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
I’ve been extremely active here for 6 months. I don’t 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 A core of users stayed but 90% of the artist community I helped onboard are no longer active. It’s 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 ✨
@wanderloots.eth
Agreed, this is my main focus. A major reason for the dip was degen rules changing and people feeling they couldn’t earn I think another is that low mint cost platforms like Zora don’t 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
Let’s 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. I’d 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
Jason🎩
@jasonophoto
What’s 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 you’ll 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 exposure… but I haven’t seen many artists that offered low-cost or free editions translate that into higher sales.
2 replies
0 recast
6 reactions
Callum Wanderloots ✨
@wanderloots.eth
Very valid and well said! Where I struggle is, eg, my astrophotography. Some photos take me 100s of hours and $1000s to achieve, so selling it for a few cents makes it difficult to justify. Totally get it from a promotional perspective, more just trying to wrap my head around it all :) What are your thoughts on, eg, putting a piece on zora or rodeo club, and then minting a limited edition or 1/1 version on manifold of the same piece? I guess the question being, in the world of onchain art, how much does the contract level scarcity/style matter?
1 reply
0 recast
5 reactions
