# Beyond boundaries: unveiling the art of blockchain-enshrined molecules through xSublimatio

Noemie Gouspillou, Camille Vandromme, Nathalie Stefanov, Clemence Simon, Luba Elliott, Emmanuel Courtade, Christophe Biot, Pierre Pauze, Corentin Spriet

<figure><img src="image_1.png" /></figure>

## To cite this version:

Noemie Gouspillou, Camille Vandromme, Nathalie Stefanov, Clemence Simon, Luba Elliott, et al.. Beyond boundaries: unveiling the art of blockchain-enshrined molecules through xSublimatio. Comptes Rendus. Chimie, 2025, Comptes Rendus. Chimie, 28 (G1), pp.451-463. 10.5802/crchim.377. hal-05307523

HAL Id: hal-05307523

https://lilloa.hal.science/hal-05307523v1

Submitted on 10 Oct 2025

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers.

L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

<figure><img src="image_2.png" /></figure>
# Comptes Rendus
Chimie

Noémie Gouspillou, Camille Vandromme, Nathalie Stefanov, Clémence Simon, Luba Elliott, Emmanuel Courtade, Christophe Biot, Pierre Pauze and Corentin Spriet

Beyond boundaries: unveiling the art of blockchain-enshrined molecules through
xSublimatio

Volume 28 (2025), p. 451-463

Online since: 12 May 2025

https://doi.org/10.5802/crchim.377

<figure><img src="image_3.png" /></figure>

This article is licensed under the

CREATIVE COMMONS ATTRIBUTION 4.0 INTERNATIONAL LICENSE.

http://creativecommons.org/licenses/by/4.0/
Research article

# Beyond boundaries: unveiling the art of blockchain-enshrined molecules through xSublimatio

Noémie Gouspillou<sup>a, b</sup>, Camille Vandromme<sup>a</sup>, Nathalie Stefanov<sup>a, c</sup>, Clémence Simon<sup>a, d</sup>, Luba Elliott<sup>e</sup>, Emmanuel Courtade<sup>a, b</sup>, Christophe Biot<sup>a, d</sup>, Pierre Pauze<sup>*, #, f</sup> and Coretin Spriet<sup>*, #, a, d</sup>

**Abstract.** In 2023, the xSublimatio project showcased a fusion of art and science, presenting an interactive platform where molecules were transformed into digital artworks within the blockchain. This innovative concept leveraged advanced artificial intelligence predictions to bridge empirical precision with creative expression, offering a unique exploration of scientific data through artistic interpretation.

The creation of xSublimatio involved meticulous selection and representation of molecules, blending scientific accuracy with aesthetic appeal. Through AlphaFold-inspired insights, the project reimagined molecular design, transcending traditional boundaries.

During its presentation at the GDR ChemBio conference in Strasbourg, xSublimatio sparked insightful discussions within the French chemistry community. This article explores its technical implementation, its potential for introducing blockchain and non-fungible token concepts to diverse communities, and its broader implications for interdisciplinary collaboration and decentralized science.

**Keywords.** Art-science, Decentralized science, Digital drugs, Chemistry, Artificial intelligence, Blockchain, Ethereum.

**Note.** As speakers at the scientific sessions of the GDR ChemBio in Strasbourg, we had the privilege of being invited to participate in the special edition of the Comptes Rendus Chimie on Chemical Biology at Strasbourg 2023.

Manuscript received 15 April 2024, revised 24 October 2024, accepted 18 December 2024.

<footnote><sup>a</sup> Univ. Lille, CNRS, Inserm, CHU Lille, Institut Pasteur de Lille, US 41 - UAR 2014 - PLBS, F-59000 Lille, France</footnote>

<footnote><sup>b</sup> Univ. Lille, CNRS, UMR 8523 - PhLAM, Physique des Lasers, Atomes et Molécules, F-59000 Lille, France</footnote>

<footnote><sup>c</sup> Univ. Lille, ULR 3587 - Centres d'Etudes des Arts Contemporains, École d'art Dunkerque-Tourcoing - esàLab/Recherche RNSR n°202224151K, F-59000 Lille, France</footnote>

<footnote><sup>d</sup> Univ. Lille, CNRS, UMR 8576 - UGSF, Unité de Glycobiologie Structurale et Fonctionnelle, F-59000 Lille, France</footnote>

<footnote><sup>e</sup> elluba.com</footnote>

<footnote><sup>f</sup> pierrepauze.com</footnote>

<footnote><sup>E-mails:</sup> pierrepauze@hotmail.com (P. Pauze), coretin.spriet@univ-lille.fr (C. Spriet)</footnote>

<footnote>* Corresponding authors</footnote>

<footnote># Contributed equally</footnote>
# 1. Introduction

## 1.1. *Arts-sciences*

Arts and sciences, though conventionally perceived as disparate domains, exhibit intriguing intersections and shared principles. This duality of creative expression and empirical inquiry has been a subject of exploration in works such as Snow's *The Two Cultures* (1959) [1], which highlights the cultural and intellectual divide between the sciences and the humanities. The idea that arts and sciences complement each other finds resonance in the writings of Steven Pinker, particularly in *The Blank Slate* (2002) [2,3], where he explores the interconnectedness of human nature, creativity, and scientific discovery. These works contribute to the understanding that despite apparent distinctions, arts and sciences often converge, shaping a nuanced and symbiotic relationship [4].

"Art-science alliances must benefit both sides", declares an editorial in the 2021 edition of the journal *Nature*. According to a survey involving 350 researchers, 40% have already engaged in collaborative projects with artists and the remaining respondents express an interest in future collaborations [5].

The surge in collaborations between artists and scientists has never been more fruitful, marking a scientific turning point in the art world. This shift has led to a proliferation of partnerships between artists and scientists, echoing a historical relationship dating back to the Renaissance. Erwin Panofsky, the historian, noted that "many elements later categorized as 'natural sciences' originated in artists' studios during this period" [6]. Artists focused on observing and accurately describing natural elements, contributing to the emergence of observational sciences like botany, zoology, and biology.

Major institutions in Arts and Sciences have since been established in the United States and Europe, such as the founding of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) in 1967 [7]. Artistic currents such as bioart, to which artist Eduardo Kac contributed, are no longer sufficient to characterize the development of Arts and Sciences practices, whose subjects of study have diversified considerably. In recent years, there has been a significant expansion into areas such as data visualization, virtual reality, and synthetic biology, reflecting the evolving

intersections of technology, science, and artistic expression. To follow the evolution of these practices, historians prefer to rely on specialized platforms such as Leonardo/Olats [8] or to observe the many institutional schemes that offer artists residencies in research laboratories every year, reinforcing artistic and scientific cooperation as CERN does [9] or as many universities in Europe and the United States do. These residencies not only provide artists with access to cutting-edge scientific tools and methodologies but also encourage scientists to view their work through new cultural and philosophical lenses, allowing a truly interdisciplinary dialogue. Projects like *Little AI* illustrate how artificial intelligence (AI) and blockchain intersect to simulate natural observation [10] while *Under the GAN: Quantum* blends AI and generative art with quantum concepts [11]. Additionally, artists like Agoria [12] have explored the intersection of generative bioart and AI, raising questions about the scientific accuracy and artistic expression in this emerging field. As Antonio Somani [13] analyzes, artists' uses of AI have evolved from mere creative tools to subjects of critical exploration, tackling deeper themes such as ethics, agency, and the role of human creativity in an increasingly automated world, providing essential frameworks for understanding these interdisciplinary experiments.

In the past decade, AI has been rising in popularity as a tool and subject matter among artists. Beginning with DeepDream [14] in 2015, moving on to generative adversarial networks (GANs) [15] in 2017, and most recently text-to-image models [16] in 2021, artists such as Memo Akten, Mario Klingemann, and Sofia Crespo have been working closely with the latest AI developments, particularly with generative models, which enable artists to create new visions of the human form, nature, and abstractions. Another group of artists including Adam Harvey, Tom White, and Gretchen Andrew have been exploring the limitations of technology, investigating the essence of visual representation, hiding faces from facial recognition, and breaking the patterns of recommendation systems. What makes xSublimatio stand out in the AI-based artistic project is the choice to work with AlphaFold, a bioinformatic technology and dataset not primarily designed for artists, which makes its creative application all the more unusual in a field dominated by GANs and text-to-image models.
## 1.2. xSublimatio genesis

xSublimatio, by Pierre Pauze and collaborators, is articulated as the product of a dialogue among art, science, and technology. By employing scientific images resulting from collaborations between artists and researchers, it contributes to the development of objects and forms whose identity surpasses disciplinary boundaries, fostering a hybridization of knowledge.

Since 2018, artist Pierre Pauze has been exploring the chemical processes behind the emotion of love. In 2019, he produced a film titled *Please Love Party*, first presented at the Fresnoy—Studio national des arts contemporains (Tourcoing, France) [17]. The film depicts a scientific study wherein participants are invited to test the effectiveness of a treatment designed to induce happiness and well-being. Pauze collaborated with researchers in biology, physics, and chemistry from the University of Lille.

For the viewer, the film resembles a clinical trial: a placebo is given to the first group while the second receives the treatment resulting from the collaboration between the artist and the researchers. Laboratory images showing scientists at work intertwine with footage shot in the exhibition space. The experiment continues in a powerful musical and auditory context accompanied by a lighting system operating at a specific frequency, compelling the “guinea pigs” to dance regardless of their emotions after ingesting the substance. This film raises several questions: How can the imagination of scientific work impact the artistic process? How can the knowledge of chemists or microscopists contribute to artistic endeavors? Can a scientific experiment be conducted in a museum setting and open up to the artistic community? Lastly, how can we reconsider the concept of placebo or, in other words, the impact of scientific methods and tools on validating experiences?

xSublimatio aligns itself with these questions while expanding on the subject through digital molecules circulating on the blockchain (non-fungible tokens [NFTs]). This project brings chemistry and art together to invent new forms of collaboration through the digital visualization of molecules with the assistance of AI. NFT collectors, whether from the scientific or the artistic community, are invited to combine virtual molecules to discover formulas related to the feeling of love.

Beyond the potential discoveries that this project may yield, both artistically and scientifically, xSublimatio takes its place in the rich history of Arts and Sciences practices with multifaceted objectives: inventing new artistic forms, encouraging researchers and artists to expand their practices and inquiries, approaching a subject with alternative methodological tools, and addressing broader communities to open up research to the public.

## 1.3. Blockchain and crypto concepts

In the realm of xSublimatio, understanding basic blockchain and crypto concepts is paramount. In its essence, blockchain [18] is a decentralized digital ledger technology that records transactions across multiple computers in a tamper-resistant and transparent manner. Ethereum [19], a prominent blockchain platform, extends this functionality by allowing developers to build decentralized applications and smart contracts.

A key component of Ethereum-based projects like xSublimatio is the NFT [20]. Unlike cryptocurrencies such as Bitcoin or Ethereum, which are fungible and can be exchanged on a one-to-one basis, NFTs are unique digital assets representing ownership or proof of authenticity of a particular item or piece of content.

Smart contracts [21], integral to Ethereum's ecosystem, are self-executing contracts with the terms of the agreement directly written into code. They facilitate the creation, exchange, and management of NFTs representing digital molecules and drugs.

Lastly, a wallet [22] is a digital tool that allows users to store, send, and receive cryptocurrencies and NFTs securely. In the context of xSublimatio, a wallet serves as a digital container for holding NFTs representing molecules and drugs, providing users with control over their digital assets.

# 2. Materials and methods

## 2.1. Generation of on-chain NFTs

xSublimatio employs the Ethereum blockchain as its platform alongside computer programs and generative AI models as image generators. The smart contract [23] serves as both an artistic and a logistical
medium (the medium is the message). All necessary information related to the project's scientific data is stored (encapsulated) within the smart contract. This includes the names of molecules, their visual properties, and the drugs that can be manufactured with them. Thus, following the doctrine “the code is law”, it is impossible to err in the compositions of drugs or to modify the compositions and rules of the game retroactively. During minting (NFT generation), the smart contract activates various processes that randomly generate a molecule, including its nature (H₂O, caffeine, etc.), shape, and aesthetic properties. Each molecule is unique with distinct color and shape traits.

The code for generating molecular shapes comes from the Processing software [24]. Processing, formerly spelled Processing, is an open-source development environment (under the GNU General Public License) created by Benjamin Fry and Casey Reas, two American artists. Processing is the multimedia extension of Design by Numbers, the graphic programming environment developed by John Maeda at the MIT Media Lab. Thus, the smart contract randomly assigns data that activates the Processing code carefully crafted by the creative coder Samuele Bonaffino. Molecular structures are .obj files in the input to the program, which processes vertices and builds the molecule, altering the structure based on the properties associated with the seed. The .obj files are obtained using the programs Avogadro and Blender. Avogadro is used to build the 3D structure of the molecules and Blender to center the origin of the 3D model.

This code assigns molecule color, background, and animating shapes, integrating scientifically accurate molecular representations into the sublimation code.

During minting, the smart contract information activates the Processing code, which requires computing power (potentially from the user's computer performing the minting). However, in the case of the xSublimatio project, we leverage computing power from Amazon Web Services to ensure that the user experience is as fast as possible. The molecules are then available in the user's wallet. For drug manufacturing, when multiple molecules correspond to a drug's composition, the person who owns them in their wallet can trigger a merging action to create the protein representing the drug. The 3D structures of

proteins are extracted from AlphaFold and processed through the Blender software [25].

## 2.2. *Selection of drugs and active principles: defining numbers*

We compiled a diverse range of drugs and their associated active principles, aiming for authenticity in representing molecules involved in drug effects while maintaining engaging characteristics. This included both illicit substances like cannabis, heroin, and cocaine and licit substances such as nicotine, alcohol, and medications. Stimulants like caffeine, cocaine, and amphetamines, depressants like alcohol and opioids, hallucinogens like LSD, and neuroleptics like cannabidiol (CBD) were considered. The selection process involved extensive bibliographic research to choose representative molecules, resulting in 63 unique active principles forming up to 19 drugs with a maximum of 9 different active principles. This included drugs from various origins, such as natural extracts and laboratory synthesis, as well as a distinct category for the artistic drug exemplified by the LOVE elixir developed in Pierre Pauze's earlier production. With the variations and attributes considered, this process resulted in the creation of 5748 active ingredient NFTs and 1134 drug molecule NFTs, allowing for a potential of 1149 boosters containing 5 active ingredient NFTs each. The details are available as Supplementary Tables 1–3. To illustrate this process, here is the example of mate. We decided that a maximum of 121 mate NFTs can be created. The mate recipe comprises three active principles, two specific ones being caffeine and theobromine. Therefore, we created 121 molecules of each. Additionally, 121 water molecules were required. All these ingredients are available in booster packs of 5 NFTs and can be exchanged and destroyed to create in the end a maximum of 121 adenosine receptor molecules, which illustrate the mate drug molecule NFTs.

## 3. Results

Over 7 months, the xSublimatio interdisciplinary team comprising PhD scientists worked alongside a 2D generative artist, a 3D artist, a Solidity developer, a graphic designer, and a project coordinator. Their collective expertise and dedication fuelled the project's evolution from conceptualization
to realization. To establish the exchange system en-
visioned for xSublimatio, several key steps were nec-
essary. The goal was to create a platform where users
can exchange representations of molecules, selected
from certain active principles, and combine them
to form representations of drugs depicted by a pro-
tein from the drug-activated pathway distorted by
an artistic effect simulating its impact. The com-
plete collection minted is available on chain on the
OpenSea website [26]. Figure 1 succinctly illustrates
the various aspects, actors, and principles that con-
stitute xSublimatio. We detail the major aspects
throughout this section.

3.1. *Selection of drugs and active principles*

A crucial initial step involved compiling a list of
drugs of various types along with their associated
active principles. These selections had to not only
reflect molecules genuinely involved in the drugs'
effects but also be engaging and playful with evoca-
tive names and visually appealing forms. Drugs en-
compass any substance known as psychotropic or
psychoactive, disrupting the central nervous sys-
tem's functions (sensations, perceptions, moods,
feelings, motor skills) or altering states of conscious-
ness, behavior, or psychological functions [27]. The
term "drugs" encompasses substances considered
"illicit", such as cannabis, heroin, and cocaine, as
well as "licit" substances like nicotine, alcohol, and
medications.

Among drugs, stimulants accelerate the nervous
system's functions including caffeine, cocaine, ec-
stasy, and amphetamines. Depressants, on the other
hand, slow down functional activity and motor coor-
dination with anxiolytic, hypnotic, and sedative ef-
fects. Well-known depressants include alcohol, opi-
oids, and narcotics. Hallucinogens, such as LSD
and hallucinogenic mushrooms (salvinorin, scopo-
lamine, etc.), disrupt the nervous system's functions,
inducing hallucinations. Finally, neuroleptics (also
known as antipsychotics), such as CBD, are medi-
cations used for their major tranquilizing and an-
tidelirium effects. Cannabis, notably the tetrahydro-
cannabinol it contains, intersects with stimulants,
depressants, hallucinogens, and neuroleptics.

For our study, we opted to explore a broad spec-
trum of drugs known to the general public, no-
tably due to their presence in popular culture. Their

nature ranges from synthetic drugs to natural ex-
tracts from mushrooms, plants, and plant mixtures.
We also sought drugs from various geographical ori-
gins, including local examples like belladonna, wild
lettuce, and mandrake. Extensive bibliographic re-
search was conducted to select the most represen-
tative drug molecules. We chose to represent these
drugs by one of the proteins involved in their ac-
tion, based on criteria encompassing both scientific
and aesthetic considerations. A concise table detail-
ing the molecules used is available as Supplementary
Tables 1–3.

In addition to being representative of effects, the
project's drugs were selected from various origins.
This could be natural, with molecules extracted from
a plant or fungus, in a nearly raw state or as part of
a plant mixture. Otherwise, they could be synthetic,
with molecules entirely synthesized in the laboratory
from chemicals. Finally, a distinct class, the artis-
tic drug, revolves around the synthesis of the LOVE
elixir, a potent psychotropic love potion previously
developed in Pierre Pauze's earlier production, and
that follows no scientific rules.

3.2. *Choice of representation modes*

A clear distinction was meticulously crafted between
active principles and their associated proteins. It
was imperative that each element be represented
uniquely and distinctly, allowing users to readily dis-
cern the components of their creations and differen-
tiate between active principles and final drugs.

For the active principles, a classical 3D molecu-
lar representation commonly employed in chemistry
was selected (Figure 2A–B, D–E). This representation
meticulously depicts each atom of the molecules, en-
suring precision and clarity in visualizing molecu-
lar structures. In contrast, leveraging cutting-edge
AI technologies, the project harnesses AlphaFold [28]
to generate intricate models of proteins represent-
ing drugs (Figure 2C, F). This approach enables the
creation of highly detailed and accurate represen-
tations, enriching the user experience and facili-
tating deeper insights into the molecular composi-
tions of the drugs. The use of AlphaFold instead
of more accurate experiment based 3D structures
like Protein Data Bank [29,30] and molecular dynam-
ics [31] that provide information about atomic dy-
namics and conformational changes was driven by
<figure><img src="image_4.png" /><figcaption>**Figure 1.** Creating and using the Ketaverse to generate 5748 active principles and 1134 drugs. (A) The Ketaverse is the set of molecules and drugs that can be generated with xSublimatio. It is based on the smart contract, a locked code that brings together all the information required for the random generation of these NFTs, including the 3D chemical structures of the active principles (yellow insert), their backgrounds (pink insert), and the NFT parameters (cyan insert).</figcaption></figure>
**Figure 1. (cont.)** The most representative active principles of psychotropic drugs have been successively processed by AI (red hexagon) and/or software (green hexagons) to obtain their 3D structure from their chemical formula. The NFTs' backgrounds are made up of wave models first created by graphic designers (orange quadrilateral) and then altered using computer programs (blue hexagons) to generate a collection of aesthetic characteristics. The NFT parameters are determined using spreadsheets available in the appendix. These datasets are manipulated by a computer program, Processing, to randomly generate 5748 unique NFTs for the active principles, each with a unique signature encapsulated in its own sub-smart contract. With the exception of the bibliographic research, the design of the wave models (pentagons), and the definition of the basic NFT parameters, each NFT generation stage is autonomous. (B) The Ketaverse involves (1) collecting molecules such as methamphetamine, water, and cocaine in order to generate and mine unique NFTs at random. (1.a) These molecules are selected on the Ethereum blockchain, purchased, and (1.b) after being mined, they join the buyer's NFT wallet. The collection opens up the possibility of (2) cooking these molecules, fusing them together to form drugs. To do this, (2.a) the sub-smart contract intrinsic to each molecule is interrogated by the Processing computer program to determine whether the recipe proposed by the user meets the required conditions. If this is the case, as in the case of the "methamphetamines + water" combination, (2.b) Processing then triggers a random fusion of the characteristics of the active principles, again generating a sub-smart contract, and the AlphaFold AI is used to represent the neo-synthesized drug in 3D. (2.c) What is more, since water is a deflationary token, each drug generated leads to the destruction of the water molecules involved in the reaction. The Ketaverse therefore leads to (3) dealing in art so that everyone can add to their collection in their own way.

two primary objectives. First, it aimed to facilitate discussions with the general public regarding the impacts of AI on biological research. Second, this choice serves as a catalyst for engaging the public in conversations about the evolving landscape of biological research and the profound implications of AI-driven methodologies in everyday life.

### 3.3. Diversity and accessibility

The xSublimatio project aimed to offer users a diverse selection of active principles and drugs, ensuring inclusivity and engagement across various user demographics. This diversity encompassed a spectrum of active principles, ranging from commonly found compounds to more uncommon elements, catering to both occasional users and dedicated collectors. The selection process prioritized each ingredient's unique attributes, ensuring that every offering within the xSublimatio platform provided an enriching and distinctive experience.

Upon selecting the NFT type, whether representing an active principle or a drug, and defining the molecule's name, the NFT creation process unfolded on the blockchain. This process involved generating NFTs with a range of variable parameters designed to imbue each NFT with unique attributes and

aesthetics. These parameters comprised seven distinct traits and four variables, each capable of assuming values of varying rarity, thereby contributing to the creation of visually captivating NFTs with varying degrees of scarcity.

Figure 3A illustrates an example of an NFT showcasing the attributes and associated representation of a water molecule. In Figure 3B, four additional iterations of water molecule NFTs showcase diverse aesthetic possibilities, each crafted with precision.

Behind the scenes, the intricate details governing NFT generation were rigorously described within the "XSublimatioHelpers.ts" file of the smart contract. This file served as the backbone of the xSublimatio ecosystem, encapsulating the algorithms and parameters that breathe life into each NFT, transforming them into unique digital assets within the blockchain.

### 3.4. Shaping a dynamic marketplace and conceptual paradigm

Beyond its artistic allure, xSublimatio stands as a dynamic marketplace and conceptual paradigm. Inviting NFT art collectors to engage in virtual drug synthesis, molecule trading, and market strategy, the project challenges conventional notions of value and
<figure><img src="image_5.png" /><figcaption>**Figure 2.** Elements of methamphetamine drug creation: scientific and xSublimatio's points of view. To create the “methamphetamine drug”, two active principles are required. A generic one, H₂O (A), and a specific one, methamphetamine (B), both represented as stick 3D models using Chem3D software, each color corresponding to a different atom. If gathered and mixed, they will be fused in a representation of trace amine-associated receptor (TAAR1) protein (C), which is a high-affinity receptor for methamphetamine mediating some of its cellular effects. Its structure and representation are generated through AlphaFold. The color code represents a per-residue model confidence score (pLDDT): <50% is depicted in orange while >90% is represented in deep blue. (D–F) are the equivalent of one among xSublimatio representations of the corresponding molecules.</figcaption></figure>

ownership in the digital realm. As molecules transi-
tion into drugs and artworks, the project's deflation-
ary token system mirrors real-world resource dynam-
ics, infusing each interaction with a sense of scarcity
and transformation.

4. Discussion

The xSublimatio project although rooted in the
realms of chemistry and art, prompted a broader
spectrum of inquiries and discussions that extend
beyond the traditional preoccupations of both fields.
This expansion highlights the project's capacity to
serve as a platform for interdisciplinary dialogue and
innovation.

4.1. *Engaging young audiences through the lens of popular culture*

The TV series *Breaking Bad* has left an indelible mark
on popular culture, particularly in its depiction of

chemistry and drug synthesis. It captivated a wide
range of viewers, many of whom were intrigued by
the scientific aspects presented in a dramatic narra-
tive. Drawing parallels from this, xSublimatio har-
nesses a similar approach by intertwining the allure
of chemistry with the engaging world of art and tech-
nology. The project's exploration of chemical pro-
cesses related to human emotions, particularly love,
is presented in a manner akin to the compelling sto-
rytelling found in *Breaking Bad*. Just as the TV show
used the theme of drug synthesis to explore com-
plex characters and narratives, xSublimatio uses the
concept of synthesizing molecules related to emo-
tions to delve into the intricate relationship among
art, science, and technology. This approach adds
a layer of excitement and intrigue, making the sci-
ence more accessible and engaging to a younger
demographic.

Furthermore, the discussion surrounding the eth-
ical and societal implications of drug synthesis in
*Breaking Bad* provides a platform for xSublimatio to
address similar themes in a responsible and educa-
<figure><img src="image_6.png" /><figcaption>**Figure 3.** Representation of water molecule NFTs. (A) An exemplar NFT demonstrating the attributes and associated representation of a water molecule, showcasing the intricate details encoded within the blockchain. (B) Four additional iterations of water molecule NFTs, illustrating diverse aesthetic possibilities. Each iteration represents a unique digital asset within the xSublimatio ecosystem.</figcaption></figure>

tional manner. By using the allure and controversy associated with the subject, xSublimatio can engage younger audiences in critical conversations about the role of science in society, the ethical considerations of chemical research, and the impact of scientific communication, pseudosciences, and technology on our daily lives.

It is important to note that xSublimatio is part of a broader artistic approach led by Pierre Pauze. Another major project of his, *Please Love Party* [17], not only explored the chemical processes behind human emotions through an experimental film but also actively involved participants in ethical considerations related to scientific practices. This project encouraged reflection on the veracity of scientific facts by inviting viewers, particularly students, to engage with a simulation where a treatment purported to induce happiness was tested. In addition to raising awareness about scientific integrity, this setting facilitated conversations around ethical dilemmas, misinformation, and the societal impact of chemical research. This context enabled discussions on topics such as fake news, the chemistry of emotions, and the nature of molecules and proteins using the provoca-

tive theme of drugs to capture attention in a playful yet educational way. This type of approach, blending science and art, is also present in xSublimatio, where digital molecules and NFTs serve as tools for accessible scientific mediation.

## 4.2. *From aesthetics to scientific mediation*

For chemists, the aesthetic dimension of xSublimatio has not only been an avenue for exploring the visual representation of molecular structures but has also references to pop culture and played a pivotal role in scientific mediation. The visual appeal of the digital molecules combined with the interactive nature of the NFT platform has provided an engaging and accessible way to communicate complex scientific concepts to a wider audience. Within the realm of xSublimatio, the molecular insights furnished by AlphaFold cascade into a novel dimension—artistic representation. AlphaFold’s predictions, typically used for scientific inquiry, are harnessed to generate visual renditions of molecules that transcend the conventional boundaries of representation. These AI-generated
molecular structures serve as the foundational can-
vas for xSublimatio's artistic interpretation, echoing
the essence of sublimation—a transition from the
scientific to the artistic and from the tangible to the
transcendent. This aspect of the project underscores
the importance of aesthetics in making science more
approachable and understandable, thereby bridging
the gap between scientific communities and the gen-
eral public.

4.3. *Blockchain, NFTs, and decentralized science:*
*a new frontier*

The discussions at the end of the GDR ChemBio 2023
conference ventured into the realms of blockchain
technology [32,33] and NFTs, not just as tools for
artistic expression or scientific visualization but as
potential catalysts for affecting the scientific ecosystem itself [34,35]. This discourse opened up possibilities for leveraging decentralized technologies to
address long-standing challenges in scientific publishing and credential verification. The concept of
decentralized science (DeSci) [36] emerged as a focal point, suggesting an innovative framework where
blockchain could facilitate more transparent, efficient, and accessible scientific communication. In
this context, blockchain's inherent properties of immutability and transparency were discussed as potential solutions to issues surrounding the reproducibility and validation of scientific research. The
implementation of blockchain could lead to a more
open and reliable system for publishing scientific
findings, where results and data are easily verifiable
and permanently recorded [36,37].

Moreover, the application of NFTs within xSubli-
matio brought to light the potential for these digital
assets to represent scientific achievements or creden-
tials in a secure and unforgeable manner. NFTs could
serve as digital certificates for academic accomplish-
ments, research contributions, and even participa-
tion in significant scientific projects. This concept
presents a novel approach to recognizing and verify-
ing academic and professional achievements in the
scientific community [38].

The discussions underscored how blockchain
technology and NFTs could extend beyond their cur-
rent applications, suggesting a future where decen-
tralized systems contribute to the integrity and ad-
vancement of scientific research and education. The

implications of such a shift are profound, indicating a
potential transformation in how scientific knowledge
is disseminated, accredited, and preserved.

4.4. *AI in the spotlight: from AlphaFold to*
*ChatGPT*

The xSublimatio presentation held at the GDR Chem-
Bio conference although primarily focused on the in-
tersection of art, chemistry, and blockchain technolo-
gy, also served as a catalyst for broader discussions
on the role of AI in research and education [39]. The
use of AlphaFold in xSublimatio's molecular design
opened the door to these conversations, highlight-
ing the growing importance of other more generic
AI tools, such as ChatGPT [40], in scientific and aca-
demic contexts. ChatGPT, with its advanced language
processing capabilities, is seen as a valuable tool for
tasks ranging from literature review to hypothesis
generation. Its ability to synthesize and articulate
complex information has implications for accelerat-
ing research and fostering innovative approaches in
various scientific fields.

In the educational sphere, the conference high-
lighted how AI tools like ChatGPT are revolution-
izing teaching and learning. ChatGPT's role in as-
sisting with educational content, providing tutoring
support has become increasingly evident. The dis-
cussion at the conference touched upon the impor-
tance of integrating these AI tools into educational
strategies to enhance learning experiences and pre-
pare students for an AI-augmented future. Further-
more, the impact of ChatGPT in the realm of research
was a significant point of discussion. Its utilization
in the writing and editing of academic articles rep-
resents a notable advancement. For instance, in the
case of this very article, ChatGPT played a crucial role
in harmonizing the writing styles of various authors,
who come from diverse backgrounds and possess
different writing proficiencies. This homogenization
of style not only ensures coherence and readabil-
ity but also facilitates a more seamless collabo-
ration among researchers from various disciplines
and regions.

The conference discussions also delved into the
ethical considerations surrounding the use of AI in
research and education. Issues such as data privacy,
the potential for misuse, and the need for responsible
AI governance were brought to the fore. These con-
versations highlighted the necessity for ongoing dia-
logue and policy development to ensure AI tools are
used ethically and effectively.

5. Conclusion

xSublimatio has served as a catalyst for exploring new territories at the intersection of art, chemistry, and technology, pushing the limits of creative and scientific collaboration. It has prompted chemists, artists, and technologists alike to rethink their roles and the boundaries of their disciplines. The project has not only contributed to scientific mediation through aesthetic means but has also opened a dialogue on the use of emerging technologies to innovate and improve the broader scientific landscape. By integrating diverse fields such as synthetic biology, blockchain technology, and interactive digital art, xSublimatio has showcased the potential of interdisciplinary approaches to generate novel insights and solutions. This exploration of AI, DeSci, and digital credentials is just one example of how xSublimatio has stimulated discussions that extend far beyond its initial artistic and chemical inspirations, challenging traditional research paradigms and paving the way for a future where art, science, and technology coalesce to address complex challenges and explore new frontiers. Furthermore, the project's collaborative framework has highlighted the importance of ethical considerations in scientific innovation, encouraging participants to reflect on the societal implications of their work.

Declaration of interests

The authors do not work for, advise, own shares in, or
receive funds from any organization that could ben-
efit from this article, and have declared no affilia-
tions other than their research organizations. How-
ever, Pierre Pauze, as the artist, author, and owner
of the artworks, receives a commission as outlined in
the XSublimatio smart contract.

Glossary

<table>
   <tr>
    <td>
     Artificial intelligence (AI)
    </td>
    <td>
     A branch of computer science focused on creating machines that can perform tasks that typically require human intelligence, such as learning, problem-solving, and decision-making
    </td>
   </tr>
   <tr>
    <td>
     Amazon Web Services (AWS)
    </td>
    <td>
     A comprehensive cloud computing platform provided by Amazon, offering a wide range of services including computing power, storage, and machine learning tools
    </td>
   </tr>
   <tr>
    <td>
     Bitcoin
    </td>
    <td>
     The first and most well-known cryptocurrency, introduced in 2008 by an anonymous person or group known as Satoshi Nakamoto, based on a decentralized blockchain ledger
    </td>
   </tr>
   <tr>
    <td>
     Blockchain
    </td>
    <td>
     A decentralized, distributed ledger technology that records transactions in a secure, transparent, and immutable way, commonly used for cryptocurrencies and smart contracts
    </td>
   </tr>
   <tr>
    <td>
     Crypto (Cryptocurrencies)
    </td>
    <td>
     Digital or virtual currencies that use cryptography for secure financial transactions and are typically based on decentralized blockchain technology. They function independently of central banks, with prominent examples including Bitcoin and Ethereum
    </td>
   </tr>
   <tr>
    <td>
     Decentralized applications (dApps)
    </td>
    <td>
     Applications that run on a blockchain or peer-to-peer network without central control, often leveraging smart contracts to function autonomously
    </td>
   </tr>
   <tr>
    <td>
     Decentralized science (DeSci)
    </td>
    <td>
     A movement that applies blockchain and decentralized technologies to scientific research, aiming to democratize funding, collaboration, and data sharing outside traditional institutions
    </td>
   </tr>
   <tr>
    <td>
     DeepDream
    </td>
    <td>
     An image-generation algorithm created by Google that uses a convolutional neural network to identify and enhance patterns in images, often producing surreal, dream-like visuals
    </td>
   </tr>
  </table>
<table><tr><td>Ethereum</td><td>A decentralized, open-source blockchain platform that enables developers to create and deploy smart contracts and decentralized applications (dApps), often associated with its native cryptocurrency ether (ETH)</td></tr><tr><td>Generative adversarial networks (GANs)</td><td>A class of machine learning models consisting of two networks—a generator and a discriminator—working against each other to create realistic data (such as images or audio) from random noise</td></tr><tr><td>Generative models</td><td>A type of model in machine learning that generates new data instances similar to existing data, often used in the creation of images, text, or music</td></tr><tr><td>Minting (mint NFTs)</td><td>The process of creating or registering a new non-fungible token (NFT) on a blockchain. When an NFT is minted, it becomes a permanent digital asset that can be owned, bought, sold, and traded. This process records the NFT's metadata (such as ownership and transaction history) on the blockchain, making it tamper-proof and verifiable</td></tr><tr><td>Non-fungible tokens (NFTs)</td><td>Unique digital assets stored on a blockchain representing ownership of a specific item, such as artwork, music, or virtual real estate, and are non-interchangeable</td></tr><tr><td>Smart contracts</td><td>Self-executing contracts with the terms of the agreement directly written into code, running on a blockchain, automatically enforcing and executing agreements without intermediaries</td></tr><tr><td>Text-to-image models</td><td>AI models that generate images from text prompts, translating written descriptions into visual representations</td></tr><tr><td>Wallet (Cryptowallet)</td><td>A digital tool or software that stores the public and private keys needed to send, receive, and manage cryptocurrencies and NFTs</td></tr></table>

## Supplementary data

Supporting information for this article is available on the journal's website under https://doi.org/10.5802/crchim.377 or from the author.

## References

[1] C. P. Snow and S. Collini, *The Two Cultures Texte Imprimé*, Cambridge University Press: Cambridge, New York, Melbourne, 1993.

[2] S. Pinker, *The Blank Slate: The Modern Denial of Human Nature*, Viking: New York, 2002.

[3] D. L. Hull, *Nature* **419** (2002), pp. 251–252.

[4] S. Ede, *Public Underst. Sci.* **11** (2002), pp. 65–78.

[5] *Nature*, **590** (2021), p. 528.

[6] E. Panofsky, *L'œuvre d'art et ses significations* (1955), Gallimard: Paris, 2014, p. 147. Online at https://www.gallimard.fr/Catalogue/GALLIMARD/Folio/Folio-essais/L-oeuvre-d-art-et-ses-significations (accessed on March 5, 2025).

[7] Center for Advanced Visual Studies – Art, Culture, and Technology (ACT). Online at https://act.mit.edu/special-collections/cavs-special-collection/ (accessed on January 25, 2024).

[8] Leonardo/Olats. Online at https://www.olats.org/ (accessed on January 25, 2024).

[9] Arts at CERN. Online at https://arts.cern/ (accessed on January 25, 2024).

[10] DKYY, *Little AI: a blockchain project inspired by nature*, 2020. Online at https://medium.com/@dkyy/little-ai-298fcba0832d (accessed on January 25, 2024).

[11] Under The GAN: Quantum. Online at https://deca.art/UnderTheGAN/utg_quantum (accessed on January 25, 2024).

[12] Agoria - Art. Online at https://agoria.dev/art (accessed on January 25, 2024).

[13] Culture IA - Antonio Somaini. Online at https://cultureia.hypotheses.org/2065 (accessed on January 25, 2024).

[14] A. Mordvintsev, C. Olah and M. Tyka, *Inceptionism: Going Deeper into Neural Networks*, 2015. Online at https://blog.research.google/2015/06/inceptionism-going-deeper-into-neural.html (accessed on January 30, 2024).

[15] I. Goodfellow, J. Pouget-Abadie, M. Mirza, B. Xu, D. WardeFarley, S. Ozair, A. Courville and Y. Bengio, *Advances in Neural Information Processing Systems*, Long Beach, California, USA, Curran Associates, Inc.: Red Hook, 2014.

[16] A. Ramesh, M. Pavlov, G. Goh and S. Gray, *DALL.E: Creating images from text*. Online at https://openai.com/research/dall-e (accessed on January 30, 2024).

[17] Le Fresnoy, *Pierre Pauze—Please Love Party*. Online at https://www.lefresnoy.net/exposition/907/oeuvre/1196/ (accessed on January 30, 2024).

[18] M. Belotti, N. Bozic, G. Pujolle and S. Secci, *IEEE Commun. Surv. Tutor.* **21** (2019), pp. 3796–3838.

[19] D. Vujićić, D. Jagodić and S. Randić, *2018 17th International Symposium INFOTEH-JAHORINA (INFOTEH), East Sarajevo, Bosnia and Herzegovina*, Curran Associates, Inc.: Red Hook, 2018, pp. 1–6.
[20] B. Hammi, S. Zeadally and A. J. Perez, *IEEE Internet Things Mag.* **6** (2023), pp. 46–50.

[21] V. Buterin, *Ethereum: platform review opportunities and challenges for private and consortium blockchains*, 2016. Online at https://docslib.org/doc/7171998/ethereum-platform-review-opportunities-and-challenges-for-private-and-consortium-blockchains-vitalik-buterin (accessed on February 16, 2024). Docslib.

[22] W. Metcalfe, *Blockchain and Crypto Currency: Building a High Quality Marketplace for Crypto Data* (M. Yano, C. Dai, K. Masuda and Y. Kishimoto, eds.), Springer: Singapore, 2020, pp. 77–93.

[23] M. De Lucas and P. Pauze, *XSublimatio/smart-contracts*, 2022. Online at https://github.com/XSublimatio/smart-contracts (accessed on January 30, 2024).

[24] B. Fry, C. Reas, et al., *benfry/processing4: Processing 4.x releases for Java 17*. Online at https://github.com/benfry/processing4/ (accessed on February 16, 2024).

[25] Blender Online Community, *Blender - a 3D modelling and rendering package*, 2018. Online at https://www.blender.org/ (accessed on February 16, 2024).

[26] OpenSea, *Faction_001 - xSublimatio - Collection*. Online at https://opensea.io/collection/xsublimatio (accessed on January 30, 2024).

[27] MILDECA, *Qu'est-ce qu'une drogue?*. Online at https://www.drogues.gouv.fr/quest-ce-quune-drogue (accessed on February 16, 2024).

[28] J. Jumper, R. Evans, A. Pritzel, et al., *Nature* **596** (2021), pp. 583–589.

[29] H. M. Berman, T. N. Bhat, P. E. Bourne, Z. Feng, G. Gilliland, H. Weissig and J. Westbrook, *Nat. Struct. Biol.* **7** (2000), pp. 957–959.

[30] wwPDB Consortium, *Nucleic Acids Res.* **47** (2019), pp. D520–D528.

[31] P. Garrido-Rodríguez, M. Carmena-Bargueño, M. E. de la Morena-Barrio, et al., *PLoS ONE* **19** (2024), article no. e0304451.

[32] V. Kostakis and C. Giotitsas, *tripleC: Communication, Capitalism & Critique*. *Open Access Journal for a Global Sustainable Information Society* **12** (2014), pp. 431–440.

[33] European Parliament. Directorate General for Parliamentary Research Services, *How blockchain technology could change our lives: in depth analysis*, 2017. Online at https://data.europa.eu/doi/10.2861/926645 (accessed on March 7, 2024). Publications Office, LU.

[34] S. Tanwar, *Blockchain Technology: From Theory to Practice* (S. Tanwar, ed.), Springer Nature: Singapore, 2022, pp. 385–408.

[35] N. Jones, *Nature* **594** (2021), pp. 481–482.

[36] F. Wang and W. Ding, *Bull. Chinese Acad. Sci. (Chinese Version)* **38** (2023), article no. 9.

[37] ScienceDirect, *Decentralizing science: towards an interoperable open peer review ecosystem using blockchain*. Online at https://www-sciencedirect-com.ressources-electroniques.univ-lille.fr/science/article/pii/S0306457321002089 (accessed on February 16, 2024).

[38] F. Loukil, M. Abed and K. Boukadi, *Educ. Inf. Technol.* **26** (2021), pp. 5779–5797.

[39] W. Yeadon and T. Hardy, *Phys. Educ.* **59** (2024), article no. 025010.

[40] S. Elbanna and L. Armstrong, *Manage. Sustain.: Arab Rev.* **3** (2023), pp. 16–29.