帕克·戴（Parker Day）和凱西·羅德摩爾（Casey Rodarmor）的樂趣！收集是攝影最大主義和協議級創新的前所未有的綜合

該系列充滿了Day的大膽調色板，超現實的角色和分層的身份遊戲，由Rodarmor作為Ordinals協議的創建者的基本角色錨定。

"FUN! is an unprecedented synthesis of photographic maximalism and protocol-level innovation—a work that stands alone within the landscape of Bitcoin-native art. Saturated with Day's bold color palette, surreal personas, and layered identity play, the collection is anchored by Rodarmor's foundational role as the creator of the Ordinals protocol. Most notably, the series is inscribed directly under Inscription 0—the first inscription ever made using the Ordinals Protocol—marking it as an ontological outlier in the digital art canon. No other collection occupies this same foundational location on-chain, making FUN! a conceptual and technical landmark in Ordinals history.

“樂趣！是攝影最大主義和協議級創新的前所未有的綜合，這是一項獨立於比特幣本地藝術的景觀中的作品。充滿了Day Day的大膽調色板，超現實的性格和分層的身份玩耍的飽和，Rodarmor在Rodarmor的基礎上是固定的。序言協議 - 將其標記為數字藝術佳能的本體論點。

Now expanded with new reflections from both collaborators, this interview explores the project's deeper ideological dimensions—from the mechanics of trustless auctions to the ethics of artistic compensation, from pro wrestling and portraiture to capitalist generosity and the social roots of value. Together, Day and Rodarmor form a rare creative pairing: artist and dev, photographer and protocol architect, equal parts absurdity and rigor.

現在，隨著兩種合作者的新思考，這次訪談都擴展了，探索了項目的更深層次的意識形態方面，從無信任拍賣的機製到藝術補償的倫理學，從職業摔跤和肖像畫到資本主義的慷慨和社會價值的根源。 Day和Rodarmor一起形成了一種罕見的創意配對：藝術家和開發人員，攝影師和協議建築師，同等的荒謬和嚴謹。

One of the collection's most iconic works—featuring Rodarmor himself—is set to headline the Megalith.art auction, a Bitcoin-native sale structure that concludes on June 3rd and will be showcased at both Bitcoin 2025 in Las Vegas and its satellite event, Inscribing Vegas. The piece anchors a broader lineup that includes standout contributions from leading digital artists such as Post Wook, Coldie, Ryan Koopmans, FAR, Rupture, and Harto.

該系列最具標誌性的作品之一（功能強大的Rodarmor本人）將於6月3日結束的比特幣本地銷售結構成為標題，該結構將於6月3日結束，並將在拉斯維加斯及其衛星活動的Bitcoin 2025中展示。該作品奠定了更廣泛的陣容，其中包括來自Post Wook，Coldie，Ryan Koopmans，Far，Rupture和Harto等領先的數字藝術家的出色貢獻。

It’s less an interview than a glimpse into a high-voltage collaboration:

這比瞥見高壓合作的面試少了：

Parker, your photography is known for its bold color, eccentric characters, and fearless exploration of identity and persona. How did this collaboration with Casey come about, and what visual or cultural influences helped shape The FUN! Collection?

帕克（Parker），您的攝影以其大膽的色彩，古怪的角色以及對身份和角色的無畏探索而聞名。這種與凱西的合作是如何出現的，以及哪些視覺或文化影響有助於塑造樂趣！收藏？

PARKER: Casey and I have known each other since high school. You could even say he was one of my first models—I shot his portrait for my sophomore year darkroom photography class. We kept in touch over the years, and in 2017 he encouraged me to turn my ICONS series into crypto art. I passed on that at the time, but in 2021 I did release an Ethereum NFT collection of ICONS. Right after that, Casey called me and said, “Yo! You need to go even bigger! Do 10k!” And I’m like, “You know these are all unretouched and shot on film, but…”

帕克：自高中以來，凱西和我彼此認識。您甚至可以說他是我的第一個模特之一 - 我為我的大二年份暗室攝影課拍攝了他的肖像。多年來，我們保持聯繫，並在2017年鼓勵我將圖標系列變成加密藝術。當時我通過了這一點，但是在2021年，我確實發布了以太坊NFT的圖標集合。此後，凱西打電話給我說：“喲！你需要走得更大！做10k！”我想，“你知道這些都是未經修飾的，並在電影上拍攝，但是……”

With his encouragement and funding, we figured out how to produce 1,000 unique portraits. The visual and cultural influences behind FUN! are too numerous to name—just a mishmash of pop culture that’s been stewing in my brain since childhood.

在他的鼓勵和資金下，我們弄清楚瞭如何製作1,000張獨特的肖像。娛樂背後的視覺和文化影響！命名太多了，這只是一個從小就開始在我的大腦中燉的流行文化的混亂。

The FUN! collection was released under a CC0 license, meaning anyone can reuse, remix, or recontextualize the work without restriction. In a project so rooted in persona, authorship, and performance, what led you to make that decision—and how do you think about authorship or artistic control in the context of open licensing on Bitcoin? What would you find interesting to see done with the collection beyond your original photography methodology? What kinds of reinterpretations or mutations of the collection would genuinely intrigue you?

有趣！收集是根據CC0許可發布的，這意味著任何人都可以重複使用，混音或重新定義工作，而無需限制。在一個植根於角色，作者身份和績效的項目中，是什麼促使您做出決定，以及您如何在對比特幣開放許可的背景下對作者身份或藝術控制？除了您的原始攝影方法之外，您會發現什麼有趣的東西可以看到什麼？收集的哪些重新解釋或突變會真正吸引您？

PARKER: I love it. As an artist, once you create something and it leaves the studio, it’s out of your hands. The audience shapes the work in their own interpretations. You have no control over it. It seems silly to say “this is my IP, you can’t do anything with it.” We live in a world of memes, of reproduction ad infinitum. It seems anachronistic in today’s world to clutch copyright with an iron fist. And it’s perfectly in keeping with the ethos of Bitcoin to make the work CC0. In terms of value, the inscriptions are the scarce collectibles. Even more so than any editioned prints will ever be. Their inscriptions’ provenance is on chain, directly descended from inscription 0. There’s nothing in particular that I’d like to see or not like to see done with FUN! I just hope people find meaning in it, and make meaning from it.

帕克：我喜歡它。作為一名藝術家，一旦您創造了一些東西，並且離開了工作室，它就會脫離您的手。觀眾以自己的解釋來塑造作品。您無法控制它。說“這是我的IP，您對此無能為力。”我們生活在一個模因，無限繁殖的世界中。在當今世界，用鐵拳抓住版權似乎是不合時宜的。而且，這與比特幣的精神相符，可以使工作CC0。就價值而言，銘文是稀缺的收藏品。甚至比任何版本的印刷品都更重要。他們的銘文的出處是在鏈條上，直接從銘文0來到。我只是希望人們在其中找到意義，並從中獲得意義。

You two have an unusual creative relationship: artist and protocol dev, patron and co-conspirator. Casey, you basically invented a new medium to support Parker's work. What does it mean to build something enduring together in a space that often prizes individualism?

你們兩個有不尋常的創造性關係：藝術家和協議開發人員，贊助人和同謀。凱西（Casey），您基本上發明了一種支持帕克（Parker）作品的新媒介。在經常誇大個人主義的空間中建立持久的東西意味著什麼？

CASEY: I love it. I mean—I really love it. Parker and I are super complementary. We each have our own strong wheelhouses, and we’re always engaging with each other’s work, but in this very chill, supportive way.

凱西：我喜歡它。我的意思是 - 我真的很喜歡它。帕克和我非常補充。我們每個人都有自己的強大輪子，我們總是在互相互動，但是以這種非常寒冷，支持的方式。

Like, when we’re shooting, I’ll tell her what I think looks cool or what might work well in the collection—but it’s never directive. It’s more like, "Hey, here’s some data. Do with

就像，當我們拍攝時，我會告訴她我認為看起來很酷或在系列中可以很好地工作，但它從來都不是指示。更像是，“嘿，這是一些數據。