throwOfDice

throwOfDice is a fully on-chain live animated collection where each NFT represents a unique dice throw. Throws feature 1 to 9 dice with values from 1 to 9. Dice positions, light source, and camera orbit are rerolled every refresh, but top face values are fixed at mint. Side values are seeded from the previous minter’s wallet address and change continuously.

MINT

Public mint: April 1 to May 1 (Extended for future public exhibitions)

SUPPLY

The collection is a limited duration mint. Collectors can mint random throws or custom ones. There are 48,619 possible unique throws. None are preminted. Owning a throw is equivalent to owning all of its permutations. For example, minting [1,2,3] also claims ownership of [1,3,2], [2,1,3], [2,3,1], [3,1,2], and [3,2,1].

PRICING

Minting costs 30 XTZ plus the throw’s face value. Value is calculated as baseFee + (sortedNumber × unitPrice), where sortedNumber is the throw’s digits sorted ascending and read as a number. A throw of [3,1,2] sorts to 123, costing 30 + (123 × 0.0000001) = 30.0000123.

DETAILS

Network: Tezos EVM (Etherlink)
Smart contract: 0x9C4e...e8b3
Secondary market: Rarible
Animation format: HTML, 900 × 900px (260 × 130 braille characters)

ATTRIBUTES

Tier: number of dice in the throw (1–9).
Throw: the top face values in their original minted order.
Value: the cost of the throw, calculated from base fee plus sorted number times unit price.
Rarity: pattern uniqueness within the 48,619-throw collection space.
Odds: physical probability of rolling this combination, as a percentage.
Territory: number of unique permutations this throw owns.
Speed: animation playback speed, adjustable by the token owner via the contract’s setSpeed function.
Prev Minter: the wallet address of the previous minter, seeding side face values.

ANIMATION SETTINGS

Open a specific dice throw animation using the “on-chain animation ↗” button on your wallet page or on the collection page.

Spacebar: pause the animation
R key: refresh the dice on the scene
L key: switch between display modes
↑/↓ keys: animation speed adjustment
F key: press once to start recording the animation, then again to stop recording (.webm)
P key: print a frame of the animation (.png)
E key: set the animation speed to match the Earth’s rotation and the Sun’s movement

HOW TO MINT

The throwOfDice smart contract is on the Tezos EVM (Etherlink) network. You will need Tezos ($XTZ) to mint and pay for transaction costs. The website will automatically prompt you to add the network to your wallet upon connecting, but if you prefer, use ChainList or the Etherlink Explorer to add the network manually. Before minting, make sure to switch to the correct network on your wallet. You can bridge funds to Etherlink from Ethereum Mainnet or Tezos Mainnet using the links below. If you have trouble bridging, reach out to Figure31, or join this Telegram group.

Ethereum → Etherlink (Jumper bridge)

Tezos → Etherlink

Tezos EVM (Etherlink) is the EVM-compatibility layer on Tezos providing scalability with L1 security.

WEB INTERFACE

The homepage features random throws that change each time you navigate between pages. The NFTs' on-chain animations are directly integrated into the site's 3D scene with minor camera changes for practicality. Switch to LOW REZ mode if the animation stutters.

CONNECT

Connect an EVM wallet to the Etherlink network. Click your address to open your wallet page. Click "on-chain animation" or "on-chain preview" to view the original artwork.

MINT

Choose a random throw or enter a custom one. To mint [1,2,3,4,5], enter 12345. The site checks availability automatically. Availability is not a reservation. Click "MINT MAP" to open the full map of all 48,619 possible throws.

COLLECTION

Browse all minted throws. Sort by token ID or dice count, search by throw values, token ID, or wallet address, click previews to load their animation and details.

LEADERBOARD

A sortable table of all mints showing each throw’s attributes side by side.

TERRITORY MAP

A 3D and 2D map showing each throw and all its permutations as connected dots. Over 435 million permutations exist across the full collection space.

This artwork, website, and related smart contracts are provided as is.

By Loucas Braconnier (Figure31), 2026

Curated by Grida

With the support of Trilitech

Before we know it, the dice have already been thrown.

Life is a game. Humanity has sensed this for a very long time. We have long learned, in our very bodies, that life is a field where unpredictable events and choices, wins and losses, chance and necessity all intersect. That is why humans created games, and through play learned how to endure uncertainty and accept outcomes. If play were a form through which we rehearsed the world in advance, then dice were the tool that revealed that form most concisely.

Throughout the long history of play, dice have been among its oldest and most essential instruments. Their lineage stretches from the physical dice found in ancient Sumer around 2600 BCE to today's gaming culture. Rolling in the hands of children and adults alike, across East and West, striking the ground, and finally coming to rest on a single face, this small cube shows with striking clarity the moment when chance condenses into an outcome. It is no surprise, then, that dice have repeatedly appeared throughout the history of art. This small, tactile object condenses the way human beings have accepted and interpreted the uncertainty of life.

Loucas Braconnier (Figure31)'s throwOfDice rethinks this ancient symbol through the contemporary language of blockchain. Its title evokes the naming conventions of smart contract functions such as “ownerOf(), tokenOf(), balanceOf(),” but turns the syntax of the blockchain toward a poetic lineage that runs from Mallarmé to Broodthaers. Rather than merely representing dice, the work rearranges the relations between outcome and possibility, choice and chance, and image and system, executing this conceptual play directly on-chain.

This digital architecture finds its roots in the radical experiments of the Symbolist poet Stéphane Mallarmé and the Belgian conceptual artist Marcel Broodthaers. In Un Coup de Dés Jamais N'Abolira Le Hasard (1897), Mallarmé showed, through the very structure of the poem, that chance can never entirely disappear. Its central sentence is scattered across dozens of pages, suspended between white space and delayed syntax, so that meaning emerges not as a single result but across a field of distributed relations. Broodthaers, in Un Coup de Dés Jamais N'Abolira Le Hasard: Image (1969), replaced every sentence of Mallarmé's poem with black bars, preserving the typographic structure while erasing content in order to foreground form itself. throwOfDice translates these two lineages into contemporary terms, where the collector's choice of outcome becomes the starting point of the work's formal logic, not its resolution. Each token is read not as an isolated image but through the textures, surfaces, and entanglements of the system that produced it.

For the artist, blockchain is not merely a platform on which images are placed, but a universe in which art can sustain its own rules and duration. Across his practice, he has explored persistence, interaction, record, shifting points of view, and the ways in which separate elements become entangled to form a larger structure. throwOfDice is the result of these concerns coming together in their most concentrated form. Here, the image is both a fixed result and a living process, and a single choice becomes not an isolated event but a structure linking what came before and what comes after.

In throwOfDice, chance does not disappear. It simply moves elsewhere. In an ordinary dice game, the result is given over to the randomness of the throw. But in throwOfDice, the collector can directly choose the top-face values at the moment of minting. The sequence of numbers becomes the price of the work, and that choice becomes part of its rarity and value. Yet chance is not fully removed. It disperses into the side values, the movement of the camera and light, noise and afterimage, and the relations connecting each throw to the next. The result is fixed, but the conditions and sensations surrounding it never fully settle.

Here, no work ever exists alone. Just as today's digital environment stands upon structures of connection, throwOfDice also takes connectivity as a principle of its form, where each mint is shaped by the one that preceded it. On the blockchain, a wallet address is not simply a technical string, but another self through which one is identified in this universe — a way for identity to remain as a trace. The dice owned by my wallet address do not remain an isolated possession. The previous minter's wallet address leaves its trace within the present dice, and the current mint will pass its own trace into the next. Each throw is unique, yet never isolated. Here, the blockchain becomes more than a technical mechanism; it becomes an aesthetic principle through which choices and traces remain within one another's forms.

Visually, the work chooses restraint over spectacle, extending the logic of Broodthaers' erasure into the language of rendering. A rendering built from Braille characters translates the illusion of 3D dice into dense, dithered surfaces of dots. Data becomes tactile image, and the screen takes on a density that is at once digital and print-like.

At the same time, the work contains its own mode of existence within a fully on-chain structure. The code that drives the work is recorded on the blockchain, allowing it to preserve its own rules and form without relying on external dependencies. Every element of the animation, from the camera's orbit to the physics of the throw, is seeded from values held in the contract and generated at mint.

Through the oldest symbol of play, the dice, Loucas Braconnier (Figure31) once again makes visible an aesthetics of choice and chance, identity and connection, within the new universe of blockchain. In this work, no outcome ever stands alone. Over values that are already fixed, sensation still moves; over my own choice, the traces of others are layered; and personal ownership is ultimately read again within collective connection. In this way, throwOfDice reveals not a single scene, but time still moving within a halted result, the time of relations that continues even after the moment of decision. The dice have already been thrown. And perhaps art is, in the end, a way of lingering before the unfinished time that remains within an irreversible outcome.

Grida
Digital Art Curator, 2026