帕克·戴（Parker Day）和凯西·罗德摩尔（Casey Rodarmor）的乐趣！收集是摄影最大主义和协议级创新的前所未有的综合

该系列充满了Day的大胆调色板，超现实的角色和分层的身份游戏，由Rodarmor作为Ordinals协议的创建者的基本角色锚定。

"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.

“乐趣！是摄影最大主义和协议级创新的前所未有的综合，这是一项独立于比特币本地艺术的景观中的作品。充满了Day Day的大胆调色板，超现实的性格和分层的身份玩耍的饱和，Rodarmor在Rodarmor的基础上是固定的。序言协议 - 将其标记为数字艺术佳能的本体论点。

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.

现在，随着两种合作者的新思考，这次访谈都扩展了，探索了项目的更深层次的意识形态方面，从无信任拍卖的机制到艺术补偿的伦理学，从职业摔跤和肖像画到资本主义的慷慨和社会价值的根源。 Day和Rodarmor一起形成了一种罕见的创意配对：艺术家和开发人员，摄影师和协议建筑师，同等的荒谬和严谨。

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.

该系列最具标志性的作品之一（功能强大的Rodarmor本人）将于6月3日结束的比特币本地销售结构成为标题，该结构将于6月3日结束，并将在拉斯维加斯及其卫星活动的Bitcoin 2025中展示。该作品奠定了更广泛的阵容，其中包括来自Post Wook，Coldie，Ryan Koopmans，Far，Rupture和Harto等领先的数字艺术家的出色贡献。

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

这比瞥见高压合作的面试少了：

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），您的摄影以其大胆的色彩，古怪的角色以及对身份和角色的无畏探索而闻名。这种与凯西的合作是如何出现的，以及哪些视觉或文化影响有助于塑造乐趣！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：自高中以来，凯西和我彼此认识。您甚至可以说他是我的第一个模特之一 - 我为我的大二年份暗室摄影课拍摄了他的肖像。多年来，我们保持联系，并在2017年鼓励我将图标系列变成加密艺术。当时我通过了这一点，但是在2021年，我确实发布了以太坊NFT的图标集合。此后，凯西打电话给我说：“哟！你需要走得更大！做10k！”我想，“你知道这些都是未经修饰的，并在电影上拍摄，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.

在他的鼓励和资金下，我们弄清楚了如何制作1,000张独特的肖像。娱乐背后的视觉和文化影响！命名太多了，这只是一个从小就开始在我的大脑中炖的流行文化的混乱。

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！收集是根据CC0许可发布的，这意味着任何人都可以重复使用，混音或重新定义工作，而无需限制。在一个植根于角色，作者身份和绩效的项目中，是什么促使您做出决定，以及您如何在对比特币开放许可的背景下对作者身份或艺术控制？除了您的原始摄影方法之外，您会发现什么有趣的东西可以看到什么？收集的哪些重新解释或突变会真正吸引您？

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：我喜欢它。作为一名艺术家，一旦您创造了一些东西，并且离开了工作室，它就会脱离您的手。观众以自己的解释来塑造作品。您无法控制它。说“这是我的IP，您对此无能为力。”我们生活在一个模因，无限繁殖的世界中。在当今世界，用铁拳抓住版权似乎是不合时宜的。而且，这与比特币的精神相符，可以使工作CC0。就价值而言，铭文是稀缺的收藏品。甚至比任何版本的印刷品都更重要。他们的铭文的出处是在链条上，直接从铭文0来到。我只是希望人们在其中找到意义，并从中获得意义。

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?

你们两个有不寻常的创造性关系：艺术家和协议开发人员，赞助人和同谋。凯西（Casey），您基本上发明了一种支持帕克（Parker）作品的新媒介。在经常夸大个人主义的空间中建立持久的东西意味着什么？

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.

凯西：我喜欢它。我的意思是 - 我真的很喜欢它。帕克和我非常补充。我们每个人都有自己的强大轮子，我们总是在互相互动，但是以这种非常寒冷，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，当我们拍摄时，我会告诉她我认为看起来很酷或在系列中可以很好地工作，但它从来都不是指示。更像是，“嘿，这是一些数据。