Sascha Bailey – Blockchain Art Exchange – Ethereum London Keynote – #ethldn


Music.
Hello everyone

My name is Sascha Bailey, I’ve been working with emerging artists and established artists for last eight years,
worked with over twenty artists, ten of which who I work with quite closely, um,
curated about fifteen shows in the UK and Tokyo last year working on a project called the Blockchain Art Exchange on what this project aims to do is bring forth better autonomy for all artists,
um, utilising the ethereum, blockchain and blockchain technology.
So first of all, what are crypto collectables? We’ve had a little bit this tonight already, but in the world we essentially have two types of assets we’ve got fungible, non fungible, fungible being us dollars Bitcoin, ethereum,
non fungible, being things like classic cars, titles, houses on our the last sixty years since the kind of digital revolution, art, being on the fence between tangible and intangible.
And it hasn’t really had truly compelling means of exchanging it in the intangible realm.
So how does crypto art work? So there’s four major parts that go into crypto art.
There’s a little bit misconception of how much of NFT’s are actually on the blockchain.
First of all, of course, we have the blockchain itself, which is registry.
It tells us where things are how much they cost, where they’re going next. Why they cost that much, etcetera.
Then we’ve got a server which is actually to store large files themselves.
Moving towards a distribute service like the IPFS is the end goal.
But we currently use AWS for latency and security concerns.
Then you’ve got web three browsers. A lot of you will be familiar with this sort of stuff. So meta mask, trust wallet.
That’s the thing that actually allows you to interact with smart contracts on the websites.
And finally, there’s something that isn’t talked about very much, which is the token URI.
And this has become the industry standard for displaying metadata on websites using blockchain.
So what this essentially is the URL input into the token that, when called returns a JSON blob of information that gives you your image name description etc.
So what is it actually solving for artists right now? Um, first of all it reduces marginal cost.
This is because it’s simply you’re just uploading to the blockchain. You only need the image that you’ve already created.
Good to go. You don’t have transport, you don’t have insurance. You don’t have any of those things to worry about.
Secondly, it introduces new demographic. And what I what I mean by this is it allows artists reached directly with consumers. Rather than hitting the filter of gallerist, dealers and critics, it sorts out the means of exchange.
This especially affects video artists. At the moment, if you buy a piece of video work more than likely you’ll receive on a disk or a USB stick, it will come along with a contract that makes you promise you will not copy this.
That’s not so much of a problem the first time you buy it. It becomes a problem when you try and re sell it on to someone else because you have a hard time promising someone that you haven’t copied it onto a disc or burnt it before selling on um,
it also allows us to create interesting ways of creating royalties a lot of platform to do this in all different ways, but it allows us to hard wire this into the way that asked.
Transacted, There is actually a European law that enforces. They’re supposed to be royalties paid back to artist, but pretty much the only country that really does it is Germany.
Then finally, it secures global IP, which is just a piece of distributed ledger technology.
Kind of what it does. Once. you’ve uploaded it there. You’ve obviously time stamped. It is your creation.
And as I said, the artists really being affected by this in a positive way right now are the ones who work in the digital space already.
And that brings me for the next slide. So what were the problems that photoshop artists always kind of encounter is working within different light spectrums.
So within RGB, which is typically what you created a screen, you’ve got a much wider spectrum than C M Y K, which is what you typically printed.
So when you asked, when an artist goes to take their work from RGB to see him like a, they’re losing a lot of vibrancy and a lot of artists don’t like this. They’re confused as to why their print doesn’t look the same on the screen, is it doesn’t really.
So all of this leads us to We’ve got fantastic new ways of interacting with digital art, which amounts to really a new industry stack.
So we’ve got things like A R. It’s hard pressed to find A R demonstration from Microsoft, which doesn’t contain some form of digital art.
Inside this, we’ve got projects like crypto boxes and Decentraland creating VR experiences, which really give us a compelling look into how social media might look in the future and how he might interact with each other in a 3D space.
Finally, there’s the Samsung art screen TVs, which almost just fatedly kind of came out at the same time as the crypto collectibles market.
Um, finally, 3rd party exchanges, which are really important because the magic in this new industry isn’t the fact that you can buy digital art and own it on our platform. It’s the fact that you can take it and sell it wherever you want.
It’s really yours. It provides true buyer autonomy and the fact that you can take it like a real artwork and sell its whoever you wish.
So Art for a new generation now this is an artist who we began. We found work with is an indonesian artist could Leonardo Vincent.
And what’s really interesting about this is normally when we’re trying to work a new artist, do we discover I’ve got to call them. I’ve got to get stuff shipped over. I’ve got to get stuff printed. There’s a lot of marginal cost involved.
However, now we can We could send a few emails that we could be working together in a matter of minutes.
So this artist actually created a work which I think’s quite interesting is a rendition of the recent online battle that between Pew Dee Pie and T Series um T Series was gonna be the first Cooperate.
Well, Pw Dee Pie, if I was going first individual to make it to one hundred million T-Series’s was gonna beat him.
The last minute Elon Musk came on to his show on essentially figuratively lifted him up in subscribers.
So this is a work that was created for that.
As bizarre as it may sound, I really think that it has quite a lot of cultural relevance as art should.
So all of this amounts to granting artists better autonomy. Now, when we look at the different industries, which really heavily rely on artistic input. Individually, they’re quite small.
But when we look at it altogether, if artists can grant access and move between with clear licencing and easy ways.
Then they get access to a seven hundred billion dollar market now to give an example of how this might work, is imagine you have a clothing designer is a student.
They come along and they upload a group of their designs, blockchain to our to our exchange.
Then you have another company, a video game company who’s looking for clothing for their characters the way they discover this, and that interaction couldn’t have happened unless they have the centralised place where they can all explore.
They discovered this clothing designer, and they decide that they want to use that are in their game for their for their creations. Now this could happen in both ways, and it’s not just the only example. I mean, you can apply this to jewellery designers and painters.
The other interesting thing that we solve in this industry and we can work towards solving is the two different types of artists earning different amounts.
So if you go towards concept, are you have You can earn a decent living as you usually receive a wage, but you won’t be able to ever privately sell your work.
And if you’re a painter, you generally only privately sell your work on the payment isn’t so regular.
Its here and there whenever you can sell something.
So with this platform, we can allow people to cross industries rather than having specialised in one field of art. They can move between the two, and they have access to all of them.
So this brings me into here. Which is this an artist which were working with Zyralynn art.
She traditionally produced concept art and hadn’t thought about doing much fine art.
But as we work together and as we kind of push her in the direction of, we can use this platform, you really have the freedom to do what you want.
The work produced is really interesting and quite compelling from someone who comes from a very you do what I say sort of background.
So what now? Getting into actually our projects. So what makes the B A E different from other art projects in the industry.
Well first of all, we’re an archive all the art on our platform is treated as an archive. We have digital standard process, which I’ll go through, which, essentially, is a grading process for digital art on objective values.
We’ve got an algorithm, which helps decided school starts, right, a starting price.
But as we moved into a project, we decided that this would be an optional thing rather than something we forced on people because people don’t tend to like that.
Finally, we’ve got royalties fee, which comes into unique for token economy.
So the way our royalty fees works is you’re rewarded, the more you sell on the platform.
So the more you sell with us, the more money you’ll receive.
This is taken from the percentage of the sales on what we want to do with this eventually and what we can do with this. Is use this to slowly move the blockchain art exchange towards a DAO.
So this is the process that we kind of know quite familiar with so far.
We get up to the point that we logging the creation on the ether blockchain and the two processes I’m go into today is our digital standard and then our sales process.
I’m not gonna talk about licencing because I don’t really have enough time.
I think sales is a little bit more interesting and lighter too.
So, first of all, our standard where we got the inspiration from something you’ll notice about non fungible real world items as they all have attributes like this.
I mean, diamonds is obviously one of the most extreme examples, but physical art has condition reports and provenance reports.
Classic cars have provenance, condition reports.
So we got a team of experts together with ten years in the fields, knowing how to scan how to grade videos, knowing really what makes something objectively good.
When we created something, we call the BAE standard.
So I so one of the major problems and this goes back to the RGB RGB slide that was talking about before is if someone sends me an artwork from around the world and I’ve never seen it in person.
How do I know that it’s the right colour and this is actually kind of a problem if you’re gonna be scanning physical artwork and archiving it.
So after we tried a few different things, tried to get printers to print the exact same shade of a colour that’s never gonna happen.
We eventually settled on something called a grey card, which is generally used in photography to calibrate cameras but can also be used as a reference point everyone knows is the same colour, cause that’s in the end, what we need to do. We need to identify something objectively that’s the same no matter what.
So after we know that this is the archive in this same colour, this, by the way, this is well done manually right now. We are building a data set so that we can start allowing computers to automate this.
But we need to build that up first, so it’s gonna be a manual process for a while.
So after we great, We have a look at the artworks DPI or PPI.
Now this is relative to the actual size. The artwork is originally is originally in this case the artwork has over six hundred, which is generally pretty good. So I would give it an a grade.
Then finally, the follow type is checked. And this is super important because you don’t want an archive with something like a JPEG. Because every time you re-save a JPEG, you lose a little bit of quality.
So we went for TIFFs or bitmaps are generally the best quality for archiving artwork.
There are other options, but we didn’t really look into active files. It wasn’t something interesting from our perspective.
Finally, that goes into a certificate of authenticity.
Um, this is great. And then there’s one other piece on here that might notice which prints this is essentially is a way of tracking the prints created from a digital item in the physical world.
So it’s almost like a reverse additioning thing. Um.
So just how quickly our token economy and sales process just give you a really brief overview of how this works.
Um, so someone would upload artworks and BAE.
No. It happens that the fast time, the first time in sales this artist he sold it is rewarded with a small amount.
Amazing what a small amount of the eight opens on. Also, of course, the affair in from the sale.
But every time something soils, the be a token holders were submitted a small amount of ethereum, the only way to become a be a token holder to sell on the platform.
This prevents people from monopolising the tokens or trying to buy into early and prevents whale like activities, or at least helps the bread.
So again, resellers and dealers can also on B A. It opens by reselling the olive.
So these kind of this is like the sectors of neo art. It’s like a venture. I did have kind of all of the research I’ve put together a pretty much everyone in the space. I don’t call it crypto art simply because there is a couple of projects here which actually art blockchain related at all.
Everyone kind of started out in one of these circles and slowly move towards another. And that’s what this is kind of showing is that no one really knows what this industry is going to be. Yeah, it’s evolving constantly, and it’s changing.
So thank you so much for listening. I mean, Sasha Bailey, I hope that I gave you a good understanding of what we do. Where digital art is and why digital art is kind of important for General.
It’s a Q R code up there right now, which will take you directly to a storefront, please. I mean, if you have any questions.
Anyone? No, questions.
I think.
Yes, it is, but it doesn’t really and hold intrinsic value. It’s more just like a marker of how much each person holds so we could use it for voting systems. We could use it for that. At the moment.
It’s really just a marker of how many art works you’ve sold. Essentially.
Yeah.
Oh, So being a musician, she worked with.
Jim.
Um, the paperwork because he’s not Project I see.
Um.
What? What I’m doing? About how you compacting Ordos?
What do you treat these? But, you know, access it from exit exit art Berries. Like using industrial.
Yeah.
Yeah. How you doing? Just too busy. Because at some stage, those,
you know, this jewel was,
go? Yep. I don’t know.
Yeah, yeah.
Okay, Definitely has. The first question was, What are we doing to kind of push adoption? How how we doing that?
So we’re pushing the angle, but basically, I don’t believe that the technology is really what’s gonna sell this. I don’t really think the platforms, what’s gonna sell her. In the end, it’s gonna be the artists.
So what I do is I work closely with artists. That’s what I’ve always done. So my goal is to push it forward through them. So I think that when someone starts using this technology for really compelling and amazing things, and obviously there’s all these great things that it does.
But when someone really starts utilising that gets into it, I think that’s when we start to see things happen. It’s it’s it’s about it’s about the creators rather than what we’ve created. Essentially, I’m sorry. What was the second part of your question?
What was the second booth adoption? So again it’s I feel like it’s getting right. Artists with right groups who are interested in this building up influence the spheres, building up people who want to talk about it, and you want to get involved in a lot and it’s you’re right.
It’s an incredibly difficult on boarding process because we’re not only on boarding people to the platform and the concept. We’re also on boarding people to ask themselves.
So that’s why I think it’s almost better. Like I said, kind of target through influence of groups such as artists.
Yeah, so bounding about hope you guys don’t mind. You have things like what? Three pages.
What if let’s say five pounds each today? I have no clue what works, but I know friends art Is that the only special book by war off painters?
Well, prices are somewhere those who understand work. I just don’t know what they were.
So I way don’t actually blockchain exchange.
We don’t actually work with physical art that all that much like, I mean, I do personally, but the platforms very much focused on digital Only so one of the great things about using blockchain with purely digital stuff is there’s not any input for humans.
So it’s always on that there’s there’s no choice but the providence to be tracked.
So I think that’s what you’re asking. Just a how do you make sure that you keep a record?
I can’t find the word in English.
Usually there is a database that gives you with a quotation off charges.
On a document that contains basically Copperhead. Let’s hold office.
It doesn’t price that sometimes takes historic sale prices,
but it’s usually produced by somebody as part of a phD In terms of researching the history of that office becomes sort of go teo body authority.
Whether those works are venting that actually by that artist and newly in South process one with insult Catholic resonate Normally fire Dina. People don’t do that themselves.
But that is what provides you with information.
On that will be done in conjunction with the number of online date spaces, which have historic sales prices, comparable art works and test triangulate.
This’s how to industry I have got together to create this business process.
You know that market back at you,
e, I think in the digital world.
Like I said, I mean, the fact is, you don’t really necessarily need that book when literally everything is on the blockchain because you can look back and you can actually see the transactions from that moment that destroy what went on there prior to actually blockchain ing it.
Um, that’s something else, but we’re generally talking about contemporary art that’s being made now with our platform.
It’s know so much about working out what someone’s done before, as in making sure that we go forward with this new prices.
It’s.

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