DESIRE Devant

The Hong Kong New Wave footages in DESIRE Devant are especially selected to convey the notion of DESIRE. Through the painstaking craft of Point Cloud visuals vis-à-vis carefully selected static shots from the movies, the different Hong Kong New Wave scenes are transcended into fragmented déjà vu moments that draw the viewers’ eyes into scrutinising the intricate details of such golden scenes, bringing a refreshing point of view into the oeuvre of Hong Kong cinematography.

Why the selected emotion “desire”?

To desire is to want. Wanting to yearn, and always yearning for more. That’s why there are also six sub-desires that gravitate towards our physical needs, of which one of them is the desire to survive. To live is to survive; it’s the primal instinct that found the rest of the seven emotions.

DESIRE would be represented by the symbol of THE HAND (Race: the Indigoes). The hand tells of more humanly feelings than we could have imagined — whether it is an unintentional touch, a simple wave to gesture, or flicking fingers — we all understand the different feelings from the owner of the hand. It’s an easy display of a desire.

The Native Symbol of the DESIRE ARCHETYPE

The Archetype of THE HAND is the AVATAR, whose Native Symbol is represented by the Mayan Resonant Tone of 7 in the family of In-digoes. RESONANT represents the channel to inspire attunement with sacred alignments, and yearning for practical application — the Hand alike. It is the mystical power of Seven that aligns: seven continents, seven wonders, seven chakras, seven planets, seven rays, seven steps of the pyramid, the seven stages of consciousness conjoined, and the seven emotions.

In our next Medium article, we will dive deeper into the connection between the collection of DESIRE, and how we incorporate selected movies from The Hong Kong New Wave cinema movement into our creative process.

-

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

• Article written by __lyre. Cross-posting with BEAM+ LAB, link here.

Medium: __lyre

Linktree: __lyre

— END —

About BEAM+ LAB

BEAM+ LAB is a decentralised film & entertainment universe that revitalises and incubates W2&3 IPs through co-creation and collaboration to unleash their full artistic & commercial potential. With a strong network within the film production industry, BEAM+ LAB reclaims and reignites the international spotlight on film, art and culture.

BEAM+ LAB has raised over USD2.2M in its seed round funding from international blockchain investors with a post-money valuation of USD18M. These investors include those from the web 3 field such as Avalanche and SNZ, as well as Mei Ah Entertainment and family offices who also back Animoca Brands.

LinkedIn: https://www.linkedin.com/company/beampluslab/

A gaze of yearning. The look that you cannot hide on your face. You may be speechless, but those eyes won’t lie. It’s the very same gaze from an infant looking into its mother’s eyes, who yearns for the unconditional sacrifices from she who has given birth to it.

Being the debut collection for CRYPTYQUES, DESIRE is a significantly avant garde representation as the collection stems from the cinematic movement of Hong Kong New Wave. The New Wave Movement is undeniably contemporary whilst at the same time, it originates from creations of a relatively recent past, commenting on the contemporary world with moving pictures after this medium of art first emerged less than a decade ago thanks to the Lumière Brothers.

Overviewing at the broader level in the world of art-making, it would not be a surprising fact to see how different genres in the arts experienced new developments around a similar period of time across the world as New Wave cinema was budding. It was during the 1950s when the world was just relieved from the tensions of WWII, and when the drained minds sought their ways back to the classique as a consequence; the New Wave Movement served as a rebellion against the traditional forms, which were mostly viewed as rigid. The avant garde stylistic direction was hence birthed as a nouveau socio-economic strategy at play: with a low-budget approach on production, cinematographers were forced to seek out for a quintessentially original art form that was made to be produced at the expense of contemporary and economic comfortness.

The European New Wave flourished some 20 years earlier than the Hong Kong New Wave, which inevitably resulted in Hong Kong being the marshland of filmmaking. The European New Wave blossomed in the late 1950s when most of the Hong Kong New Wave filmmakers were born — the boomers as we all know. They were the first generation of people from Hong Kong who had more opportunities to come in touch with the rest of the world as Hong Kong was soon then turned into a melting pot for East and West. It was an age of liberation, of relief, of coming to an awareness in celebration of survival. DESIRE, was therefore, a subsequent fact that reflected the collective agenda. The primal human desire is to survive, and how Hong Kongers had done it, whilst yearning for more, was all evident in the Hong Kong New Wave genre.

In CRYPTYQUES’ collection of DESIRE, the selected footage all belong to the Hong Kong New Wave cinema, which have all been carefully curated to narrate the necessity in portraying such yearnings of primal needs. DESIRE is the first of the 7 Emotions that illustrate the past — a past that you and I are well-familiar with. Such collections of digital works in each of the 7 Emotions, are therefore, fragments of memories — whether personal or collective, they are what we remember. These memories are therefore visually presented in a fragmented way to convey such amaranthine qualities. In the collection, the 3D rendering technique of Point Cloud is adopted to precisely translate such a transcendence, where such a technique is generally more widely used as a modeling technique for practical applications in architectural or interior designs. The DESIRE collection is therefore one of the few pioneers in digital art-making to bond pragmatic technology and art, attempting to bring out the warmer emotional qualities from the colder spectrum of science.

-

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

• Article written by __lyre. Cross-posting with BEAM+ LAB, link here.

Medium: __lyre

Linktree: __lyre

— END —

About BEAM+ LAB

BEAM+ LAB is a decentralised film & entertainment universe that revitalises and incubates W2&3 IPs through co-creation and collaboration to unleash their full artistic & commercial potential. With a strong network within the film production industry, BEAM+ LAB reclaims and reignites the international spotlight on film, art and culture.

BEAM+ LAB has raised over USD2.2M in its seed round funding from international blockchain investors with a post-money valuation of USD18M. These investors include those from the web 3 field such as Avalanche and SNZ, as well as Mei Ah Entertainment and family offices who also back Animoca Brands.

LinkedIn: https://www.linkedin.com/company/beampluslab/

The CRYPTYQUES NFT Series follows the concept of the “7 Emotions”, which includes Desire, Fury, Fear, Joy, Bitterness, Loathe and Love. Each of the seven emotions is a collection of NFTs derived and reinterpreted from classic Hong Kong movies fully authorised by Mei Ah Entertainment Group (for more details about CRYPTYQUES’ project, team, backing company, and partner background, refer to our previous Medium article here).

As of 23 July 2022, the following emotions collection has been released:

• DESIRE (17 June 2022)

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The following data has been extracted on 23 July 2022 and compared with the data extracted on 16 July 2022. Data obtained on 23 July 2022 can be referred to in our previous Weekly Digest dated 10 July 2022 to 16 July 2022.

Data or numerical changes are illustrated with an arrow pointing upwards (“🔼”; illustrating increase); downwards (“🔽”; illustrating decrease); and an equal symbol (“=”; illustrating constant).

DESIRE

Key Summary (17 July 2022 to 23 July 2022)

Official Link: https://opensea.io/collection/cryptyques-desire*

Market Cap:

• Approx. 323 ETH (­🔼 73 ETH)

Floor price:

• 0.21 ETH (­🔼 0.2 ETH) (for common trait) as of 23 July 2022 (approx. 4X)
• 1 ETH ( = ETH) (for luck trait) as of 23 July 2022 (approx. 20X)

Volume traded:

• 133.5 ETH (­🔼 17.5 ETH)

Key Project Updates (from 17 July 2022 to 30 July 2022)

• 19 July 2022: Introducing “Co-Creation” as one of the core values of CRYPTYQUES, and launch of Co-Creation Event — DESIRE Movie Clips x Quotes

*Note that the enclosed link above is the only official link of the CRYPTYQUES “DESIRE” NFT collection. Do not trade in any other links.

Please refer to our previous Weekly Digest for project updates prior to 17 July 2022.

Part 1: Holder Composition

Unique Holders:

• 395 (🔽 2) (approx. 30%)

Diamond Hands:

• Approx. 1,029 never sold since mint (­🔼 29) (approx. 77.9%)
• ^Approx. 152 holdings for 1 to 2 months [NEW] (approx. 11.51%)
• Approx. 31 holdings for 3 to 4 weeks (🔽 99) (approx. 2.35%)

Whales:

• 1 wallet holds a total of 71 (🔽 24) (5.4%) (CRYPTYQUES Team)
• 4 wallets hold a total of 55 (­🔼 14) (4.2%) (includes Mr. Ghost (mrghostmintfun))
• 68 wallets hold a total of 381 (🔼­ 89) (29%)
• 207 wallets hold a total of 696 (🔽 84) (53%)

Blue Chip Holders*:

• 15 (🔽 1) (approx. 3.77%) holding a total of 54 (­🔼 1)

*Note: “Blue chip projects” refers to projects with: (a) at least 10,000 ETH in volume, and (b) floor price greater than 2 ETH — as defined by coniun.io.

^Note: New data entry.

Part 2: Pricing

Mint price:

• 0.05 ETH (17 June 2022)

Floor price:

• 0.21 ETH (­🔼 0.02 ETH) (for common trait) as of 23 July 2022 (approx. 4X)
• 1 ETH ( = ETH) (for luck trait) as of 23 July 2022 (approx. 20X)

Floor Thinness:

• 41 listings (­🔼 8) to 0.5 ETH Floor Price
• 59 listings (­🔼 22) to 1 ETH Floor Price
• ^68 listings [NEW] to 4.5 ETH Floor Price

^Note: New data entry.

Part 3: Trading Performance

3.1 Overview

Market Cap:

• Approx. 323 ETH (­🔼 73 ETH)

Volume traded:

• 133.5 ETH (🔼­ 17.5 ETH)

3.2. Listing & Sales

DESIRE Listings:

• 68 (🔼­ 18) (approx. 5%) (17 July 2022 to 23 July 2022)

Sales:

• Past 30 days: 172 (🔽 87) (approx. 13%)
• Past 7 days (i.e. 17 July 2022 to 23 July 2022): 24 (🔽 19) (approx. 1.8%)

Benchmarks*: Bored Ape Yacht Club: 697 (🔽 617) (6.97%); Doodles: 208 (­🔼 83) (2.08%); Moonbirds: 95 (­🔼 19) (0.95%)

*Benchmarks (BAYC, Doodles, Moonbirds) data obtained from project transaction data via CryptoSlam, an NFT industry data aggregator backed by Mark Cuban.

Highest Sales: ( = )

• 1 of 1 Desire Devant (luck) (HK$239,400; approx. 25 ETH) (8 July 2022, Sotheby’s Auction)
• Desire 01 #71 (luck) (4.9 ETH) (5 July 2022, OpenSea)
• Desire 01 #111 (luck) (4.88 ETH) (4 July 2022, OpenSea)
• Desire 01 #109 (luck) (4.55 ETH) (5 July 2022, OpenSea)
• Desire 01 #138 (luck) (4.5 ETH) (5 July 2022, OpenSea)
• Desire 01 #154 (luck) (4.5 ETH) (5 July 2022, OpenSea)

Part 4: Rarity Performance ( = )

Luck Traits:

• Desire 01 (21/1320; approx. 1.5%) (Trait Sniper Ranking: #2) ( = )
• Desire 02 (22/1320; approx. 1.7%) (Trait Sniper Ranking: #23) ( = )
• Desire 03 (21/1320; approx. 1.5%) (Trait Sniper Ranking: #45) ( = )
• Desire 04 (30/1320; approx. 2.2%) (Trait Sniper Ranking: #45) ( = )

Common Traits:

• Desire 01 (201/1320; approx. 15%) (Trait Sniper Ranking: #96) ( = )
• Desire 02 (305/1320; approx. 23%) (Trait Sniper Ranking: #278) ( = )
• Desire 03 (402/1320; approx. 30%) (Trait Sniper Ranking: #561) ( = )
• Desire 04 (405/1320; approx. 30%) (Trait Sniper Ranking: #561) ( = )

CRYPTYQUES.DESIRE 1 of 1 “Desire Devant” (LooksRare, 22 July 2022)

Part 5: Holder Profit Leaderboard*

• 0x12e67a4b2E4F5bA4fE739574438981FDbF7247Db (US$10,241.64) (­🔼 US$1,530.64)
• ^0xA7078DdF23D29e9D6e54e34909cD2aC1b33A67c5 (US$8,679.06) [NEW]
• 0x58798038378AD9d60Ca8c4473EA23D66CE6a4608 (US$8,269.61) (­🔼 US$1,318.18)
• ^0x04edD4261D178Ee5f202AfE1475c1738d03112c5 (US$8,128.92) [NEW]
• 0x692Cc3682614E06abb9b7018716A645a1A31C53a (US$7,601.38) (­🔼 US$1,224.07)
• 0x61e8E7BCB660A60A1Ab95b4C10e8e826347B5f03(US$7,428.36) (­🔼 US$904.03)
• ^0x955277A438d84D524a0FC96231A7eFb17194D6f9 (US$7,313.32) [NEW]
• ^0x037FFcE0318320a4f016f0Ab911f95F7a2c6c5ed (US$7,134.37) [NEW]

*Note: Increase or decrease in holder profit is compared with the same wallet address, using data extracted on 16 July 2022 and 23 July 2022.

^Note: New data entry.

-

The above data and statistics were extracted from the following reference sources: nftgo.io; uniq.cx; flips.finance, traitsniper.com, CryptoSlam and OpenSea.

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

*Data compiled by CRYPTYQUES team. Article written by Miss3B

Twitter: twitter.com/miss3bbb

Medium: Miss3B

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

About Mei Ah Entertainment Group

Mei Ah Entertainment Group (SEHK: 391) was established in 1984, and first listed on the Hong Kong Stock Exchange in 1993. It is a market-leading Chinese-language film and TV series distributor and producer in Hong Kong. Mei Ah Entertainment Group has an extensive library of more than 600 Chinese films, including award-winning and blockbuster films. The Group has developed a network of television channels, broadcasting popular films and TV programmes on subscription.

About Wing Shya

Wing Shya is a photographer and director from Hong Kong and founded the award-winning design studio, Shya-La-La Workshop. In 1997, appointed by Film Director Wong Kar-Wai as still photographer and graphic designer; Shya began collaborating with WKW on films Happy Together, In the Mood for Love, Eros and 2046. In Spring 2010, Shya debuted his block-buster feature film, Hot Summer Days and the sequel, Love in Space, which released in Fall 2011. Over the course of the 2010s, Shya continued to work on various videographic projects for commercial initiatives like Sacaii, MOTHER magazine, i-D magazine and musicians like Li Yuchun. Shya was also the first photographer to hold a solo exhibition at the Mori Art Museum in Roppongi Hills, Japan.

Films, Memories, and Time — the CRYPTYQUES trinity defines precisely what CRYPTYQUES is about — or, what our world is about.

As 3D beings, we can only perceive the 2D space-time: simply look around at the objects in your physical world; they are all solids, yes. But take it another step further, what we see as being “3D objects” are simply, 2D shapes with precise shadows and light signal our brains, so that we know that they are solids, not flat surfaces, when in reality we only see the 2D cut-outs.

So then, when it comes to time, it is no wonder that for us, we are here to perceive time as a line: from a dot to another, we connect them using a line; like a train map, or what we usually use as a “timeline”. As this is how we, as humans, perceive time (at least for now).

Lost Stars

Have you every wondered, what if time does not work this way?

The Mayan Galactic Calendar consists of 2 different calendar systems. The first major system is called the Tzolkin calendar, which is made up of 20 seals and 13 tones. The Seals are the pictograms from the Mayan language, which is still a valid written language to date. There are plenty of pictograms in Mayan, but only 20 specific pictograms are being included in the calendar to represent the chronicles of a cyclical myth.

Then comes the 13 Tones, which is the numeric system used by the Mayans. They are simple counting tools and they have been widely used by the Mayan since ancient times. That is why the ancient Mayans have long been known as being gifted mathematically. The 13 tones are simple: 1 is represented by a dot, 2 comes with 2 dots, so on and so forth for 3 and 4, but when it comes to 5, the dots turn into a bar. The numbers for 6–9 bear the same logic, only with a bar at the bottom with additional dots right above the bar. When it comes to 10, there goes 2 bars parallel to each other. The same logic applies to number 11–13, where the Tones of the Tzolkin calendar ends.

The Tzolkin is said to be a cyclical system that was taught to the Mayans by Sirians. There’s no way for us to prove that. But until today, we still know that the system has perfectly coincided with how the two stars from Sirius dance around each other. In other words, it’s true that we are all perhaps lost stars!

With 20 seals and 13 tones added together, we come up with 260 individual units, or KINs. A KIN refers to “a sun”, which accounts for a day, as obviously a day is also a universal unit. However, in the eyes of the Mayans, a KIN can also be a person, an hour, a year, a period of time, an eon — therefore this concept of 260 KINs is widely applicable in many different aspects, and sometimes they can be applied in a way to tell of a prophecy when looking into the “future”.

With that said, each individual being is also a KIN. You acquire a KIN based on the day of your birth. And of course, there are 260 KINs; one shouldn’t be caught in surprise if there’s another person bearing the same KIN. In the language of Mayan, a greeting is said to be In Lak’ech Ala K’in — which literally translates as “You are my other me. What I do onto you, I do onto myself.” So when you greet someone, you are basically greeting yourself!

And yes, Time is ART

Apart from the Tzolkin, there is also the 1328 Moon Calendar. Like we have already come across — the Gregorian Calendar that is widely used today has been tempered quite a lot over the course of history. Even when we look at the Chinese Lunar Calendar, we find 13 moons on average a year! A “month” is definitely named after a “moon”, but somehow we only have 12 months in the Gregorian Calendar, which unfortunately makes the way we look at time disconnected with the course of the celestial cycles and nature.

The 1328 Moon Calendar is even more straight forward: 7 days of a week, 4 weeks a month (a moon!), which makes 28 days a month; then comes 13 moons, hence 1328! When you put 13x28, you get 324, and adding on top 1 day it makes 365 days for an Earth year! This is the beauty of time. Like any other laws in this universe, time is also part of the sacred structure (as it constitutes space!). Therefore, TIME really is ART.

The Earthlings

Legends have said that we are rooted in the Sirius star system for a really big part. Think about the Malé people from East Africa, who have never developed any sort of written documentation apart from drawings, dancing and songs which told about how the fish-like Sirians came to teach them skills. Think about the place of origin with the Epic of Gilgamesh; the Mesopotamia legends of Anu and Enki, again half-fish, half-man beings, came to rule over the land and engineered people, taught them skills and how to farm. Perhaps we have all just been left here to thrive on our own after all these years. It is worth our time now to come across with, once again, the knowledge from an ancestral past.

With the Tzolkin, supposedly a Sirius counting, merging together with the 1328 Moon Calendar; we understand how at least these ancient, alien colonisers meant to cultivate humans and Earth with some good deeds of assimilation and adapting. We might have already forgotten what took place eons and eons ago; but we shall always remember that, we are Earthlings that we shall bear the collective wisdom all the way from the distant past. Our job is to be here, learn and understand, and honour the great beauty all around us here on Earth. And let’s begin by taking a small step, to understand the beautiful structure of 5D time!

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

Let us remind ourselves on the Trinity of CRYPTYQUES — FILMS, MEMORIES and TIME work intricately together set as the founding tripod of CRYPTYQUES. The final element — TIME — would be the most intriguing. We all know about TIME. We all learn to tell time as a child: half-past, quarter-past, ten-to-ten; the way we see the world was never the same since then.

But perhaps the time before we could tell time, was genuine time itself. Or at least, they were genuinely good times. As the saying goes — once upon a time, there was no time.

03 TIME — Time is Art

The World of CRYPTYQUES adopts the time unit system devised by the Mayans — The Tzolkin. However, such a system in perceiving time was not entirely invented by the Mayans; it was actually a widely adopted calendrical system circa 5 B.C. and the Mayans refined the details of it and naming it Tzolkin. Therefore, CRYPTYQUES would be mainly founded on this system of Tzolkin telling units of time, which is specifically called the Mayan Galactic Calendar, instead of the rest of the derivatives of the calendrical system in the past. The Mayan Galactic Calendar is also widely known as, Time is Art — just that we have now forgotten the beauty of time, doesn’t mean that we should not see the beauty again.

First and foremost, it would be important for us to take note of the basis of Tzolkin in relation to the world over 2,000 years ago. First of all, it is important to remember that before the Tzolkin was devised, the Omecs and the Aztecs were already telling days and years using a similar calculation of Earth days and years. It has been specified by these Native American cultures that the calendar works on a 260-unit basis and will hence come back into a new cycle after 260 units. This is called the 13:20 system, which is constructed of 13 tones (Mayan numbers) and 20 seals (Mayan glyphs). On the other hand, though, there is also the 13:28 system — 13 moons and 28 days, which are made up of 7 days x 4 weeks. This gives the time units in relation to the Earth’s revolution around the Sun and her relationship with the Moon. When 13 is multiplied by 28, we have 364 units, which corresponds nicely (almost perfectly) with the days that take Earth to go around the Sun.

Like many other ancient civilizations, the Tzolkin points to the time-mark of July 26 every year being the new year. A similar time frame (July 20–29) for the New Year is also applicable to the Ancient Egyptians and the Islams, of which they all refer to the heliacal rising of Sirius, a star system that is believed to play an important role in the non-mainstream history of humans. For the Mayans, it was quite an apparent belief for them that they had been taught such a calendrical system eons and eons ago by their ancestors from Sirius, and then they all of a sudden disappeared from Terrestrial life. Subsequently, the 13:20 time unit cycle is used; it is mainly referring to how Sirius comes back to an original point in a cycle of 52 years, and hence the calendar of unit is devised based on this cyclical system. When we look at the Gregorian calendar that is generally adopted today; we would notice how the time units have been modified to suit the needs of society.

For instance, the months of July and August are named after Julius Caesars and Augustus Caesars, hence pushing back October (which is supposed to be referring to the 8th month) all the way to the 10th month of a year. Second of all, the word “calendar” is derived from the greek word “calends”, which other than representing a new start of the month, it also represents that it is time to pay off debts and taxes, all well-recorded in their books called kalendaria. The third matter as an evidence that the Gregorian calendar has been interfered for societal needs is the concept of leap year. The extra day on February 29 recurs only every 4 years and it is fairly inconvenient for us to keep track of, and it becomes a rather strange notion for some people to be born on that day and being unable to keep track of their birthdays officially. The reason again has to be traced back to Julius and Augustus, who tempered with the days of February that left the month awkwardly incomplete. Together with the traditional Roman beliefs in the bad omens of February, which largely accounted for such a tempering by many through history; the Gregorian calendar is inescapable from the fact that a cyclical perfection is lacked due to societal interferences that has a lot to do with “money”. This is known to be the foundation to the belief that Time is Money. If you’d ever asked why we are like dogs chasing their tails, the Gregorian calendar could have been the biggest scapegoat.

On the other hand though, when we are looking at the Mayan calendar and the Tzolkin; the idea of 13:28 is made easily understandable and fit rather perfectly to how we experience time on Earth. We live on regardless of the 0.25 extra day that was worked out mathematically with precisions. As we look at the sun rises, we know it is another day. Like how it has been proposed about the language you speak routes the way you thought; the way how humans look at days and time also routes the way we think of our surroundings: we believe in Time is Money when the Gregorian calendar has been widely adopted for use. This is however demonstrated by the Tzolkin that it is not entirely true. While 13x28 gives 364 units; the Mayans give it an extra day before their new year on July 25, naming it the Day Out of Time. It is a day without units, without work, when everyone puts down whatever they have been doing to prepare for a true celebration and to welcome the new year. The Mayan cyclical calendars, therefore, presents the beauty of time in a very swift and graceful manner. This is the foundation to the belief that Time is Art.

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

What do films have to do with US? And why do we prefer films to books? And why would we, after 200 years and counting, still clinging onto this ever-fascinating mode of entertainment — the motion pictures?

CRYPTYQUES has all the reasons making us understand the permanence of films. It is a form of documentation of our existence engraved with emotions. And there, without being able to remember the happenings, emotions couldn’t have existed in such permanence. Only because of memories that we are able to recall the feelings down the memory lane.

And now, let us take a deep dive into the first twos of the CRYPTYQUES Trinity pillars: FILMS x MEMORIES.

01 FILMS: The Art of Time

It is a rather apparent and at the same time interesting perspective to decipher FILMS in accordance of time. Films work within and without the limitation of time, if you give it a second thought. The construct of storytelling could only be perceived as in analog information, meaning that the process of a film’s narrative has to be perceived in a linear manner regardless of speed. The analog quality denotes the framework of films regardless of length, genre, or the medium for documentation. This analog information quality is not affected by how the film data is being recorded. Even on a DVD when film data is recorded digitally, the human perception could only perceive such information analogously in order to make sense out of it. Otherwise, such a narrative becomes entirely fragmented.

That was just films working within the limitation of time, when in fact films do work without such. Very often, the magic of film editing would put us into point of views that transcend time and space. We watch almost half of the life of the fictional character, Forrest Gump, lived out within 142 minutes, and when it is necessary to summarise the happenings overtime, montage kicks in with upbeat music that saves the day. Or think about watching the Clockwork Orange that sets one in the limbo for 136 minutes, walking out of the pitch dark movie theatre with questions left without answers to. We had all been there and done so, simply because of the cinematic magic that films have brought for us — the bona fide Cinema Paradiso.

Our latter argument here is a paradox against the first: films work without the limits of time. In Interstellar, Brand explains to Cooper on time when she says,

Time is relative, okay? It can stretch and it can squeeze, but… it can’t run backwards. Just can’t. The only thing that can move across dimensions, like time, is gravity

How easy has she summarised the concept of time presented by films? We do fiddle with the art of time being masters in creating movies. In other words, even if we are no scientists, we are in a way capable to “move across dimensions”, just like time or gravity are both capable of — we’ve got films that encapsulate all.

This is the first layer of encryption brought by the time magic of films.

02 MEMORIES: The Paradoxical Art of Time Perception

Earlier we were talking about films work within the limits of time of being analogous. This is all because of how the nature of films is also an art representation that tries to mimic the human perception. We perceive our world in an analogous way, hence we feel the passage of time. However, what we have perceived very often become fragmented when we try to recall the happenings from our memories: how often we fail to remember the tiniest detail from the past, regardless of how long ago it was. We perceive happenings like movies — an analogous way to information processing. But our memories are just like what is digitally burnt on a DVD without a proper play button: we tend to access memories in fragments and hence in dreams, we always only recall the tidbits that haunt or hush us through the night, waking up being left without any clues of what is actually going on.

It is such a paradox itself of how humans process information versus storing information, and it is also said that we do not remember simply because we do not have the proper cues to recall the corresponding “files”from the “archive”. So even for people who have strong photographic memory, their “cues” would not be 100% fool proof. Perhaps our memories are built to be flawed for the greater good. Even though our memories might fail us; the imperfection makes it the art a happy accident perhaps — our Memories are definitely time’s art. And therefore, it is CRYPTYQUES’ mission to recollect fragments of memories in the form of different digital assets from films, in order for us to decode our roles (or vice versa). This is a process of forget for getting.

Memories, is therefore the second layer of encryption as Films have encapsulated 7 Emotions in compensating the flawed art of time — our memories.

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

CRYPTYQUES is structured on a tripod of pillars — Films, Memories, and Time. The 3 pillars are closely intermingled with one another, hence forming a solid foundation to birth the rest of the conceptual and visual elements of CRYPTYQUES. Films have been a format of art capturing what is uniquely human — our emotions, and Memories, as a dependant variable of time, could be meaningful either to an individual or a collective. And finally, Time. The passage of time is what makes and defines humans, making our experiences and existence valid.

The 3 pillars of CRYPTYQUES work hand-in-hand to present the different phases that they individually represent — PAST, PRESENT, and FUTURE. Nevertheless, as you can see it visually how the 3 pillars are interconnected with each other like a trinity of circles; it is necessary to perceive the 3 as being a whole after all.

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

Q1: What is the team’s main strategy to boost for project success in the longer term under the high fluctuation market?

A1: The team drives up confidence by investing into:

• Technical capabilities by sharing own industry insights (e.g. our CTO has strong tech abilities in web2 & managed products valued 1 billion IRL and is able to convert such experience to web3)
• Growth capabilities by building & growing our community

Q2: What are the project’s core values that attracts and convinces the community & investors to support you?

A2: First, to build a project with MOVIES as the core focus and an ecosystem OUTSIDE of NFTs, eventually building IPs on an international level.

Second, to create pieces/ work/ creations that can be enjoyed by all — we are confident that we can achieve this, of course with our community’s support.

Third, to communicate & create by producing a Hollywood-grade movie which is powered by NFTs — with many partnerships in the pipeline to be rolled out one by one shortly.

Q3: What is the team’s way of handling liquidity and pricing concerns of the NFT?

A3: The value of an NFT is dependent on three aspects: liquidity, pricing & creation. Never look at just the pricing & trading volume. Why? The following items are not reflected directly via pricing & trading volume:

• Project’s ability to innovate & integrate web2 and web3 IPs
• Diamond hands (not willing to sell at existing FP)
• Project nature — arts-based projects generally have lower liquidity than hype projects, but existence of diamond hands and steady increase of pricing = proof of project strength

Do not purely analyse project quality via short-term (liquidity & floor price) metrics. Be calm and less anxious and observe on a longer & more holistic point of view, e.g. considering team’s background, design, etc.

Q4: Will “Nomad 4K Remastered Version” be broadcasted in movie theatres?

A4: Yes — date TBA but may be in September or October. CRYPTYQUES Discord members have (and had) early access to watch the 4K Remastered movie.

Q5: How did the project start-off?

A5: The NFT hype ignited our passion in creating an alternative pathway for creatives to create & innovate. We wanted to create a project that has a long and strong product lifecycle — something that can still demonstrate artistic value and touch people’s heart after 10–20 years.

The implications of this is that we needed a strong creative team with strong aesthetics & network — thus creating work that has the value of being a collectible.

Q6: What if I did not mint CRYPTYQUES.DESIRE? What should I do?

A6: You can buy the DESIRE Collection on OpenSea. Beware of fake links! In the meantime, our entire CRYPTYQUES story revolves around the 7 Emotions — which means we still have 6 more NFT drops. Stay tuned for the next NFT drop and updates!

Official OpenSea: https://opensea.io/collection/cryptyques-desire

Website: cryptyques.com

Instagram: https://instagram.com/cryptyques

Twitter: https://twitter.com/cryptyques

Discord: https://discord.gg/beamplus

*Content compiled by Miss3B

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

About Mei Ah Entertainment Group

Mei Ah Entertainment Group (SEHK: 391) was established in 1984, and first listed on the Hong Kong Stock Exchange in 1993. It is a market-leading Chinese-language film and TV series distributor and producer in Hong Kong. Mei Ah Entertainment Group has an extensive library of more than 600 Chinese films, including award-winning and blockbuster films. The Group has developed a network of television channels, broadcasting popular films and TV programmes on subscription.

About Wing Shya

Wing Shya is a photographer and director from Hong Kong and founded the award-winning design studio, Shya-La-La Workshop. In 1997, appointed by Film Director Wong Kar-Wai as still photographer and graphic designer; Shya began collaborating with WKW on films Happy Together, In the Mood for Love, Eros and 2046. In Spring 2010, Shya debuted his block-buster feature film, Hot Summer Days and the sequel, Love in Space, which released in Fall 2011. Over the course of the 2010s, Shya continued to work on various videographic projects for commercial initiatives like Sacaii, MOTHER magazine, i-D magazine and musicians like Li Yuchun. Shya was also the first photographer to hold a solo exhibition at the Mori Art Museum in Roppongi Hills, Japan.

The CRYPTYQUES NFT Series follows the concept of the “7 Emotions”, which includes Desire, Fury, Fear, Joy, Bitterness, Loathe and Love. Each of the seven emotions is a collection of NFTs derived and reinterpreted from classic Hong Kong movies fully authorised by Mei Ah Entertainment Group (for more details about CRYPTYQUES’ project, team, backing company, and partner background, refer to our previous Medium article here).

As of 16 July 2022, the following emotions collection has been released:

• DESIRE (17 June 2022)

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The following data has been extracted on 16 July 2022.

DESIRE

Key Summary (Week 10 July 2022 to 16 July 2022)

Market Cap:

• Approx. 250 ETH

Floor price:

• 0.19 ETH (for common trait) as of 16 July 2022 (approx. 4X)
• 1 ETH (for luck trait) as of 16 July 2022 (approx. 20X)

Volume traded:

• 116 ETH

Key Project Updates (historical to 16 July 2022)

• 5 July 2022: Debuted OpenSea Top NFTs Leaderboard. Ranked 2nd in 24h Trading %; Ranked 19th in 7d Trading %

• 8 July 2022: Sotheby’s Auction of 1 of 1 Desire Devant, sold at approx. 25 ETH

• 13 July 2022: Total trading volume on OpenSea exceeds 100 ETH

Official Link*: https://opensea.io/collection/cryptyques-desire

*Note that the enclosed link above is the only official link of the CRYPTYQUES “DESIRE” NFT collection. Do not trade in any other links.

Part 1: Holder Composition

Unique Holders:

• 397 (approx. 30%)

Diamond Hands:

• Approx. 1,000 never sold since mint (approx. 82%)
• Approx. 130 holding for 3 to 4 weeks (approx. 10%)

Whales:

• 1 wallet holds a total of 95 (7.2%) (CRYPTYQUES Team)
• 3 wallets hold a total of 41(3.1%) (includes Mr. Ghost (mrghostmintfun))
• 52 wallets hold a total of 292 (22%)
• 228 wallets hold a total of 780 (59%)

Blue Chip Holders*:

• 16 (approx. 4%) holding a total of 53

*Note: “Blue chip projects” refers to projects with: (a) at least 10,000 ETH in volume, and (b) floor price greater than 2 ETH — as defined by coniun.io.

Part 2: Pricing

Mint price:

• 0.05 ETH (17 June 2022)

Floor price:

• 0.19 ETH (for common trait) as of 16 July 2022 (approx. 4X)
• 1 ETH (for luck trait) as of 16 July 2022 (approx. 20X)

Floor Thinness:

• 33 listings to 0.5 ETH Floor Price
• 37 listings to 1 ETH Floor Price
• 50 listings to 5 ETH Floor Price

Part 3: Trading Performance

3.1 Overview

Market Cap:

• Approx. 250 ETH

Volume traded:

• 116 ETH

3.2. Listing & Sales

DESIRE Listings:

• 50 (approx. 4%) (10 July 2022 to 16 July 2022)

Sales:

• Past 30 days: 259 (approx. 20%)
• Past 7 days (i.e. 10 July 2022 to 16 July 2022): 43 (approx. 3.2%)

Benchmarks*: Bored Ape Yacht Club: 131 (1.31%); Doodles: 125 (1.25%); Moonbirds: 76 (0.76%)

*Benchmarks (BAYC, Doodles, Moonbirds) data obtained from project transation data via CryptoSlam, an NFT industry data aggregator backed by Mark Cuban.

Highest Sales:

• 1 of 1 Desire Devant (luck) (HK$239,400; approx. 25 ETH) (8 July 2022, Sotheby’s Auction)
• Desire 01 #71 (luck) (4.9 ETH) (5 July 2022, OpenSea)
• Desire 01 #111 (luck) (4.88 ETH) (4 July 2022, OpenSea)
• Desire 01 #109 (luck) (4.55 ETH) (5 July 2022, OpenSea)
• Desire 01 #143 (luck) (4.49 ETH) (5 July 2022, OpenSea)
• Desire 02 #187 (luck) (4 ETH) (4 July 2022, OpenSea)

Part 4: Rarity Performance

Luck Traits:

• Desire 01 (21/1320; approx. 1.5%) (Trait Sniper Ranking: #2)
• Desire 02 (22/1320; approx. 1.7%) (Trait Sniper Ranking: #23)
• Desire 03 (21/1320; approx. 1.5%) (Trait Sniper Ranking: #45)
• Desire 04 (30/1320; approx. 2.2%) (Trait Sniper Ranking: #45)

Common Traits:

• Desire 01 (201/1320; approx. 15%) (Trait Sniper Ranking: #96)
• Desire 02 (305/1320; approx. 23%) (Trait Sniper Ranking: #278)
• Desire 03 (402/1320; approx. 30%) (Trait Sniper Ranking: #561)
• Desire 04 (405/1320; approx. 30%) (Trait Sniper Ranking: #561)

Part 5: Holder Profit Leaderboard

• 0x12e67a4b2E4F5bA4fE739574438981FDbF7247Db (US$8,711.5)
• 0x58798038378AD9d60Ca8c4473EA23D66CE6a4608 (US$6,951.43)
• 0x61e8E7BCB660A60A1Ab95b4C10e8e826347B5f03 (US$6,524.33)
• 0x692Cc3682614E06abb9b7018716A645a1A31C53a (US$6,377.31)
• 0x037FFcE0318320a4f016f0Ab911f95F7a2c6c5ed (US$6,216.32)
• 0x8dD85f9F5E77cED40c1Af5686f378B5a8b7513F2 (US$6,131.67)
• 0x13142A413b5F9739DFFd0b902e15a0BF3ABC105e (US$5,347.53)
• 0x709ecE96365f5065Cc6ea79F85B7aDf6DB5035c9 (US$4,833.11)

-

The above data and statistics were extracted from the following reference sources: nftgo.io; uniq.cx; flips.finance, CryptoSlam and OpenSea.

Website: cryptyques.com

Instagram: instagram.com/cryptyques

Twitter: twitter.com/cryptyques

Discord: https://discord.gg/beamplus

*Data compiled by CRYPTYQUES team. Article written by Miss3B.

Twitter: twitter.com/miss3bbb

Medium: Miss3B

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/

About Mei Ah Entertainment Group

Mei Ah Entertainment Group (SEHK: 391) was established in 1984, and first listed on the Hong Kong Stock Exchange in 1993. It is a market-leading Chinese-language film and TV series distributor and producer in Hong Kong. Mei Ah Entertainment Group has an extensive library of more than 600 Chinese films, including award-winning and blockbuster films. The Group has developed a network of television channels, broadcasting popular films and TV programmes on subscription.

About Wing Shya

Wing Shya is a photographer and director from Hong Kong and founded the award-winning design studio, Shya-La-La Workshop. In 1997, appointed by Film Director Wong Kar-Wai as still photographer and graphic designer; Shya began collaborating with WKW on films Happy Together, In the Mood for Love, Eros and 2046. In Spring 2010, Shya debuted his block-buster feature film, Hot Summer Days and the sequel, Love in Space, which released in Fall 2011. Over the course of the 2010s, Shya continued to work on various videographic projects for commercial initiatives like Sacaii, MOTHER magazine, i-D magazine and musicians like Li Yuchun. Shya was also the first photographer to hold a solo exhibition at the Mori Art Museum in Roppongi Hills, Japan.

-

NFT NYC was held in the city centre of New York, with side events, talks, exhibitions and booths widespread across several locations across the entire week.

Due to personal reasons, I actually arrived halfway through the conference. My first stop was at New York’s Marriot Marquis where most of the sponsors’ booths were located at. CRYPTYQUES had the privilege to share the booth space with another international NFT project.

The booth area was packed with people — from other NFT and web 3 projects; neighbouring booths; general entries; plenary sessions… The commonality was that everyone was excited and eager to make friends and build connections in the web 3 space.

Many passerby were intrigued by the idea of CRYPTYQUES in reliving classic Hong Kong movies into NFTs — in fact, many of them were also fans of Hong Kong’s culture. Great relationships were built with like-minded individuals and projects, and some undergoing collaboration discussions (so stay tuned)!

In addition to interacting with people who passed by CRYPTYQUES’ booth area, I also took the chance to walk around the 8-storey hotel to look at other booths and speak to different people.

Project booths were not all — there were also a tremendous number of offline events (such as drinks & shows) and exhibitions. I went to the “Into the Metaverse” Exhibition by Ready Player Me, Spatial, The Fabricant (project best well-known to be in collaboration with leading NFT female-founded & empowerment project, World of Women).

The exhibition was free of charge, so registrants simply lined up to enter the exhibition venue one by one. Many project collaboration with leading web 2 (retail) brands were featured as well, alongside metaverse prototypes and videos. There was also a designated space for speakers to interact with the audiences.

With the outbreak of the pandemic, it was not easy to connect with NFT and web 3 partners offline. Despite the short stay, NFT NYC was overall a fruitful and eye-opening experience as I was able to feel the openness and strong embracement towards the NFT culture was strong. Looking forward to the next conference — and hope to see you all there too!

(The above article is written by Phoebe. Views do not represent the official position of CRYPTYQUES.)

Website: cryptyques.com

Instagram: https://instagram.com/cryptyques

Twitter: https://twitter.com/cryptyques

Discord: https://discord.gg/beamplus

*Content compiled by Miss3B

Twitter: https://twitter.com/miss3bbb

Medium: Miss3B

— END —

About BEAM+ LAB

BEAM+ LAB is a collective of creatives based in Hong Kong with vast experience in blockchain technology and entertainment. With a strong network within the HK film production industry, BEAM+ LAB is able to reclaim and reignite the international spotlight on Hong Kong’s film, art and culture, by paying tribute and reinventing Hong Kong’s golden era of films that have amassed an international cult following.

LinkedIn: https://www.linkedin.com/company/beampluslab/