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Arun Philips
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📚 Mission 2 of my Blockvocates.org journey was to read the book Read, Write, Own by @cdixon.eth and report on how it applies to my Blockchain Journey, 🧵 below: I picked the Musician Journey on Blockvocates so my objective was to understand the connections and implications of Blockchain w.r.t. Music. #1 Most new tech follows an S-curve, creators are valued initially but are extracted from later in the cycle. Musicians and creators on Instagram clearly experience this today, making no revenue for their work while Meta benefits from ad revenue on their creations. Benefits of interoperability go down as the network grows (eg. Zynga de-platformed from Facebook). #2 Unlike AI, Blockchains are a non-consensus/outside-in technology, dismissed by many but progress will happen outside-in and grassroots by hackers and outsiders, not inside-in led by tech incumbents. Parallels can be drawn to the music, which has traditionally been dominated by incumbents, but musicians should look at outside-in solutions.
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#3 Blockchains separate business and security functions while guaranteeing a robust trail of ownership enabling the creation of a new kind of network, a network that ensures a musician's work is protected and fairly valued, esp. in a time where AI models train on their work without compensation. #4 Blockchains are massively multiplayer - useful for enabling coordination among people who don't have pre-existing relationships. I see the musician+fan relationship as a prime example of this, currently non-existing but can be made much more me**aningful and special with blockchain. Seeing this happen already with platforms like Medallion.fm
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🪙 #5 Tokens can represent ownership of anything digital - incl. money, music, text, art etc. They place ownership in the hands of users instead of corporate networks. The principles of composability and ownership enable incredible new possibilities for music - think transparent music and listening data, music games, fan-led music extensions, music trading etc. that have been impossible so far in a world where music is owned by corporate networks
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