“ART is MONEY” at first can easily read quite offensive and off-putting, especially if one is an artist.
Counter-intuitively however, ART is MONEY is not making a statement about the commercialization of the arts, quite the opposite.
“ART is MONEY!!!” is more like a sonic force screamed in a great battle that historically has slayed artists and culture alike, hijacked by large corporate studios, the “Grunches of Moloch”.
ART is MONEY actually represents a moment of liberation for artists and creators, it is an innovation in Copyright that puts the creator in complete control of their creation while using the creation to build and store wealth.
ART is MONEY is not making a statement about “art” itself. It is making a statement about “money”, or wealth, and how that wealth can be taken back by the creators and channeled into a community treasure, a true form of plural or community money that maps to universal currency that translates into a development roadmap for technology companies.
Everything from the painting hanging on the wall, the music playing on the radio, or the production of a cinematic experience can be liberated into its own form of wealth, its own form of community money that is creator generated, community distributed, independent of the bankers, the studios and the corporations.
Consider something like a vinyl record album, a novel, a painting becoming a storage of wealth, something similar to a bank account, but much cooler than that.
What’s so cool about this kind of money?
While the painting you purchased is hanging on your wall, you receive benefits and checks in the mail, unique funding for your projects long with a decentralized network to support its growth and development, you discover that you can build a business on top of the painting.
All of these “magic” properties of the painting are embedded into the painting, in addition to whatever interest or value the art collection itself has.
Whomever owns the painting hanging on a wall owns all the magic properties of that painting.
How much is the painting worth when backed with equity, long term community trust, royalty stream and co-fund potential?
Imagine making a creation that was not exchanged for dollars, sold to studios, with the natural copyright violated, but created for a community to build projects, create equity, distribute itself and fund itself?
In “The Artists Revolution meets the Design Revolution”, creators can “take back” the wealth of art absorbed by commerce and corporations simply by optimizing formal copyright with smart contracts, which then can bundle them with other contract types, including but not limited to equity and real estate.
Meet CopyCake™, a type of “plural money” for the new decentralized world
We call this “CopyCake™”, and it really is an innovation in Copyright that is made possible by smart contracts. It includes the smart contract address as a component of the copyrighted work, making the digital asset and the copyright ownership indistinguishable.
CopyCake completely reverses the historical relationship artists and creators have had with the rights to their own creations.
CopyCake allows the storage of copyright value to become hedged with other assets a community creates together.
CopyCake allows the explosive power of copyright ownership to be channeled into a community fund, which also includes designers and engineers of technology. The technology engineers pledge their equity creations supporting the formal copyright stream, backing it with USD accepted valuations.
This “revolution” does not just stop with the creators, but it does something equally empowering for their audience, it turns them into co-owners AND funds them too, building further wealth.
Artistic Liberation
Large studios such as Disney or Netflix will sell you their stock all day. They will never sell you their copyright.
If Disney sold their copyright, Disney stock would be worthless.
The Artist Revolution WILL SELL YOU the copyright, and back the copyright with the equity created by the Design Revolution.
ART is MONEY is actual liberation from the entire funding mechanism of not just tech startups, and media, but everything up to the world of fine art, film, print, television, music, theater, publishing, all of it liberated into “money” with CopyCake.
Studio Novita and the Narrative Novelty
Big Mother DAO’s “Studio Novita” is currently demonstrating the first “studio fund” that is a hybrid of real world equity and fiat exchange merged with digital wallets and smart contracts.
The Artist Revolution represents the creative side in the Studio Novità, generating the “Narrative Novelty”, while the community consuming the narrative becomes the distributor in BAE, Bootstrapping the Arts while turning it into funding for Engineering.
Instead of stock ownership in a corporation that won’t let anyone touch the artist created copyright, The Artist Revolution sells the real value directly to the audience while the Design Revolution supports it with their engineering equity backed companies.
All of this is quite a claim to make.
We are introducing the “Narrative Novelty” structure which has already closed its first “round” and launching a number of engineering startups.
The Artist Revolution should not be confused as a “Cryptocurrency” or anything that has anything to do with FTX, exchanges, or crypto wild swings.
Our application of smart contracts as a contract storage vehicle is almost trivial in comparison to all the innovation it layers on top, we are a hybrid community of arts and engineering, copyright royalty and equity, fiat and blockchain, asset and smart contract.
The smart contract is only the distributive element and has irrelevant value, the value comes from the union of arts and engineering, copyright and equity, audience and stage, just like it always has.
However, without the smart contract, none of this would be possible to combine in such an elegant manner.
In The Artist Revolution meets The Design Revolution, CopyCake becomes the great equalizer, bringing both compliance, commerce, stability and explosive growth all into one single asset, ART.
