{ "schema": "ab5d-series-essay/1", "identity": { "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "projectId": 342, "slug": "being-yourself-while-fitting-in-by-lia", "title": "Being Yourself While Fitting In", "artistCredit": "LIA", "artistDossierUrls": [] }, "revision": 2, "researchCutoff": "2026-09-20", "status": "published-with-research-limitations", "facts": [], "rights": { "artwork": { "reportedLabel": "CC BY-NC-ND 4.0", "category": "creative-commons", "termsUrl": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "observedAt": "2026-09-19", "sourceIds": [], "note": "Label copied from projects_metadata.license. Unversioned CC strings are not inferred as 4.0.", "unresolvedConflicts": [] }, "code": { "reportedLabel": null, "category": "unknown", "termsUrl": null, "observedAt": "2026-09-19", "sourceIds": [], "note": "No separate artist-code licence field was present on the project record.", "unresolvedConflicts": [] }, "thirdParty": [ { "name": "p5.js 1.0.0", "reportedLabel": "LGPL-2.1 (p5.js project license; confirm version-specific notice)", "category": "custom", "termsUrl": "https://github.com/processing/p5.js/blob/main/license.txt", "observedAt": "2026-09-19", "sourceIds": [], "note": "Runtime declared script_type_and_version p5@1.0.0. p5.js is third-party; the artist program is a separate rights object.", "unresolvedConflicts": [] } ] }, "sections": [ { "id": "the-work-and-its-context", "heading": "The work and its context", "bodyMarkdown": "Being Yourself While Fitting In is project 342 on the Art Blocks contract `0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270`. The index records 56 invocations against a maximum of 56, the runtime `p5@1.0.0`, a 16:9 aspect ratio, the Factory vertical and the licence `CC BY-NC-ND 4.0` [^S01]. Art Blocks presents it as an \"Art Blocks 500\" release in the Factory category, dated 15 August 2022 [^S02].\n\nEach output is a row of vertical columns on black. Every column is built from thousands of translucent, stacked copies of one simple shape: a diamond, a triangle or an arrow. The stacks pile up into glowing shafts, cut through by opaque black layers. Once drawn, the columns sway and bend, some moving while others hold still [^S01]. The piece is animated and pauses on a click or tap. Its record carries a photosensitive-epilepsy warning [^S01].\n\nLIA's text frames the movement as social. The work visualises \"the tension between social conformity and self-expression\". It adds: \"As long as we share space with others, we must always think about how our actions fit in with those of the people around us\" [^S01].\n\nLIA is an Austrian artist based in Vienna, born in Graz. She has made software art since 1995, beginning with net art sites such as re-move.org and turux.at [^S03]. Her awards include a Prix Ars Electronica Award of Distinction (2003) and the Austrian Outstanding Artist Award for video and media art (2017) [^S03]. This was her second Art Blocks Factory project, after \"little boxes on the hillsides, child\" (project 185, 777 outputs) [^S01]. The artist address in the index, `0xf48e…a0fe`, is LIA's Art Blocks profile [^S04]." }, { "id": "conception-and-development", "heading": "Conception and development", "bodyMarkdown": "The project description says the piece \"began as a formal study in composition using simple layered shapes\". It \"took on a life of its own\" once LIA began experimenting with animation [^S01]. It \"extends her signature process of overlapping simple shapes in complex ways\", with \"a new quality of motion to paint and re-paint the composition\" [^S01]. LIA's own project page, added to her site in 2025 with eight stills and a Vimeo video, speaks of shapes that \"move between states of chaotic freedom and harmonious alignment\" [^S05].\n\nThe work sits within a run of on-chain pieces that LIA lists on her site. Her NFT page calls them \"a natural extension of her decades-long practice in software art\" [^S06]. They include \"dada data\" for Feral File's Social Codes (2021) and, in the same year as this piece, \"How And How Not To Maintain Friendships\" on fxhash. The fxhash work treats friendship as gravitational pull between points [^S06][^S07]. Both 2022 works, then, give a social relationship a visual form. In an interview with Clot Magazine, LIA describes her method as \"going with the flow\" rather than planning every step, keeping the programming process open to error [^S08].\n\nNo interview about this specific work was found. The Art Blocks record has no artist interview field [^S01]." }, { "id": "how-the-work-was-constructed", "heading": "How the work was constructed", "bodyMarkdown": "The program is a single minified script of 6,287 bytes, SHA-256 `954483000ebba5f40b6118e13b1377e2abfb4c86fba3c624fd69cc87e1d6c3f7`. It was retrieved from the Art Blocks index on 20 September 2026 and read in full. No code is reproduced here [^S01].\n\nIt seeds a Park-Miller generator by XOR-ing the eight 32-bit words of the token hash. Then it draws, in order: a mini-shape mode, a shape, a layer count, a column count, a vertical step, a recolouring interval and a colour mode [^S01]. I re-implemented this setup sequence in Python and ran it on all 56 hashes. It reproduces every published trait for every token (own computation from [^S01]). The traits correspond to the program as follows.\n\n| Trait | Program rule | Count of 56 |\n| --- | --- | --- |\n| shape | one of six, equal weights: vertical diamond, horizontal diamond, upward triangle, downward triangle, up arrow, down arrow | 13, 9, 9, 6, 9, 10 |\n| miniShape | weights 0.2 : 0.4 : 0.1, normalised to 2/7 dots, 4/7 lines, 1/7 none | 18, 29, 9 |\n| elements | number of columns, 3 to 10, uniform | 3: 8, 4: 6, 5: 5, 6: 10, 7: 6, 8: 5, 9: 10, 10: 6 |\n| sparseness | the vertical step between stamps (3 to 10 units per 1,080 px of height), rounded | 3: 2, 4: 7, 5: 5, 6: 12, 7: 4, 8: 12, 9: 11, 10: 3 |\n| colors | 60% narrow hue range, 20% wide hue range, 20% greyscale | colorful 45, black and white 11 |\n\nEach column rises from below the canvas. At every step the program stamps all of its layers, each a scaled copy of the chosen shape, then moves the column up by the step size. Layers get smaller from back to front, and the rearmost one is enlarged by a tenth [^S01]. Every colour layer is drawn at an alpha of 10 out of 255. The glow in each column is the build-up of hundreds of these faint stamps. Black layers are fully opaque, and they carve the dark silhouettes seen in #9 and #28 [^S01].\n\nThe palette is regenerated during drawing. After a counter reaches a seeded interval, the hues shift slightly and a new set of black layers is chosen. That repaints the column from that point upward, which gives each shaft its horizontal colour bands [^S01]. A mini-shape, a pair of dots or a short horizontal line, is stamped with each shape at its side vertices or centre [^S01]." }, { "id": "quirks-in-the-algorithm", "heading": "Quirks in the algorithm", "bodyMarkdown": "A full read of the program, with its setup re-run against all 56 token records, turned up the following. Points that rest on the code alone are marked as code reading.\n\n1. **\"Sparseness\" is a speed.** The published sparseness equals the column's vertical step, rounded to a whole number. This holds for all 56 tokens (own computation) [^S01]. A low value means more stamps per column, so a denser, brighter image. The two sparseness-3 tokens, #20 and #28, are the most tightly packed.\n2. **\"colorful\" hides two colour modes.** The program picks a hue spread of 20 to 60 degrees 60 per cent of the time and 100 to 180 degrees 20 per cent of the time. The traits merge both as \"colorful\". Re-running the setup gives 33 narrow-spread tokens and 12 wide-spread ones: #0, #4, #6, #17, #18, #21, #22, #25, #29, #37, #46 and #55 (own computation) [^S01]. The wide group is the one with visibly contrasting hues, like the pink and cyan of #0 or the green, yellow and orange of #46.\n3. **A complexity budget that is all one number.** Before drawing, the program estimates how many shapes it will stamp. If the estimate exceeds 60,000 it thins the work out by raising the step and cutting layers and columns. The budget is set in a six-way switch on the shape, but every branch assigns the same 60,000, so the switch does nothing (code reading) [^S01]. Only #28, the densest token, goes over the budget. Its estimate is about 65,400, and the program raised its step from 3.09 to 3.30. Its layer and column counts were left as they were (own computation).\n4. **The rearmost layer is always black.** The palette routine forces layer 0 to opaque black. It then rejects any palette with no other black layer, or with every layer black. On a black background, the largest layer in every column is therefore invisible. For the animated columns, the program skips drawing it altogether (code reading) [^S01].\n5. **A random draw with no range.** In greyscale mode both end colours are white with a brightness drawn \"at random\" between 255 and 255. The draw uses up a random number but always returns 255. Greyscale outputs are therefore white layers and black layers only, with no grey tint (code reading) [^S01].\n6. **A batching test that never fires.** The routine that draws a layer is written to start a new filled shape only when the colour changes. It compares against a variable that is never updated, so every stamp starts its own shape (code reading) [^S01]. The effect is on speed, not appearance.\n7. **Leftovers.** The key-press handler is empty. One animation line computes a cosine and discards it (code reading) [^S01].\n8. **Twins.** Three trait combinations repeat: #6 and #32; #24 and #34; and #26, #33 and #49. Because hue, layer count and colour intervals are not traits, these share labels but render differently [^S01].\n9. **Layer count is not a trait.** Each token has 8, 9 or 10 layers (17, 20 and 19 tokens), a visible factor in how deep the columns look. It appears in no published trait (own computation) [^S01]." }, { "id": "movement-and-stillness-how-the-animation-runs", "heading": "Movement and stillness: how the animation runs", "bodyMarkdown": "The artist's display note says the complexity of the animation \"adapts periodically based on the capabilities of your computer and browser\" [^S01]. The code shows how, and that adaptation is part of how the work looks on screen.\n\nThe whole composition is drawn in the first frame. After that, each layer of each column is shifted by a sideways wave whose phase drifts with time, so the columns sway and ripple [^S01]. Not every column moves. The program picks three columns at random to animate live (in a three-column output, that is all of them). The rest are rendered once into off-screen buffers and held still (code reading) [^S01]. A full cycle of the animation is about 3,140 steps, roughly 105 seconds at the target 30 frames per second (code reading). At the end of each cycle the program checks a smoothed frame rate. Above 25 frames per second it adds one more moving column, and below 15 it removes one, never going under three. It then chooses a new set of moving columns [^S01].\n\nThis is the \"patterns of movement and stillness\" of the description, made literal [^S01]. The balance between moving and still columns is set partly by the viewer's machine. On a fast computer, more of the columns come to move over successive cycles. On a slow one, the program runs extra animation steps per frame to keep time and holds more columns still (code reading). The dots and lines fade in and out over each cycle. Static buffers are refreshed only at the start of a cycle, when that fade is near zero, so on this reading the mini-shapes are visible mainly on the moving columns (code reading) [^S01].\n\nTwo interaction details follow from the code. Clicks are ignored until about 200 animation steps have run, roughly seven seconds at 30 frames per second. Resizing the window restarts the piece from its seed and clears any pause (code reading) [^S01]. The Art Blocks media proxy renders are still frames, so they miss the core of the work. LIA's Vimeo video on her project page shows the motion [^S05]." }, { "id": "the-most-coveted-variants", "heading": "The most coveted variants", "bodyMarkdown": "No collector writing, trait guide or record sale for this project was found. What follows is drawn from the index data and the code, not from market commentary.\n\n**The densest output.** #28 is a greyscale up arrow with ten columns and sparseness 3, and it is the only token to exceed the program's complexity budget [^S01]. It is a dense lattice of white arrowheads.\n\n![#28: ten dense columns of white arrowheads on black](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000028.png)\n*#28, the densest output and the only one thinned by the complexity budget. Render: Art Blocks media proxy.*\n\n**Greyscale (11 of 56).** The black and white outputs are #1, #2, #3, #7, #10, #19, #23, #28, #31, #39 and #53. #3 is the only greyscale downward triangle, and no greyscale token has a horizontal diamond or upward triangle [^S01]. #1 has three columns and no mini-shape, which makes it the plainest of the set.\n\n![#1: three sparse white-on-black columns of down-pointing shapes](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000001.png)\n*#1, the first public mint: greyscale, down arrow, three elements, no mini-shape. Render: Art Blocks media proxy.*\n\n**Wide-hue palettes (12 of 56, hidden in \"colorful\").** These are the tokens with contrasting hues within a column (quirk 2). #0, the artist's own first mint, is one: pink outer shafts around cyan and violet cores [^S01].\n\n![#0: four columns with pink outer bands and cyan and violet cores](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000000.png)\n*#0, minted 29 July 2022 and still held by the artist's address. Render: Art Blocks media proxy.*\n\n![#46: three columns of green, yellow and orange chevrons](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000046.png)\n*#46, a wide-hue vertical diamond with dots. Render: Art Blocks media proxy.*\n\n**Sparseness 3 (2 of 56).** Besides #28, #20 is a narrow-hue blue vertical diamond with six columns. Its columns are packed with feathered, flame-like stacks [^S01].\n\n![#20: six dense columns of blue and cyan feathered shapes](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000020.png)\n*#20, one of two sparseness-3 outputs. Render: Art Blocks media proxy.*\n\n**The AB5D holding.** #9 is at the other extreme. It has three columns and sparseness 9, and by the program's own shape estimate it is the fourth sparsest in the edition, after #21, #17 and #1 (own computation) [^S01]. Its narrow green palette and dark triangular tips appear in the hero image above. The earlier AB5D essay described #9 as \"mixed earth tones\" [^S09]. The render shows green, and the code places it in the narrow-hue mode.\n\nAt retrieval the 56 tokens were held by 48 addresses. The artist's address held three: #0, #54 and #55. The last two were minted on 29 April and 11 July 2024 [^S01]. Two other addresses held three each. No source ties them to a named collector [^S01]. The OpenSea collection page, read by automated extraction, reported 48 owners and a floor matching the index's 1.25 ETH lowest listing. Its sales figures could not be confirmed [^S10][^S01]." }, { "id": "the-mint", "heading": "The mint", "bodyMarkdown": "Invocation 0 was minted on 29 July 2022 at 16:50:57 UTC. That was before the project's activation on 3 August at 00:33:10 UTC [^S01]. The public start time was 15 August 2022 at 17:00 UTC, and the first public mint, #1, followed at 17:25:54 [^S01]. Sales were slow. Counting #0, 16 tokens existed an hour after the start, 26 after a day and 33 after 30 days [^S01]. By month there were 31 mints in August 2022, 2 in September, 1 in October, 6 in November, 5 in December and 4 in January 2023. The last few came singly: #52 in April 2023, #53 in November 2023, #54 in April 2024 and #55 on 11 July 2024, which completed the edition [^S01].\n\nThe index's price field reads 0 ETH, and none of the pages inspected records the launch price or sale mechanism [^S01][^S02]. The project's charitable note says \"10% of sales over 0.2Ξ will be donated to COTAP - Carbon Offsets To Alleviate Poverty\" [^S01]." }, { "id": "copyright-and-licensing", "heading": "Copyright and licensing", "bodyMarkdown": "The index records `CC BY-NC-ND 4.0` with a link to the Creative Commons deed [^S01]. On that licence, the images may be shared non-commercially with attribution, but not adapted. Re-renders with changed parameters and derivative prints would need the artist's permission. The program carries no separate code licence, and p5.js is loaded by the platform at view time [^S01]. Only Art Blocks renders appear here. LIA's own stills on her project page are her copyright [^S05]." }, { "id": "significance-and-limitations", "heading": "Significance and limitations", "bodyMarkdown": "Being Yourself While Fitting In is a small, late-2022 Factory edition by one of the longest-practising software artists on Art Blocks. It is best read as an animation, not an image set. The code gives its theme a concrete form: a few columns are free to move while the others hold still, and which ones move is renegotiated every cycle and partly set by the viewer's computer. The published traits are accurate, but they leave out the two factors that most shape the look of an output: the hidden wide-hue colour mode and the layer count. The literature is thin. No criticism, collector commentary or sale record specific to the work was found, so the market side of this essay rests on index data alone.\n\nUnresolved research questions:\n\n1. What was the public mint price and sale mechanism on 15 August 2022? The Art Blocks pages inspected do not state it.\n2. Is the reading of the animation (three columns minimum, growing on fast machines, mini-shapes seen mainly on moving columns) borne out on screen? A timed viewing on a fast and a slow machine would settle it.\n3. The quotations from LIA's project page and the Clot Magazine interview came from automated extraction and should be checked against the pages.\n4. Has the work been exhibited or printed? LIA's exhibitions list, as extracted, names none, and her X account (@liasomething) is a lead that could not be read.\n5. Which secondary sales have taken place, and at what prices? The OpenSea figures could not be confirmed." } ], "examples": [ { "id": "E01", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "342000000", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000000", "sourceIds": [], "selectionNote": "Specified candidate invocation 0.", "observationNote": "Inspected media-proxy PNG is 2400x1350px, dark and muted or near-neutral (mean RGB 22,17,30). File size 1617739 bytes. Indexed features: shape vertical diamond; colors colorful; elements 4; miniShape lines; sparseness 5" }, { "id": "E02", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "342000001", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000001", "sourceIds": [], "selectionNote": "Specified candidate invocation 1.", "observationNote": "Inspected media-proxy PNG is 2400x1350px, dark and muted or near-neutral (mean RGB 27,27,27). File size 835807 bytes. Indexed features: shape down arrow; colors black and white; elements 3; miniShape none; sparseness 8" }, { "id": "E03", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "342000010", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000010", "sourceIds": [], "selectionNote": "Specified candidate invocation 10.", "observationNote": "Inspected media-proxy PNG is 2400x1350px, dark and muted or near-neutral (mean RGB 34,34,34). File size 1600955 bytes. Indexed features: shape down arrow; colors black and white; elements 9; miniShape lines; sparseness 7" }, { "id": "E04", "chainId": 1, "contract": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270", "tokenId": "342000020", "url": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000020", "sourceIds": [], "selectionNote": "Specified candidate invocation 20.", "observationNote": "Inspected media-proxy PNG is 2400x1350px, dark and strongly coloured (mean RGB 21,49,82). File size 2151295 bytes. Indexed features: shape vertical diamond; colors colorful; elements 6; miniShape lines; sparseness 3" } ], "mediaIds": [], "provenance": { "operator": "Grok research session for coordinator handoff", "agent": "Grok", "model": null, "modelVersion": null, "tools": [ "Hasura GraphQL", "media-proxy PNG retrieval", "canonical token HEAD checks", "full script read" ], "humanEditorialInvolvement": "Supplied prose preserved and published at Phil’s request. Sources not independently reinspected during import.", "originalProseLicense": "CC0-1.0", "generation": null }, "codeInspection": { "url": "https://artblocks-mainnet.hasura.app/v1/graphql", "locator": "projects_metadata.script where slug=_eq being-yourself-while-fitting-in-by-lia", "sha256": "954483000ebba5f40b6118e13b1377e2abfb4c86fba3c624fd69cc87e1d6c3f7", "retrievedAt": "2026-09-19T00:00:00+00:00", "method": "graphql-post-full-script-read", "executed": false, "chainBlock": null }, "editorialExceptions": [], "manuscriptFormat": "supplied-markdown", "manuscriptPreamble": "# Being Yourself While Fitting In by LIA\n\n*Art Blocks Factory, project 342 · 56 outputs · first mint 29 July 2022, public release 15 August 2022 · CC BY-NC-ND 4.0*\n\n![Being Yourself While Fitting In #9: three glowing green columns on black, each topped by a dark upward point](https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000009.png)\n*#9, the AB5D holding: upward triangle, three elements, narrow green palette. Render: Art Blocks media proxy.*\n\n", "bibliographyMarkdown": "\n### Primary\n\n[^S01]: Art Blocks public GraphQL index, `projects_metadata` for project 342 (including the full program) and `tokens_metadata` for all 56 tokens; also the project listing for LIA's project 185. Retrieved 20 September 2026 via https://artblocks-mainnet.hasura.app/v1/graphql. Collection page: https://www.artblocks.io/collection/being-yourself-while-fitting-in-by-lia\n[^S02]: Art Blocks, \"Being Yourself While Fitting In by LIA\", project page. Read 20 September 2026. https://www.artblocks.io/project/342\n[^S04]: Art Blocks, artist profile \"LIA\", address 0xf48e3a3bcca259005527f395c4080cd68a80a0fe. https://www.artblocks.io/user/0xf48e3a3bcca259005527f395c4080cd68a80a0fe\n[^S05]: LIA, \"Being Yourself While Fitting In\", liaworks.com project page with stills (uploaded September 2025) and embedded video. https://www.liaworks.com/nfts/being-yourself-while-fitting-in/\n[^S06]: LIA, \"NFTs\", liaworks.com. https://www.liaworks.com/nfts/\n[^S07]: LIA, \"How And How Not To Maintain Friendships\", liaworks.com. https://www.liaworks.com/nfts/how-and-how-not-to-maintain-friendships/\n\n### Video and audio\n\n- LIA, \"Being Yourself While Fitting In\" video, Vimeo, embedded on the project page [^S05]. https://vimeo.com/1123291562 (Vimeo's oEmbed returned no title or author; not watched for this draft.)\n\n### Criticism, collecting and market\n\n[^S03]: Wikipedia, \"Lia (artist)\". Read 20 September 2026. https://en.wikipedia.org/wiki/Lia_(artist)\n[^S08]: Laura Netz, \"LIA, software art pioneer and the fluidity of code\", Clot Magazine. https://clotmag.com/interviews/lia-the-software-art-pioneer-and-the-fluidity-of-code\n[^S09]: AB5D, previous essay on Being Yourself While Fitting In. Read 20 September 2026. https://ab5d.xyz/series/being-yourself-while-fitting-in-by-lia/\n[^S10]: OpenSea, \"Being Yourself While Fitting In by LIA\" collection page. Read 20 September 2026 by automated extraction. https://opensea.io/collection/being-yourself-while-fitting-in-by-lia\n\n### Further reading\n\n- LIA, \"Exhibitions\". https://www.liaworks.com/exhibitions/\n- LIA, \"Museum Acquisition: little boxes on the hillsides, mother\" (.NEWART {foundation;}, Reus, 2023). https://www.liaworks.com/theprojects/little-boxes-on-the-hillsides-mother/\n- Art Blocks, \"little boxes on the hillsides, child by LIA\". https://www.artblocks.io/project/185\n- CreativeApplications.Net, LIA archive. https://www.creativeapplications.net/people/lia/\n", "suppliedRevision": { "batch": "ab500-essays-batch-03", "date": "2026-09-21", "sourceFile": "being-yourself-while-fitting-in-by-lia.md", "sourceSha256": "f17425f10967be01d5ee61b8cf07b750e836f871cba27dc0b0d15cccb8fb191b", "sourceCount": 10, "imageCount": 6, "headerLine": "Art Blocks Factory, project 342 · 56 outputs · first mint 29 July 2022, public release 15 August 2022 · CC BY-NC-ND 4.0", "author": null, "usage": null, "draftNoticeRemoved": true, "importMode": "Supplied prose preserved; footnote labels normalized for site compatibility." }, "referenceOrder": [ "S01", "S02", "S04", "S05", "S06", "S07", "S03", "S08", "S09", "S10" ], "presentation": { "editionSize": 56, "maximumEdition": 56, "mintDate": "2022-07-29T16:50:57+00:00", "mintDateMeaning": "first indexed mint", "mintDateLabel": "First mint", "artwork": { "project_id": "0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270-342", "token_id": "342000009", "invocation": 9, "owner_address": "0xdd19308a9731cdecb67e0d80ca6823394208c045", "preview_asset_url": "https://media-proxy.artblocks.io/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000009.png", "live_view_url": "https://generator.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000009", "canonicalUrl": "https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/342000009", "mode": "image", "copyrightStatus": "CC BY-NC-ND 4.0", "copyrightUrl": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "displayBasis": "AB5D collection example under the artwork licence label stored on the project record; not a newly created derivative." } }, "observationImages": [], "publication": { "date": "2026-09-20", "url": "https://ab5d.xyz/series/being-yourself-while-fitting-in-by-lia/", "authorization": "Phil requested publication of the supplied essays on 2026-09-21.", "reviewSnapshot": "/docs/series-essays/production/being-yourself-while-fitting-in-by-lia/record.json", "unresolvedResearchQuestionsRetained": true, "revisionDate": "2026-09-21" } }