So, as @saylor used a great analogy like artists do, he utilized fat's transformative ability as bold beside #bitcoin as digital energy.
One remarkable artist from the 20th century who employed fat as his medium was #josephbeuys. 👇
When trading as an artist, one must delve deeper to create something new by observing culture and society; while some artists depict reality figuratively, others (like myself) engage in more conceptual art, where the right side of the brain leads into allegories and metaphors that provide a platform for self-discovery.
We use materials as "representations," not necessarily realistically, but rather symbolically.
I like to believe that bitcoin opens up multiple ways of thinking, particularly for synthesizing minds.
Joseph Beuys employed fat as a primary material during his performances.
A World War II pilot who was shot down in Russia, Joseph Beuys described his mythical rescue by a small community of nomadic Tatars as the defining moment in his life as an artist, asserting that the nomads kept him alive and warm by wrapping him in felt and rubbing fat into his skin.
For Beuys, one of the most important artists of the second half of the twentieth century, felt and fat came to symbolize survival as well as physical and spiritual nourishment, permeating his work.
In Felt Suit, he evokes the absent figure of the artist as a healer, capable of caring for and transforming his audience and society.
Image below:
- Original Title: Fettstuhl
- Date: 1964; Germany
- Style: Conceptual Art
- Genre: Installation, Object
Worth reading the whole article 👇
Excerpt from a great essay by Donald Kuspit for art forum summer 1991
https://www.artforum.com/features/joseph-beuys-the-body-of-the-artist-204066/
[…]
Beuys did not see the herd as all bad. Unlike Nietzsche, who was so perpetually anxious about his autonomy that he asserted it vigorously and megalomaniacally against a social herd he imagined as dumb and passive, Beuys found his autonomy in symbiotic merger with his audience rather than in opposition to it. He moved fluidly, and in both directions, along the continuum between herd and autonomy, intimacy and individuality.
Beuys’ “totalized concept of art” involved the sense that what had become “hardened” by life originated “out of the fluid process” and could be returned to it to be re-formed. What had “solidified,” like congealed fat or wax, had only to be softened by artistic warmth to be given a more human form. Beuys intended this principle to be applied “not only to artistic forms, but also to social forms or legal forms or economic forms, or also agricultural problems . . . or educational problems.” For him, art brought together “every man’s possibilities to be a creative being and . . . the question of [the form of] the social totality.”7 The idea that individual and social health are inseparable is crucial to this concept. For Beuys, art was a process of simultaneous self- and social healing. He meant to cure, through artistic warmth, Germany’s pathological hardening into a totalitarian regime during his childhood
[…]
For Beuys, the bee’s metamorphosis of honey into honeycomb was the “primary sculptural process,” and as such the model for all artmaking, personal and social. In this belief he followed the anthroposophist Rudolf Steiner, who saw the life process exemplified in the bee’s transformation of honey—”chaotic, flowing” material, the embodiment of “spiritual warmth” and as such an inexhaustible source of energy—into “crystalline sculptures . . . regular geometric forms.” The honeycomb was for Beuys “the negative of a rock crystal.”
#plebchain 
