 I know it's been a long few days and there's another day left to come off of this, I'm excited. Mine's pretty cool because I think it's not singing. So I'm Simon, I like to make stuff and lately I've been thinking a lot about partner creativity and I want to share some ideas around building new markets in the arts. I'm going to cover three broad topics in this talk. The ideas around new kinds of property rights and the need of it will be around generative economies, new ways to generate and co-create art together. And the final one is a bit in the weird attention which is seeing markets as a medium for arts. So just before I start, just to carry out, there's been a lot of amazing stuff that's been done in the space, it's not entirely exhaustive, and it's not doing some of the things that have been done so far in the space. It's like secondary sales, which is awesome. Good crowdfunding mechanisms of simple forms of tokenization. And just thanks to a bunch of people that have written a lot in the space, people like Rob Myers, M.P.N. Stina, and we've caught up from a further field. It's been a lot of people doing amazing things. So let me start with intellectual property. Intellectual property, as is, as we understand it today, we all have this idea that whatever we create eventually goes into the public domain. This is for copyright, the case. Eventually, Mickey Mouse will get into the public domain after this and start lobbying. And then we also have the principle of patents. Patents are privately exploitable for a while, and then it becomes be able to be exploited by anyone in the market. Now, the way we design this is that we kind of guess how long people should exploit such intellectual property. In case of copyright, it depends where you're on the world, but maybe thinking the U.S. is like, after you die, apply 70 years or something like that. It's pretty arbitrary if you think about it. So there was some new proposals in regards to asset property ownership by Glenn Weill and Eric Posner from Radical Markets that proposed different ways to do property rights. It was initially targeted towards more traditional asset ownership, but I think it could be applied to intellectual property as well, which essentially creates a market for the ability to privately exploit intellectual property. And if it's not being privately exploited, it goes back into the comments. And this kind of property rights is called Harbinger Rights. It's named after Arnold Harbinger. I know it's not Harbinger Rights or Harbinger Rights. It's Harbinger Rights. So this guy invented this model where essentially works as follows. Once you own the property, whatever it is, it's in this case intellectual property, you have to always specify sale price upon which someone can buy it from that owner, but they can't choose like $5 billion as a price because you have to pay a tax on it based on the price you set. So it means that ideally the price goes towards a level which is fair market pricing, but the person that owns it at any point someone can buy from them at their price. So the person that's the owner constantly have to evaluate the price of their asset. So I thought this was a really interesting idea. It's perhaps not really implementable in the current traditional world, but I thought why not try and create something like this for digital art, digital art collectibles and why not use this beautiful thing called blockchain in Ethereum to allow us to experiment with this. So I thought let's try this out and I created a project called this artwork is always on sale and that is the actual artwork itself and it's self referential. And I created it and I launched it in March and April and there was an interest in the artwork and it's so available to be bought and it's currently valued at around $40,000. And the great thing about this model is that why we started it is that like the secondary sale model where every sale of the artwork generates revenue for the artist, in this case every second I earn revenue from the fact that some of the sites are holding this digital collectible. So this is an interesting model and since then other people have started using this model in other domains such as conservation, like your own digital rhino and the money you pay gets given to rhino conservation so it's not like an art piece. But what's interesting about this model and why Harvard and Wright work together in the first place is it asks the question what things ought to be owned in the comments and I think that's where it gets particularly interesting in the case of Ethereum because when you look at Ethereum we often design markets with multiple participants to enter and exit as they wish. So the question becomes what can be bolted ought to be owned in the comments that is related to art. In the past in Ethereum there have been interesting experiments related to this I don't think many people might remember this experiment but it was it's still running on Ethereum but it's called the universe explodes and it's a book, it's a book where if you have a copy of the book there's like a few copies of the book if you have the book you have the right to remove some words and write some new words in the book but you can only add less words than you take out so over time this universe explodes and the book becomes essentially nothing so all versions of the book essentially gets written out of existence so people can buy and sell this book so that's a good example for me of what comments art can be with Ethereum you can buy and sell specific versions of this book then we'll serve things like pixel maps which is famous on the Internet for comments art everyone is available to build and edit specific pixels but none of this currently on the Internet is built in such a way that the people who co-created this could actually earn anything from it it's just a collective experience but with things like hybrid attacks to the process of owning maybe specific sections of a pixel map you could buy and sell and participate and co-create value together then there was also projects in the space things like Solaris which is incredibly fascinating I think it's still very unexplored the ability to co-create stories together both collective universes and we've seen in almost any popular media production there's fanfiction so much so much fanfiction and the process of legitimizing fanfiction as part of the Canada story hasn't really been done so much but also just the ability to send people less incentivized co-creation of art together and collective storytelling so I think that's still a space that's largely unexplored the next one I want to touch upon which is the meat of this talk is the production of generative economies in art I think the most important thing here is we have this economic incentive engines that we build on Ethereum that we could use incentivize people to generate algorithms to make us go find interesting art interesting actions that exist in this, you know, adjacent possible space and what's been done so far is there's people that have done stuff in this space which is quite interesting and it's the following kind of maps pre-generated, it's auto-generated and the final one which is probably being done is the incentivization of these kind of generations so one of the first ones was the project of cryptopunks I'm sure some of you might be familiar with this in cryptopunks there were about 10,000 of these created but they were done randomly so they said different parts of the mesa cryptopunk is then put together and then it was released so in this case generative artwork that was pre-generated what it looks was a similar project by the same guys where they created 5.12 generative artworks but what they did here that was new and different was that they actually put the code to produce the artwork in the smart contract they self so if you take the specific C input there is a solidity code that will generate these pieces of art so there's no separate file that doesn't IPFS that represents this artwork it's actually all in solidity then there was a similar project called generative which also uses a similar thing to autoblas which uses K-compositions based on a specific hash and then there was a project called cryptcode which kind of took input from cryptokids where you would have anime characters able to be combined and bred into new anime characters machine learning models to generate these new versions of these anime characters so then in this case it started combining the fact that if you have one of these you can generate new ones before I get to the holy grail there's another component that's been started which is the ability to use these collective organizational models to basically incentivize people to produce commission artworks to be created so here in the theater there was a DAO SAKA sorry DEF CON there was a DAO SAKA experiment there's also other ones for Trotendown there's also DAO VINCI there's several of them, one's trites, artwork essentially people put money together and then commission any artist anywhere in the world to create works together and when these are sold some of the money goes back into the DAO so people could choose proposals to create art together now when you take generative economies machine learning, algorithmic generation of art you combine it with DAOs you get what's trained with IED from OceanCalls AI art DAOs this is where it gets fun and weird and amazing so essentially some of the first designs is one of the designs I made called Eponymous there was a prototype boat at East Berlin last year where essentially there is a DAO that creates these digital artworks through the generative algorithm and then it pays people to improve its algorithm so over time you would have new artworks being produced and it would be incentive by software developers to upgrade it to produce new artworks perhaps the most interesting one recently that is a production that's really great it's really when it comes to clovers which is really great these pictures that you see, if you're not familiar with it you finish any games of a fellow or reversing depending what you call it and because there's many of them that exist many end states of this game you collect the various ones and because it generates interesting patterns you could find either the most sort of after ones or the symmetrical ones because we are humans and we like patterns but what's great about this example is that it incentivizes people to run these simulations on their computers to generate these interesting versions and it has both an economy behind it where it incentivizes people to generate them through a DAO system using one new course so super super great experiment and it's also just really fun I think they did a really good job with the user experience where they incentivize people to run these things to collect these interesting pieces of work so this is like the start of something where we start combining everything together you get quite interesting outcomes when you combine all these things together there's still one piece that's kind of missing this is where people like Gene Cogan who created Machine Learning for Artists started combining all these components together and added one final piece which is the ability to add a philosophy of mind in the artworks that's being created and it's a project called Abraham the AI he's written amazing medium pieces which describes his whole project and what it is you have digital art crypto economics machine learning and artificial intelligence and a philosophy of mind to combine it together to essentially have what as he described it is just a more palatable version and artists in the club and how it works is where the philosophy of mind comes in is that the machine learning or the generative algorithm is federated so it's not one person owns the mind of this artist so it's scattered among any computers and when the artworks are generated they are put together by these different sets and the model keeps getting improved such that over time you have this artist creating artworks software developers improving this artist it's making money for the people involved and it ends up being completely autonomous artificial artists so I find this extremely fascinating I think this is a holy grail of ideas together where I hope in the next five years we will see the first artist that lives out there that sells a few million dollar artworks that we don't quite understand it's quite a fascinating idea so Abraham AI exists as a forum people can go and discuss Gene comes from the machine learning world so if we try to get these ideas into crypto-economic space it's going to get quite interesting then the final part which is perhaps a bit stranger kind of a quest not really a quest but I think it's an interesting space to explore which is looking at markets as a potential medium for art just because of the fact that in Ethereum we constantly deal with transactions like we call transactions if it's adaptive it's a social network we call it a transaction it's about finance everything you have to do you have to pay there's always a market and everything but it rarely has markets being seen as an art medium mostly because we tend to see it as it destroys the value of art sometimes where people see there's this transaction to this experience and the deep values of the experience but I think in that we can also create our experiences and what's interesting is that many people might not realize this but there is a lot of interesting things to see in markets and obviously the first one that we are quite familiar with is traditional technical analysis in which people have these words for these patterns the descending triangle, the head and shoulders the various forms of like clouds that you can various trader terminology that you can see in the technical analysis these things they get creative this is a dinosaur movement which is quite funny and then there's also just a form for using markets as protests in South Africa there was a company that was indicated in state capture and when it was done the company got the deficit but you could still trade in it through paper shares on the side so this guy thought it was really funny for doing the shit that they did in South Africa and he started trading this beautiful OQ in protest for he actually got sued because apparently it was an imputation but and then like this the following one is an experiment that I did and obviously in doing these kind of forms of art experiments you sometimes wonder if it has been a dangerous day but in this case I thought it was just interesting to try so my question was could a prediction market be art so if it's a prediction market itself so I created one over and asked the community is this prediction market art and the outcome would be if people say yes it would be art if people say no it wouldn't be art it ran for about a month not a lot of people participated in this the final outcome was yes, the people that participated thought it was art but the whole community thought that this was not a relevant question or an invalid question so they decided to market as an invalid so clearly the question itself is invalid like we shouldn't be asking this in the case so that was just the final experiment that I enjoyed then it's up to you guys to decide whether it's art or not then the final two parts is where you combine the market process to create art one of the interesting ones was the data network of artists creating a piece of art during a channel auction so a channel auction is you have the rising bits in an English auction and then a vinyl price coming down in a Dutch auction when these two meet in the middle it's a surprise that someone pays for this art piece but what's interesting in their experiment is the art didn't exist before the process started so during the process of the channel auction the art work was created because this vinyl price comes down in the plan to provide two hours for the auction to complete and in that two hours this art a bunch of artists together created this art work and when it was bought it was shared among all the artists so it was just an interesting process where during the market process the art is actually created and then there was also an experiment from the conversion team which essentially created a bonding curve billboards which was this strange experiment where you could buy a piece of ad space when it's under the line and the bonding curve which is the price doesn't know what kind of market making mechanism it might be meaningless but I think it's just a good example of experimenting with the ways in which you can combine art and markets in the same process and perhaps in through that way maybe take control back over the narrative of markets as being necessarily completely negative towards art yeah that is I was so worried about not going over time that I was way too fast I think I have time for like one question if anyone is anything interesting to add or feel like saying that this is meaningless maybe can you explain to your viewers what art is do you have two hours obviously anyone that's created art has thought about it before for me it's just at the end of the day art is just another form of language so we try to convey something in a specific form and sometimes language does not do that sometimes we need to make music to say something sometimes we need to make memes to say something sometimes we need to write a middle finger onto technical analysis to say something so yeah that's my most minimal definition yeah I have a question about the how does it feel on art that you never see yeah so that's part of the process once it's been created people go this is I don't want to be the next brilliant artwork or it's going to be good yeah and some obviously you might also know the artist beforehand so people might say it's funny and I think my last question if you expand on the autonomous artist's AI what is the philosophy behind e-mail are you infusing a line that does not e-mail of course we need to it's more like it's more like when you have these kind of generative algorithms if you just run the process because it's usually deterministic if you put a specific input and you get a specific output so in that sense the mind of the artist is known before it is written in so so to speak so in the case of philosophy of mind is where a certain input you would not necessarily know what the output would be until it's done so in generative algorithms there is no space currently where you would be able to say that you would not know what the output would be in terms of the math it's mostly because it's federated learning your office gets the process enough that not one person in this process or one node in this process would be able to know what the eventual output would look like it's only when you bring all the pieces together to see this is what was created so it's a bit of a need to say philosophy of mind but it's just like the people that participate wouldn't necessarily know what the final output would be okay one last question is a general question of you or anyone else knows a group a channel feed where crypto are a bit interested in just the blockchain in general decentralization in general meet share knowledge I guess just like an open channel where people can connect and plan more cloud-based or is there something out there is there a place that can't be in all these topics I wonder if it's dedicated to art or yeah truly yeah I mean there's a bunch of platforms that have their communities like super air and data communities I think it would be great if there is actually like a more central one that shares in all these things it could be I maybe just haven't done enough research to find that yeah please say it out if you're interested do you know of any project that utilizes possible crypto potentials to create something like this as opposed to have it be in one level from like a hierarchy multiple layers not kind of familiar but there might be or might have seen it but I'm not remembering now okay awesome thank you very much I appreciate that