Content
@
0 reply
0 recast
0 reaction
Matthew
@matthew
speaking anecdotally, I invite fewer of my friends to FC now than I did a year or two ago. Still unpacking the reasons / thoughts behind that but curious if others feel the same.
38 replies
16 recasts
79 reactions
Zach Lipp
@zachlipp
Iāve been extremely active here for 6 months. I donāt invite new people to Farcaster anymore. I tried to onboard a lot of people at the beginning. A core of users stayed but 90% of the artist community I helped onboard are no longer active. Itās a graveyard of user profiles that I brought on. A focus on how to get those users back on the platform seems like a better bet than trying to convince someone new that it makes sense for them.
5 replies
3 recasts
40 reactions
Callum Wanderloots āØ
@wanderloots.eth
Agreed, this is my main focus. A major reason for the dip was degen rules changing and people feeling they couldnāt earn I think another is that low mint cost platforms like Zora donāt inspire artists to spend enough time here, because they earn far too little to justify the time it takes to become a power user here
1 reply
1 recast
10 reactions
Zach Lipp
@zachlipp
Letās start with the low mint cost art platforms. From a collector standpoint, they are interesting. They are a great way to discover new artists and a way to experiment with genres that are not areas of expertise. From an artist standpoint, low mint cost art is a great tool in the toolkit. The idea of a low cost mint has its appeal for specific scenarios. Artists with a dynamic history in the on-chain art-world are going to naturally be hesitant to this model because its counterintuitive to how they initially priced their artwork when they entered this space in the summer of 2021 or anytime in 2022. Iād like to see a polarizing side of the art ecosystem on Farcaster to balance out this low mint cost model. This is enough to stop many artists from ever committing to Farcaster.
2 replies
1 recast
8 reactions
Jasonš©
@jasonophoto
Whatās interesting, coming from my experience in the print world in galleries, is that low cost seems counterintuitive from the beginning for me. Essentially, what I was told early on by established artists is that once you show youāll take less for your work, it is hard to ever get anyone to pay more. I feel like a lot of us were sold a bill of goods about how it would increase the number of wallets we were in, increase our exposureā¦ but I havenāt seen many artists that offered low-cost or free editions translate that into higher sales.
2 replies
0 recast
6 reactions
Callum Wanderloots āØ
@wanderloots.eth
Exactly! But thereās a difference between selling posters of your art (low cost) and museum quality (fine art print, low editions or 1/1) cc @seanmundy š«” imo, with crypto art assets regardless of platform, the contract dictates that āqualityā or ācontextā in which it is made, like the irl galleries vs poster shop. So how does the contract level supply/creation indicator impact the parallel to the physical art world? At the end of the day itās supply and demand, but the demand needs to be valued sufficiently for the artist to make a living. The volume on something like rodeo needed for that to happen is quite high, so we need a way to translate the distribution value of low mint platforms into higher valued pieces/experiences/anything
1 reply
0 recast
3 reactions
Zach Lipp
@zachlipp
I appreciate you sharing your perspective Jason. I know you have a lot of experience. This is not your first rodeo. Artists have had to shape shift within the on-chain world over the past 3 years and itās dizzying. Cool to learn about your irl experience with galleries as well.
1 reply
0 recast
3 reactions