From Gold to Code. Back in 2018, when I was working on Cryptocurrencies (Ramzarzha) Magazine, we came up with a painting I want to talk to you about today — Crow and Wallet. At that time, the term NFT was still a whisper, and very few people had thought about how art could live inside code. For me, it wasn’t just an experiment; it was a question that refused to fade: What happens when imagination meets cryptography? The crow keeps looking for brilliance in a world where value no longer rings in coins but pulses in chains of numbers. The painting Crow and Wallet tells the story of this eternal temptation: a black and cunning bird that has wanted gold for centuries now looks at a new shine — Bitcoin, ciphers that shine without weight. This piece was made in 2018, when the word “NFT” was still new and people were still getting used to the idea of separating art from walls and putting it in data chains. Back then, digital art didn’t have the nerve to go into the world of cryptography. This piece, which has a connection between imagination and philosophy, was one of the first attempts to connect painting and encryption. The Work’s Philosophy and Inspiration Wei Dai’s groundbreaking article from the 1990s, which first introduced the idea of b-money, is where the idea comes from. B-money is a plan for decentralized money that doesn’t rely on banks or governments. But for us, that article was more than just a technical paper; it was a poem in math, a declaration of the right to trust. So, we decided not only to read the article but also to include it in the main part of the work. We wrote it down by hand on small sheets that were ten by ten centimeters and stuck each one to the canvas. This canvas became the sacred ground of the piece: Wei Dai’s text in the layers below, with a picture of crows on top of it. The canvas shows more than just images; it shows a conversation between two worlds: the world of language and the world of code, the world of thought and the world of vision. The Process of Making and Designing In the background of the canvas, words from Wei Dai’s article look like living cells. Every piece is a part of the philosophical DNA of blockchain. Bitcoin letters and numbers are written on this surface, and crows fly around the central image like particles around a bright nucleus. The crows are not enemies or messengers; they are protectors of the code. This bird looks for shiny, metallic pieces in nature, as if it has been looking for gold since the beginning of time. But gold doesn’t have any substance right now. Bitcoin has taken its place, and the crow is still the same: it is still looking for brilliance, but this time in a world without metal, where code, not matter, gives off value. Publication and Reception of the Work Cryptocurrencies Magazine published the article, and it quickly caught the attention of people who are interested in cryptocurrencies. Crow and Wallet was one of the first art projects to explore digital ownership at a time when NFTs didn’t have a clear definition. It seemed like they were trying to write a new law of art before legal language could explain it. This newness and pioneering spirit made the work known not just as a painting but also as a statement of the merging of art and blockchain. Just as Wei Dai’s article started a time of exchange without intermediaries, Crow and Wallet represented art without intermediaries. Selling and Owning the Work Blockchain Master UK then bought the piece for a symbolic and grand price of 102 Bitcoin. At the time of the sale, maybe no one knew that this number would become an art object in its own right, a price that was both money and a symbol of a new era. This purchase moved the canvas from the world of galleries to the world of blockchain, where value is no longer limited to frames but is stored in blocks. NFT . NFA: Creation Continues in Code The painting Crow and Wallet is a pioneering example of NFA (Non-Fungible Art) This theory was first introduced by MoBitSo, who continues to expand and develop this concept, aiming to present and evolve the idea of NFA alongside NFT within the community of enthusiasts and experts in digital art and blockchain. The Crow in a Weightless World: A Final Thought Crow and Wallet shows birds and the Bitcoin symbol, but on a deeper level, it is a metaphor for how human instinct changes. People still look for “brilliance,” just like crows still look for shiny things. The only difference is how they look for it. Gold has turned into data, and data has turned into faith. In a world where people no longer trust banks or governments but instead trust algorithms, art has become cryptographic, just like money. The crow still flies, but now it’s flying through blockchain chains. It doesn’t steal coins anymore; it looks for the private key. Every flight reminds us that value is not in weight but in code. Crow and Wallet is a sign of how civilization has changed from owning things in the real world to owning things in the digital world. Wei Dai’s voice, the murmur of crows, and the steady pulse of blockchain all echo in its depths. This is a world where art and technology are no longer separate. Looking back, Crow and Wallet wasn’t just an artwork—it was a signal, a first spark in a larger conversation about how art transforms when it steps into code. That journey didn’t end in 2018; it continues today through NFA, through the evolving dialogue between creativity and cryptography. In the next stories, I’ll share more about those later discoveries—how digital art found its own form of trust and how new tools are reshaping what we mean by “creation.” For now, I’ll leave you with this: the crow still searches for brilliance—only now, its treasure is not gold, but code.  — MoBitSo Crow and wallet was originally published in Coinmonks on Medium, where people are continuing the conversation by highlighting and responding to this storyFrom Gold to Code. Back in 2018, when I was working on Cryptocurrencies (Ramzarzha) Magazine, we came up with a painting I want to talk to you about today — Crow and Wallet. At that time, the term NFT was still a whisper, and very few people had thought about how art could live inside code. For me, it wasn’t just an experiment; it was a question that refused to fade: What happens when imagination meets cryptography? The crow keeps looking for brilliance in a world where value no longer rings in coins but pulses in chains of numbers. The painting Crow and Wallet tells the story of this eternal temptation: a black and cunning bird that has wanted gold for centuries now looks at a new shine — Bitcoin, ciphers that shine without weight. This piece was made in 2018, when the word “NFT” was still new and people were still getting used to the idea of separating art from walls and putting it in data chains. Back then, digital art didn’t have the nerve to go into the world of cryptography. This piece, which has a connection between imagination and philosophy, was one of the first attempts to connect painting and encryption. The Work’s Philosophy and Inspiration Wei Dai’s groundbreaking article from the 1990s, which first introduced the idea of b-money, is where the idea comes from. B-money is a plan for decentralized money that doesn’t rely on banks or governments. But for us, that article was more than just a technical paper; it was a poem in math, a declaration of the right to trust. So, we decided not only to read the article but also to include it in the main part of the work. We wrote it down by hand on small sheets that were ten by ten centimeters and stuck each one to the canvas. This canvas became the sacred ground of the piece: Wei Dai’s text in the layers below, with a picture of crows on top of it. The canvas shows more than just images; it shows a conversation between two worlds: the world of language and the world of code, the world of thought and the world of vision. The Process of Making and Designing In the background of the canvas, words from Wei Dai’s article look like living cells. Every piece is a part of the philosophical DNA of blockchain. Bitcoin letters and numbers are written on this surface, and crows fly around the central image like particles around a bright nucleus. The crows are not enemies or messengers; they are protectors of the code. This bird looks for shiny, metallic pieces in nature, as if it has been looking for gold since the beginning of time. But gold doesn’t have any substance right now. Bitcoin has taken its place, and the crow is still the same: it is still looking for brilliance, but this time in a world without metal, where code, not matter, gives off value. Publication and Reception of the Work Cryptocurrencies Magazine published the article, and it quickly caught the attention of people who are interested in cryptocurrencies. Crow and Wallet was one of the first art projects to explore digital ownership at a time when NFTs didn’t have a clear definition. It seemed like they were trying to write a new law of art before legal language could explain it. This newness and pioneering spirit made the work known not just as a painting but also as a statement of the merging of art and blockchain. Just as Wei Dai’s article started a time of exchange without intermediaries, Crow and Wallet represented art without intermediaries. Selling and Owning the Work Blockchain Master UK then bought the piece for a symbolic and grand price of 102 Bitcoin. At the time of the sale, maybe no one knew that this number would become an art object in its own right, a price that was both money and a symbol of a new era. This purchase moved the canvas from the world of galleries to the world of blockchain, where value is no longer limited to frames but is stored in blocks. NFT . NFA: Creation Continues in Code The painting Crow and Wallet is a pioneering example of NFA (Non-Fungible Art) This theory was first introduced by MoBitSo, who continues to expand and develop this concept, aiming to present and evolve the idea of NFA alongside NFT within the community of enthusiasts and experts in digital art and blockchain. The Crow in a Weightless World: A Final Thought Crow and Wallet shows birds and the Bitcoin symbol, but on a deeper level, it is a metaphor for how human instinct changes. People still look for “brilliance,” just like crows still look for shiny things. The only difference is how they look for it. Gold has turned into data, and data has turned into faith. In a world where people no longer trust banks or governments but instead trust algorithms, art has become cryptographic, just like money. The crow still flies, but now it’s flying through blockchain chains. It doesn’t steal coins anymore; it looks for the private key. Every flight reminds us that value is not in weight but in code. Crow and Wallet is a sign of how civilization has changed from owning things in the real world to owning things in the digital world. Wei Dai’s voice, the murmur of crows, and the steady pulse of blockchain all echo in its depths. This is a world where art and technology are no longer separate. Looking back, Crow and Wallet wasn’t just an artwork—it was a signal, a first spark in a larger conversation about how art transforms when it steps into code. That journey didn’t end in 2018; it continues today through NFA, through the evolving dialogue between creativity and cryptography. In the next stories, I’ll share more about those later discoveries—how digital art found its own form of trust and how new tools are reshaping what we mean by “creation.” For now, I’ll leave you with this: the crow still searches for brilliance—only now, its treasure is not gold, but code.  — MoBitSo Crow and wallet was originally published in Coinmonks on Medium, where people are continuing the conversation by highlighting and responding to this story