have sniffed the opportunity to shill some digital digital collections for compensation.

However, IRL there are amazing artists, sometimes exhibited in the most important museums in the world, which are to date excluded from this trend. But why? Perhaps they were unaware of what was happening around them, or maybe because they consider themselves fetishists of physical art, or they don’t even consider themselves potential crypto artists. These physical art maximalists are not wrong at all: up to now, digital art dominated with no challenges the crypto art scene.

The reasons behind notadao.dao

@notadaodotdao on Twitter

In this context, notadao.dao, a vector for physical art maximalists to join the enchanted valley of crypto art, arises. notadao.dao is a collective of artists, collectors, and bettors who come up with a precise idea: to make love with digital art but expand its boundaries.

Phygital, in the vision of notadao, is the icing on the cake in the crypto art panorama; it is the tool that closes the mouth to those who mock the NFTs and their philosophy. Phigytal, is the weapon for the cryptosphere to attack the hypocrites of ctrl + c. The artists connected to notadao have also shown so far to have a visceral bond with the physical piece. Many of them, for example, are photographers, and they express themselves not only through the image but also through the process of producing and printing the picture. The choice of paper type, print size, and materials are part of the creative process. In nota, phygital is a tool for the artists who choose not to deprive themselves of the pleasure of creating a piece in all its aspects and all its sensory sides.

The reasons behind VeChain

Hence, the choice of notadao and the artists who populate it to launch the genesis collection on VeChain network, more specifically on WorldOfV. VeChains’s philosophy of bringing “on-chain” the “off-chain” and vice versa perfectly reflects notadaos’s artistic approach, so the choice was natural. The sustainability and environmental aspects were also crucial in the choice of VeChain as the blockchain where start working on: VeChainThor’s annual carbon emissions are just 2.4% of those necessary to mine a single orange coin.

Similarly, partnering with WorldOfV was a natural choice too. This is an NFT marketplace where the gas fees are 0 and minting is free for every artist. Moreover, on WoV owning certain NFTs, the genesis cards, guarantee the daily generation of WOV tokens, the native token of the platform, an essential tool for every collector. Actually, those who buy art in WOV tokens pay no gas fees and platform fees for each transfer. notadao.dao immediately embraced the vision of WorldOfV, which as a blind Maecenas, protects and supports its artists, regardless of who they are.

The notadao’s artists desire is to remain independent on-chain as IRL, and WoV is the place for an artist to be independent. Their art is such if it is free, if it is born from independent productions; the rest for them is just commissioned work. Each piece must be free from any pressure that contaminates the creation process. Independence means freedom, especially in light of the challenging dynamics behind the production of independent operas.

For this reason, notadao aims to make artists able to land in the cryptosphere, where they can finally find new resources to invest in themselves. At the same time, they can give collectors, the real maniacs of this space, quality pieces with social, philosophical, and research value to ape in.

What happened and what will happen

Life and Death (from the collection “The Place Where I Used To Live”— @cobarrino 2021, available on

The path of notadao.dao began in Q4 2021 with the entirely digital drop of @cobarrino, artist 0. He is an Italian documentary photographer considered by ID-Italy as one of the most interesting 21 emerging photographers in 2021. @cobarrino’s drop, the collection “The place where I used to live”, is currently live on WorldOfV. His collection can also be visited in the metagallery thought and curated by @Belzekush.

The first phygital drop, representing the official baptism of notadao.dao in the cryptosphere, will be a collection by Luca Santese, photographer and curator based in Milan and Berlin, co-founder of the Cesura Collective.

The path towards a phigytal world and the creation of an ecosystem of value that embraces art, research, and sustainability is still long. Still, if the future belongs to those who start building in the present, it is undoubtedly worth start building. Together.

Time Cover — September 24, 2018. photo credit: Luca Santese e Marco P. Valli, Boys Boys Boys, Realpolitik

About Luca Santese

While attending the Brera Academy of Fine Arts in Milan he worked as an assistant in Alex Majoli’s studio, and co-founded Cesura in 2008. In 2010 he won the World Press Photo prize with his project Detroit 2009–2010, and in the same year, he exhibited the project Found Photos in Detroit with Arianna Arcara at Le Bal in Paris, followed by exhibitions at Kulturhuset in Stockholm, OGR in Turin, and MoCP in Chicago. In 2012 he published the Eponymous photo book with Arianna Arcara. The book, published by Cesura Publish, has collected seven nominations as the best photographic book of the year and was selected by Martin Parr and Gerry Badger for the third volume of The Photobook: A History, a collection of the best photo books published after WWII. In addition, he was the curator of Italy & Italy project, a book that puts together a selection of images of the city of Rimini in the 1990s. Santese’s work is characterised by a strong research; his experiments with documentary photography result in projects such as Realpolitik, Festa, and his most recent publication “Il Corpo del Capitano”, co-authored with Marco P. Valli: a research on the different perspectives of Matteo Salvini’s propaganda — the political leader of the Italian Lega and center-right forces — with a truthful and ironical style. Santese’s work has been published on several media outlets and exhibited in Europe, Russia, and the U.S.




philosopher of the simple things @notadaodotdao

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philosopher of the simple things @notadaodotdao

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