Reining in Technology

From Simon Jenkins in The Guardian:

I assume that nations will one day revolt against the commercial banditry of the internet companies. Governments will find the guts to expel, jam or fine them when they misbehave. I assume that the curse of online anonymity will end, and users of the internet will have to register their identities. Search engines still pretend to be “platforms not publishers” – or, as others put it, sewers not sewage.

But just as the idea of Uber and Airbnb not being “real” service providers is crumbling, so is the idea of Google and Facebook as not “real” publishers, and thus not responsible for any damage done by their content. We await the first class action suit for a Facebook-induced suicide.

The worms are turning. Schools in Silicon Valley have taken to banning digital devices from their premises. Hi-tech parents know what harm too much screen time can do to their children. In addition, David Sax’s Revenge of Analog declares that the revolt of “real” is at hand. As we pass “peak stuff”, the post-digital economy will be about “play”, not objects.

 

This is the trend tuka anticipates and hopes to serve. Technology is a tool to serve human needs, not the other way around. Create-Share-Connect!

Vampire Squids?

 

likenolike

I would say this essay by Franklin Foer is a bit alarmist, though his book is worth reading and taking to heart. We are gradually becoming aware of the value of our personal data and I expect consumers will soon figure out how to demand a fair share of that value, else they will withdraw.

Technology is most often disrupted by newer technology that better serves the needs of users. For Web 2.0 business models, our free data is their lifeblood and soon we may be able to cut them off. Many hope that’s where Web 3.0 is going.

tuka is a technology model that seeks to do exactly that for creative content providers, their audiences, and promoter/fans.

How Silicon Valley is erasing your individuality

Washington Post, September 8, 2017

 

Franklin Foer is author of “World Without Mind: The Existential Threat of Big Tech,” from which this essay is adapted.

Until recently, it was easy to define our most widely known corporations. Any third-grader could describe their essence. Exxon sells gas; McDonald’s makes hamburgers; Walmart is a place to buy stuff. This is no longer so. Today’s ascendant monopolies aspire to encompass all of existence. Google derives from googol, a number (1 followed by 100 zeros) that mathematicians use as shorthand for unimaginably large quantities. Larry Page and Sergey Brin founded Google with the mission of organizing all knowledge, but that proved too narrow. They now aim to build driverless cars, manufacture phones and conquer death. Amazon, which once called itself “the everything store,” now produces television shows, owns Whole Foods and powers the cloud. The architect of this firm, Jeff Bezos, even owns this newspaper.

Along with Facebook, Microsoft and Apple, these companies are in a race to become our “personal assistant.” They want to wake us in the morning, have their artificial intelligence software guide us through our days and never quite leave our sides. They aspire to become the repository for precious and private items, our calendars and contacts, our photos and documents. They intend for us to turn unthinkingly to them for information and entertainment while they catalogue our intentions and aversions. Google Glass and the Apple Watch prefigure the day when these companies implant their artificial intelligence in our bodies. Brin has mused, “Perhaps in the future, we can attach a little version of Google that you just plug into your brain.”

More than any previous coterie of corporations, the tech monopolies aspire to mold humanity into their desired image of it. They think they have the opportunity to complete the long merger between man and machine — to redirect the trajectory of human evolution. How do I know this? In annual addresses and town hall meetings, the founding fathers of these companies often make big, bold pronouncements about human nature — a view that they intend for the rest of us to adhere to. Page thinks the human body amounts to a basic piece of code: “Your program algorithms aren’t that complicated,” he says. And if humans function like computers, why not hasten the day we become fully cyborg?

To take another grand theory, Facebook chief Mark Zuckerberg has exclaimed his desire to liberate humanity from phoniness, to end the dishonesty of secrets. “The days of you having a different image for your work friends or co-workers and for the other people you know are probably coming to an end pretty quickly,” he has said. “Having two identities for yourself is an example of a lack of integrity.” Of course, that’s both an expression of idealism and an elaborate justification for Facebook’s business model.

There’s an oft-used shorthand for the technologist’s view of the world. It is assumed that libertarianism dominates Silicon Valley, and that isn’t wholly wrong. High-profile devotees of Ayn Rand can be found there. But if you listen hard to the titans of tech, it’s clear that their worldview is something much closer to the opposite of a libertarian’s veneration of the heroic, solitary individual. The big tech companies think we’re fundamentally social beings, born to collective existence. They invest their faith in the network, the wisdom of crowds, collaboration. They harbor a deep desire for the atomistic world to be made whole. (“Facebook stands for bringing us closer together and building a global community,” Zuckerberg wrote in one of his many manifestos.) By stitching the world together, they can cure its ills.

Rhetorically, the tech companies gesture toward individuality — to the empowerment of the “user” — but their worldview rolls over it. Even the ubiquitous invocation of users is telling: a passive, bureaucratic description of us. The big tech companies (the Europeans have lumped them together as GAFA: Google, Apple, Facebook, Amazon) are shredding the principles that protect individuality. Their devices and sites have collapsed privacy; they disrespect the value of authorship, with their hostility toward intellectual property. In the realm of economics, they justify monopoly by suggesting that competition merely distracts from the important problems like erasing language barriers and building artificial brains. Companies should “transcend the daily brute struggle for survival,” as Facebook investor Peter Thiel has put it.

When it comes to the most central tenet of individualism — free will — the tech companies have a different way. They hope to automate the choices, both large and small, we make as we float through the day. It’s their algorithms that suggest the news we read, the goods we buy, the paths we travel, the friends we invite into our circles. [Blogger Note: As computers can’t write music like humans, algorithms cannot really define tastes. Our sensibilities are excited by serendipity, innovation, and surprise.]

It’s hard not to marvel at these companies and their inventions, which often make life infinitely easier. But we’ve spent too long marveling. The time has arrived to consider the consequences of these monopolies, to reassert our role in determining the human path. Once we cross certain thresholds — once we remake institutions such as media and publishing, once we abandon privacy — there’s no turning back, no restoring our lost individuality.

***

Over the generations, we’ve been through revolutions like this before. Many years ago, we delighted in the wonders of TV dinners and the other newfangled foods that suddenly filled our kitchens: slices of cheese encased in plastic, oozing pizzas that emerged from a crust of ice, bags of crunchy tater tots. In the history of man, these seemed like breakthrough innovations. Time-consuming tasks — shopping for ingredients, tediously preparing a recipe and tackling a trail of pots and pans — were suddenly and miraculously consigned to history.

The revolution in cuisine wasn’t just enthralling. It was transformational. New products embedded themselves deeply in everyday life, so much so that it took decades for us to understand the price we paid for their convenience, efficiency and abundance. Processed foods were feats of engineering, all right — but they were engineered to make us fat. Their delectable taste required massive quantities of sodium and sizable stockpiles of sugar, which happened to reset our palates and made it harder to satehunger. It took vast quantities of meat and corn to fabricate these dishes, and a spike in demand remade American agriculture at a terrible environmental cost. A whole new system of industrial farming emerged, with penny-conscious conglomerates cramming chickens into feces-covered pens and stuffing them full of antibiotics. By the time we came to understand the consequences of our revised patterns of consumption, the damage had been done to our waistlines, longevity, souls and planet.

Something like the midcentury food revolution is now reordering the production and consumption of knowledge. Our intellectual habits are being scrambled by the dominant firms. Giant tech companies have become the most powerful gatekeepers the world has ever known. Google helps us sort the Internet, by providing a sense of hierarchy to information; Facebook uses its algorithms and its intricate understanding of our social circles to filter the news we encounter; Amazon bestrides book publishing with its overwhelming hold on that market.

Such dominance endows these companies with the ability to remake the markets they control. As with the food giants, the big tech companies have given rise to a new science that aims to construct products that pander to their consumers. Unlike the market research and television ratings of the past, the tech companies have a bottomless collection of data, acquired as they track our travels across the Web, storing every shard about our habits in the hope that they may prove useful. They have compiled an intimate portrait of the psyche of each user — a portrait that they hope to exploit to seduce us into a compulsive spree of binge clicking and watching. And it works: On average, each Facebook user spends one-sixteenth of their day on the site.

In the realm of knowledge, monopoly and conformism are inseparable perils. The danger is that these firms will inadvertently use their dominance to squash diversity of opinion and taste. Concentration is followed by homogenization. As news media outlets have come to depend heavily on Facebook and Google for traffic — and therefore revenue — they have rushed to produce articles that will flourish on those platforms. This leads to a duplication of the news like never before, with scores of sites across the Internet piling onto the same daily outrage. It’s why a picture of a mysteriously colored dress generated endless articles, why seemingly every site recaps “Game of Thrones.” Each contribution to the genre adds little, except clicks. Old media had a pack mentality, too, but the Internet promised something much different. And the prevalence of so much data makes the temptation to pander even greater.

This is true of politics. Our era is defined by polarization, warring ideological gangs that yield no ground. Division, however, isn’t the root cause of our unworkable system. There are many causes, but a primary problem is conformism. Facebook has nurtured two hive minds, each residing in an informational ecosystem that yields head-nodding agreement and penalizes dissenting views. This is the phenomenon that the entrepreneur and author Eli Pariser famously termed the “Filter Bubble” — how Facebook mines our data to keep giving us the news and information we crave, creating a feedback loop that pushes us deeper and deeper into our own amen corners.

As the 2016 presidential election so graphically illustrated, a hive mind is an intellectually incapacitated one, with diminishing ability to tell fact from fiction, with an unshakable bias toward party line. The Russians understood this, which is why they invested so successfully in spreading dubious agitprop via Facebook. And it’s why a raft of companies sprouted — Occupy Democrats, the Angry Patriot, Being Liberal — to get rich off the Filter Bubble and to exploit our susceptibility to the lowest-quality news, if you can call it that.

Facebook represents a dangerous deviation in media history. Once upon a time, elites proudly viewed themselves as gatekeepers. They could be sycophantic to power and snobbish, but they also felt duty-bound to elevate the standards of society and readers. Executives of Silicon Valley regard gatekeeping as the stodgy enemy of innovation — they see themselves as more neutral, scientific and responsive to the market than the elites they replaced — a perspective that obscures their own power and responsibilities. So instead of shaping public opinion, they exploit the public’s worst tendencies, its tribalism and paranoia.

***

During this century, we largely have treated Silicon Valley as a force beyond our control. A broad consensus held that lead-footed government could never keep pace with the dynamism of technology. By the time government acted against a tech monopoly, a kid in a garage would have already concocted some innovation to upend the market. Or, as Google’s Eric Schmidt, put it, “Competition is one click away.” A nostrum that suggested that the very structure of the Internet defied our historic concern for monopoly.

As individuals, we have similarly accepted the omnipresence of the big tech companies as a fait accompli. We’ve enjoyed their free products and next-day delivery with only a nagging sense that we may be surrendering something important. Such blitheness can no longer be sustained. Privacy won’t survive the present trajectory of technology — and with the sense of being perpetually watched, humans will behave more cautiously, less subversively. Our ideas about the competitive marketplace are at risk. With a decreasing prospect of toppling the giants, entrepreneurs won’t bother to risk starting new firms, a primary source of jobs and innovation. And the proliferation of falsehoods and conspiracies through social media, the dissipation of our common basis for fact, is creating conditions ripe for authoritarianism. Over time, the long merger of man and machine has worked out pretty well for man. But we’re drifting into a new era, when that merger threatens the individual. We’re drifting toward monopoly, conformism, their machines. Perhaps it’s time we steer our course.

Digital Futures

Here are four NYT opinion articles written by or about Jaron Lanier, who has been on the forefront of digital culture for at least the past 25 years. He presents much of the challenges and failures of technology when it butts up against humanism. The last two are reviews of his book, Who Owns the Future?  Definitely worth a read.

Fixing the Digital Economy

Digital Passivity

Will Digital Networks Ruin Us?

Fighting Words Against Big Data

DIY – Nashville Music Scene

DIY.
From Rolling Stone magazine.

How Underground Nashville Bands Are Reclaiming Music City

Long dominated by multi-million-dollar country labels, Nashville’s indie musicians are vying to reclaim the city in the name of DIY rock & roll

Musicians are migrating to Nashville to tap resources they can’t find as easily in New York or elsewhere, such as cheap recording and pop-up house venues. 

For years, big labels were the gatekeepers in Tennessee’s capital city. They had the keys to the recording studios and the funds to push singles out to the radio. But in the shadow of the country-music empire, DIY artists have been rising up to find their own voice. “If bands are willing to put the effort forward now, they can make the money themselves,” says Jeremy Ferguson, founder of Nashville’s Battle Tapes recording. “You don’t have to rely on some dick in a fucking suit who’s going to tell you what to do.

Beyond Music Row and the Honky Tonk Highway, underground musicians are building their own scene – and it’s one that spurns the traditional studio system. “A lot of [the Nashville mentality] is anti-establishment,” says Olivia Scibelli, lead singer of Idle Bloom, a band currently writing its second full-length album from Scibelli’s East Nashville basement. “It’s kind of about taking out the middleman.”

Nashville today is a Petri dish of creativity where young artists are gathering wherever they can and booking shows in house venues that pop up in gentrifying neighborhoods. They’re recording albums themselves or with independent producers like Ferguson, who started mixing records in his basement before building a garage studio in his backyard. And they’re organizing into an underground scene that’s starting to look like a rock revolution that could one day dethrone country twang as Nashville’s most famous sound.

One of the launchpads of the movement is DRKMTTR, an all-ages house party of a venue west of downtown that’s set in an old barbershop and flanked by clapboard houses. The volunteer-run venue has been shut down for fire-code violations in the past, and to the young fans showing up with coolers of beer, it can seem like nobody’s in charge. That’s the charm.

On most nights of the week, people drink from cans in the backyard and lounge around on old couches until the band strums its first chords. Then they crowd into the 100-person capacity venue, prepared to be surprised.

Scibelli helps run DRKMTTR, and Idle Bloom has played there in the past, but during a recent rehearsal session, the band’s four members crowd into a windowless room alongside their abused equipment. Bedsheets and worn carpeting along the walls and floor lend bare acoustic treatment, and the music stops cold when a wonky cable craps out. “Real life: We have shitty gear,” says Scibelli. But then everything’s working again, and the band launches into the kind of thunderous melody that draws comparisons to the Breeders and Get Up Kids, with hot-blooded riffs that dance over distorted fuzz to evoke Explosions in the Sky.

“Our scene is definitely more raw,” says Scibelli, comparing bands like hers to the country-driven major label system. “But everyone has their own studio or DIY recording setup. It’s pretty great.”

That Idle Bloom has a scene at all owes some gratitude to the high-profile acts that have given Nashville a shot of rock credibility. Kings of Leon formed in Nashville, while Jack White and the Black Keys are two of the city’s high-profile transplants. Collectively they’ve helped break the “Nashville curse,” the old idea that Nashville rock bands couldn’t connect with a national audience. “The first several bands that got signed out of Nashville – giant contracts – their albums tanked and they were dropped,” says Todd Ohlhauser, who owns Cannery Ballroom, Mercy Lounge and High Watt, three interconnected venues that cater to a rock audience. “If you were a band here and you got signed, you didn’t tell anybody you were from Nashville.”

Ohlhauser finds it easier to book rock acts today than it was a decade ago since there are simply more to choose from. But years back, it was borderline treasonous for local musicians to dabble with grittier sounds. “Once they switched over to rock music, they were almost blacklisted in the Seventies and some of the Eighties,” says Ferguson. “It was always kind of like a keep-it-a-country town.”

Along with the new wave of egalitarian music sensibility, musicians of all stripes are migrating to Nashville to tap resources they can’t find as easily in New York or elsewhere, such as cheap recording and pop-up house venues. The guy changing your oil at Jiffy Lube might play guitar better than the band you listened to on the radio on the drive there.

“The caliber of people that this city attracts makes everything more competitive in a friendly way,” says Grant Gustafson, who sings and plays baritone guitar for Blank Range, a band that started with house shows before graduating to opening slots with Spoon and Drive-By Truckers. And without label execs to answer to, musicians can swing with impunity. “There is an Americana country scene, and there’s a rock scene,” Gustafson says. “All the people in both of those play in each other’s bands and go to each other’s shows, so it all kind of boils together.”

And that’s where underground rock might save Nashville from becoming a honky tonk novelty. It’s putting the emphasis back on what the city has always valued: the song, regardless of genre. “There’s a great punk-rock scene here, a great Americana scene, a great indie scene, and a great pop scene,” says Ohlhauser. “But if there’s one thing that defines the [Nashville sound], it’s that bands here have really good songs.”

It’s the tradition of Loretta Lynn or Kris Kristofferson, Nashville greats who fused poetry with melody. What the underground musicians are realizing is that they don’t need a major label to help them do that. In fact, they might be better off without one.

Why musicians are so angry…

…at the world’s most popular music streaming service

Slide09
Washington Post
 July 14
With the money from CDs and digital downloads disappearing, the music industry has pinned its hope for the future on online song streaming, which now accounts for the majority of the $7.7 billion U.S. music market.

But the biggest player in this future isn’t one of the names most associated with streaming — Spotify, Amazon, Pandora or Apple. It’s YouTube, the site best known for viral videos, which accounts for 25 percent of all music streamed worldwide, far more than any other site.

Now, YouTube is locked in an increasingly bitter battle with music labels over how much it pays to stream their songs — and at stake is not just the finances of the music industry but also the way that millions of people around the world have grown accustomed to listening to music: free of cost.

Music labels accuse YouTube of using a legal loophole to pay less for songs than traditional music-streaming sites, calling YouTube the biggest threat since song piracy crippled the industry in the early 2000s. The industry has pressed its case to regulators around the world in hopes of forcing a change.

“I do think YouTube is starting to panic a little bit,” said Mitch Glazier, president of the Recording Industry Association of America.

But YouTube is not backing down, stressing the benefits to musicians of promotion on one of the Web’s most popular sites — which allows ordinary users to integrate music into their uploads. YouTube also warns against attacks that could reduce competition among streaming services.

“The industry should be really, really careful because they could close their eyes and wake up with their revenue really concentrated in two, three sources,” said Lyor Cohen, YouTube’s global head of music, referring to Spotify, Apple Music and Amazon Prime Music. (Amazon founder Jeffrey P. Bezos owns The Washington Post.)

The music industry counters they are backed into a corner when negotiating with YouTube — a unit of Google-parent Alphabet — which is mostly shielded by federal law from being responsible for what users post on the site.

“It isn’t a level playing field,” said one executive at a major music label who spoke on the condition of anonymity because he wasn’t authorized to talk, “because ultimately you’re negotiating with a party who is going to have your content no matter what.”

Now, the battle is heating up as the European Union is expected to release new rules later this year for how services such as YouTube handle music, potentially upending some of the copyright protections that undergird the Internet.

Online streaming works like a digital jukebox, with fractions of a penny paid each time a song is played. The money comes from ads and subscriptions.

The E.U. has formally recognized that there is a “value gap” between song royalties and what user-upload services such as YouTube earn from selling ads while playing music. YouTube is by far the largest user-upload site.

How such a law would address the gap is still being decided, but the E.U. has indicated it plans to focus on ensuring copyright holders are “properly remunerated.”

Even the value gap’s existence is disputed.

A recent economic study commissioned by YouTube found no value gap — in fact, the report said YouTube promotes the music industry, and if YouTube stopped playing music, 85 percent of users would flock to services that offered lower or no royalties.

A different study by an independent consulting group pegged the YouTube value gap at more than $650 million in the United States alone.

“YouTube is viewed as a giant obstacle in the path to success for the streaming marketplace,” Glazier said.

The dispute boils down to what YouTube pays for songs.

Musicians from Arcade Fire to Garth Brooks to Pharrell Williams say they earn significantly less when their songs are played on YouTube than on a site such as Spotify — even though many listeners use these services in the same way. Both YouTube and Spotify allow users to search for music and find song recommendations. On YouTube, users can find music alongside cat videos and toy reviews in what is generally a free-for-all of content, while people go to Spotify and the like for a more refined experience. Some audiophiles argue the sound quality on music streaming sites is superior.

YouTube pays an estimated $1 per 1,000 plays on average, while Spotify and Apple music pay a rate closer to $7.

Irving Azoff, the legendary manager for acts such as the Eagles and Christina Aguilera, said he has one artist — whom he declined to name — who gets 33 percent of her online streams from YouTube but only 10 percent of her streaming revenue.

Smaller acts see it, too. Zoe Keating, an instrumental cello player, showed The Washington Post a statement from YouTube showing that she earned $261 from 1.42 million views on YouTube. In comparison, she earned $940 from 230,000 streams on Spotify.

“YouTube revenue is so negligible that I stopped paying attention to it,” Keating said.

YouTube admits that it pays less for songs.

But the reason for this disparity is where the two sides split.

The music industry claims YouTube has avoided paying a fair-market rate by hiding behind broad legal protections. In the United States, that’s the “safe harbor” provision, which essentially says YouTube is not to blame if someone uploads a copy-protected song —unless the copyright holder complains.

This, the music industry argues, leads to a costly game of “Whac-A-Mole”: hunting for illicit song uploads and filing notices with YouTube.

“You can’t prevent something from going up on YouTube. All you can do is ask them to take it down,” said Stephen Carlisle, who runs the copyright office at Nova Southeastern University. “At some point, it’s not worth it to do this.”

YouTube says it has the solution: Its Content ID system automatically checks for violations by comparing songs detected in new uploads against a database of claimed songs, capturing 99.5 percent of complaints. The company says it averages fewer than 1,500 traditional copyright claims from the music industry a week.

YouTube also pointed out that it has licensing deals with music labels large and small.

Earlier this year, Warner Music Group — one of the “big three” music labels — signed a new licensing deal with YouTube, and a memo from Warner chief executive Steve Cooper leaked out, saying the deal was signed “under very difficult circumstances.”

“There’s no getting around the fact that, even if YouTube doesn’t have licenses, our music will still be available but not monetized at all,” the memo continued.

Warner confirmed the memo’s authenticity, but, like the other major labels, declined to comment for this article.

Cooper’s complaints surprised Cohen, who worked at Warner until leaving for YouTube last year.

“I never heard that from his mouth during the entire negotiation,” Cohen said.

Cohen’s move to YouTube created waves in the industry. After all, Cohen was famous for taking one of the hardest stands against YouTube when, in 2008, he pulled Warner’s entire song catalogue from the video service to protest low song royalties. It was the nuclear option.

And it failed. After nine months and spending $2 million trying to keep its music off YouTube, Warner capitulated.

Cohen said he was sympathetic to his former colleague’s complaints. But YouTube pays $1 billion in song royalties worldwide each year. Cohen said his company has been hindered by its global reach — ad rates are lower outside the United States — and its slower rollout of a subscription option, YouTube Red. Song royalties are higher with monthly subscriptions than ads.

“What I’m trying to do with YouTube is be a cheerleader to build a subscription business that the industry can be proud of,” Cohen said.

Nabila Hisham, 22, is a music fan on YouTube. Recently, the college student in Kuala Lumpur, Malaysia, has been playing one song repeatedly: “Despacito,” a chart-topping Latin pop remix featuring Justin Bieber. The YouTube video — which has a total of 412 million plays — is a photo of Bieber’s tattooed neck. The video is beside the point. For, Hisham, it’s about the music.

“I’m glad that YouTube exists,” she said.

Correction: A previous version of this story stated YouTube’s ContentID system automatically handles 98 percent of copyright management for songs. The system handles 99.5 percent.

Do We Want Virtual Reality or Reality?

Do we live in a simulation? Has software eaten the world? Is our physical reality the world, or is it just a trivial epiphenomenon of our computer systems? Are our lives lived through our bodies in homes and offices and schools and parties and outdoors, or through avatars on social media websites?

This is an amusing article reprinted from Bloomberg on the fate of a juicing (Juicero) technology start-up that discovered that people could accomplish the same result by using their hands instead of a $400 hardware contraption. The tale should bring us back to the cautionary consideration of what really makes us human, and whether technology enables that or merely gets in the way. (This is one of the primary themes of The Ultimate Killer App: The Power to Create and Connect.)

Juice Machines and Red Flags

 

Hello world.

Hi and WELCOME!

This is our first post on the tuka blog, where we hope to get into the weeds on this idea of a creative media ecosystem. We understand the question “what is tuka?” at this point invites more questions than answers and we hope to balance that out through an on-going discussion.

Just to establish a frame for future reference, there are a few values that we at tuka support as a community. These values are infused in our chosen Mission:

  1. We believe that personal creativity and social sharing is essential to the human experience and the search for life’s meaning. We choose not to artificially categorize creativity by creating walled gardens between various media and genres. Thus, we do not try to impose any separation between musicians, photographers, authors, poets, videographers, etc. Nor do we attempt to divide content creators from their creatively-minded audiences and consumers. Through the media platform, you choose what to plant in your personal garden, thereby enabling creativity to cross-pollinate.
  2. We believe the future of data network technology must necessarily move toward more participatory exchange and management of information data, with greater individual ownership and control. In other words, it’s your data and it’s your personal asset to exchange, monetize, etc., as you see fit. This is about more than just privacy. To allow someone else to exploit that value without your expressed permission is akin to sharecropping rather than homesteading. Personal information is an asset as important as your labor, skills, and capital.
  3. Decentralization, as opposed to centralization, is fundamental to this new world.
  4. Many of us willingly share our creative output for free, so the primary focus on monetization is misguided in our view. Yes, we’d all like to make more money, but more important is the intrinsic value of what we do to make that money. From a purely economic point of view, in the world of FREE, data value has become more valuable than transaction value. In other words, connections are more important than sales.

So, as we build awareness, these values are our touchstones. So please comment at will and join our creative community.

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