> A homo sapien earthling, born in '92 Amsterdam, currently surviving and thriving in the beautiful disaster that is Istanbul. You might know me as Berk Özdemir, or spot me under aliases like Princess Camel or Guerrilla Pimp Minion Bastard somewhere deep in the interwebz.

> My relationship with sound started before I could form proper sentences, when my father sat me down at a piano at age 2.5. Classical training carried me through until university, with a detour through Metal and RnB/Funk bands during high school because keyboards are keyboards and distortion is distortion. A bachelor's in classical composition followed (2011-2016), and somewhere in those same years I co-founded Videoyun, a videogame and let's play channel that grew into a proper community across Justin.tv, Twitch, and YouTube. I streamed, I yelled at games on camera, I made content for Baze.tv, and briefly created video content for Sony. Videoyun is still alive today, kept running by my co-founder. Then came a year at the Institute of Sonology where I learned how to actually listen to the world and witnessed some genuinely unhinged things. Eventually, a Master's at ArtScience Interfaculty gave me the academic framework to do what I was already doing: repurposing existing digital media, artifacts, and software to make new things that weren't supposed to exist.

> My thesis was titled "RE-EXPLORING VIDEOGAMES FOR AUDIOVISUAL PERFORMANCE AND COMPOSITION," which tells you everything you need to know about where my head was, and still is.

> Somewhere in between all that studying, I realized programming is basically a cheat code for anyone who likes making things, so I picked it up and never stopped. Music became digital art became generative systems became blockchain became fashion became whatever's next. Since 2019, distributed ledgers and smart contracts have been a genuine medium for me, not a hype cycle to ride. BASTARD GAN PUNKS V2 went viral and became one of the most talked-about remix NFT collections of its time, still sitting near the top of AI collection charts five years later, which feels about right for something built on the principle that corruption is a creative act. COPYMINT and COPYMINT ALLES pushed that further as conceptual works, deploying ERC721 contracts across multiple chains to let anyone freely mirror any NFT's metadata, a provocation about ownership and what holding a digital object actually means. GLICPIXXX grew into its own ecosystem of weirdo glitchy generative imagery spread across two collections, and ARTGLIXXX built on top of it as an on-chain remix platform where holders can generate and regenerate deterministic derivatives of their tokens indefinitely, fueled by the $GLIX utility token. The whole thing is less a project and more a living argument about what generative art can be when you take remixing seriously at the infrastructure level.

> Since 2023, I've been co-running GLIX STUDIO, a fashion-software-art hybrid that builds proprietary generative algorithms to create visual patterns for luxury streetwear, operating at the precise intersection of technology, subculture, and the aesthetics of error. In 2025, I co-founded Factory OD, an on-demand merch manufacturing company. newontology.ai is my ongoing ArtScience research project exploring new ontologies through human-AI collaboration, because some questions deserve slow, weird, careful attention.