The center of Fiat Moria by Lucho Poletti: an old man under a blue CPI hood on a stage marked PULLING THE BLUE CLOAK OVER THE EYES, a man in a doorway under an arch reading MONEY ₿ BETTER WORLD, and a horned dollar-sign skull idol in a CREDO shrine.

Ten Decrees in Bitcoin Magazine and on the Bitcoin Amsterdam Main Stage

On November 5 and 6, Ten Decrees goes up on the main stage at Bitcoin Amsterdam. All five pieces released so far get the big screens. Bitcoin Magazine ran Dennis Koch's interview with me about the series on October 27, Ten Decrees: Old Masters, New Money.

Dennis asked about the decree the series answers, Nixon closing the gold window on August 15, 1971, and about why the titles are Latin and the tenth one changes who's speaking.

Bosch and Bruegel figured out how to show a whole society going wrong at once, hundreds of figures deep, where the point only shows up when you add them all together. Or as I put it to Dennis, "You don't look at a Bruegel, you search it." Every Decree is built to be read the same way, up close, and the prints hold that detail at 30 x 20 inches.

A lot of the argument sits in the lettering. In Fiat Moria the vault doors read WE PRINT / YOU PAY. In Fiat Ludus a $ skull teaches beside a chalkboard that says 2% IS HEALTHY and INFLATION IS TRANSITORY, and a kid is chalking PLAN ₿ underneath.

Detail of Fiat Ludus by Lucho Poletti: a chalk hopscotch starts at a dollar and shrinks square by square to $0.02, with DEBT at the end, while a dollar-sign skull reads from a book beside a chalkboard saying 2% IS HEALTHY, INFLATION IS TRANSITORY, a boy chalks PLAN ₿ under it, and two masked men pass a bunch of carrots beside a sign marked down to 3,000 SATS.
2% IS HEALTHY, from Fiat Ludus

As I told Dennis, "The words carry the message so the people don't have to." Most of the people wear my mask, and a ₿ on a masked forehead means that person's noticed. "Knowing the money is broken doesn't make one a saint." The pieces show a way out and leave it to each of them whether to take it.

The stage

At Bitcoin Amsterdam each piece runs as its own fifteen-second sequence across the main stage. The center wall carries the piece itself. One side screen opens on the Bosch or Bruegel it's built on, and the other pulls details in close, the ones you'd normally have to walk up to the print to find.

Furia Fiat by Lucho Poletti laid out across the three main stage screens at Bitcoin Amsterdam: Bruegel's Dulle Griet, 1563, on the left screen, Furia Fiat filling the tall center wall, and on the right a close-up of a man in a Satoshi mask with a ₿ on his forehead, pouring coins from a tube.
Furia Fiat across the three main stage screens

Bosch took his name from 's-Hertogenbosch, a train ride south of Amsterdam. Amsterdam itself opened the Wisselbank in 1609, a public bank whose money traded above the coins it stood for. In 1790 it came out that the bank had been quietly lending to the Dutch East India Company and the city, and it declared itself insolvent that same year.

Bitcoin Magazine first wrote about my work in March 2020, when David Hollerith covered my propaganda posters in How Propaganda Art Can Spread the Message of Bitcoin.

The sixth Decree, Fiat Fames, is issued on November 7, the day after Amsterdam. The first five each have their own write-up: Furia Fiat, Fiat Lucrum, Fiat Palea, Fiat Ludus and Fiat Moria. The whole series is laid out in the Ten Decrees overview, and the prints, signed and numbered editions of 10, are on the Ten Decrees page.

Better money, better world.


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