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Urban life was Jacobs’s great subject. But her great theme was the fragility of democracy—how difficult it is to maintain, how easily it can crumble. A city offered the perfect laboratory in which to study democracy’s intricate, interconnected gears and ballistics. “When we deal with cities,” she wrote in The Death and Life of Great American Cities (1961), “we are dealing with life at its most complex and intense.” When cities succeed, they represent the purest manifestation of democratic ideals: “Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.” When cities fail, they fail for the same reasons democracies fail: corruption, tyranny, homogenization, overspecialization, cultural drift and atrophy.

I was encouraged to believe that simple conformity results in stagnation for a society, and that American progress has been largely owing to the opportunity for experimentation, the leeway given initiative, and to a gusto and a freedom for chewing over odd ideas. I was taught that the American’s right to be a free individual, not at the mercy of the state, was hard-won and that its price was eternal vigilance, that I too would have to be vigilant.

Her 1,500-word speech, a version of which appears in Vital Little Plans, became the basis for The Death and Life of Great American Cities. Her main argument was Kirk’s: Small neighborhood stores, ignored by the planners in their grim demolition derby, were essential social hubs. She added that sidewalks, stoops, laundries, and mailbox areas were also indispensable centers of community activity, and that sterile, vacant outdoor space served nobody. “The least we can do,” she said, “is to respect—in the deepest sense—strips of chaos that have a weird wisdom of their own.”

It’s also a process that upends our deeply rooted legal norms that attach ownership to people. If we have historically tied ownership to the concept of natural or legal persons, what then happens, asks Kolling, if a non-human agent, whether a natural entity or a computer program, gains the ability to own? “Wouldn’t this ability come along with some kind of personhood?”

Kolling and his terra0 co-founders are part of a broader wave that’s ushering blockchain into the art world. Some are merely using the technology to verify the authenticity of particular works, but many artists want to go further. “Every system which plainly reproduces the old one is quite boring,” says Seidler, 29, who’s a head shorter than the lanky Kolling. “What interests me is using distributed ledgers as experimental systems where issues of autonomy, value and cooperation can be renegotiated.”

"If true, this experiment is monstrous. Gene editing itself is experimental and is still associated with off-target mutations, capable of causing genetic problems early and later in life, including the development of cancer," Prof Julian Savulescu, an ethics expert at the University of Oxford, told the BBC.

In “Edible insects: Future prospects for food and feed security,” a 200-page report published in 2013, the UN’s Food and Agriculture Organization (FAO) noted that “Western societies require tailored media communication strategies and educational programmes that address the disgust factor” of eating insects. Bug banquets such as Bugsgiving offer one such educational opportunity. Yoon, who considers himself an “Edible Insect Ambassador,” focused on creating a family-style menu of dishes. “Instead of just serving crickets in a bowl or a chip, I want to serve black ants and shrimp, composed dishes—cricket gougères,” he says. “Things that represent a dish that [will make people] go, ‘Oh, that looks like food to me.’” Research cited by the UN proves that this strategy works: “Years of experimental experience in the Netherlands and the United States have confirmed the effectiveness of bug banquets in overcoming the disgust factor,” reads the 2013 FAO report.