Now piloting Aiki Wiki “Parley”, a conversational tool for the web for negotiation, conflict resolution, consensus or any type of critical conversation. When the conversation reaches a threshold, two individuals can rewrite the consensus topic together.

Parley Aiki Wiki is an algorithm for natural human conversation on the web that does not rely on a voting algorithm nor a ranking algorithm, but rather a type of conversational game theory that allows for thorough decision making while simultaneously filtering toxicity or misinformation from online conversation without requiring any censorship.

While the pilot is only open within our community at first for testing, you can reach out to me on twitter if you want to participate in the pilot.

This is how it works.

This unique gamification processes conversation through nine potential “arcs” of game play, or conversation which lead the pair through resolution or further away from consensus editing, depending on their decisions.

Our pilot is only demonstrating a single paired conversation between two anonymous individuals who may disagree on a particular topic or decision.

The first chapter of game play is simply the discovery of an idea topic that is “served” to the individual, where they can choose to Parley the idea.

Once Parley is initiated, the user can return the serve, first by tagging the idea 0, 1 or 2 and adjusting the tag if necessary…here #objective

Once tagged, the user completes “The Return” on “The Serve” by leaving their own idea or reply to the topic, and then tagging their own reply with 0, 1, or 2.

This is really all there is to Parley Aiki Wiki, tagging other’s ideas, comments or replies, replying with our own ideas or comments, and then also tagging our own reply with 0, 1 or 2.

Next, the person replying is “matched” with another participant in “Love”, the third component of Parley Aiki Wiki, the part of the game where two anonymous participants are “paired” for the conversation, meet up to collaborate, or combat.

For our pilot, we are using “Tennis” as a metaphor for Parley Aiki Wiki’s unique discussion threading, but unlike Tennis as purely a competitive sport with one winner and one loser, Parley Aiki Wiki transforms the natural conflict of idea into a “win-win” outcome, where the competition itself allows both anonymous participants to win in the outcome.

Once participants are paired, natural conversation can go in any potential direction. This part of game play is called “Rally”, tagging and replying to each other’s responses.

Depending on the participants decisions, the conversation can go in any direction and no matter which direction the conversation goes in, the computational system can mirror and match it.

The system can determine if the conversation reaches a threshold which can allow users permission to begin rewriting the consensus idea…together.

The tool applies something like game theory to the obtaining of permissions to change the consensus idea, a game of combat and collaboration, where resolution is the only possible outcome. This means that within the game play, the conversation can take turns for the worst, such as manipulation, deception, the promulgation of misleading information, and filter it away from consensus building and even ranking.

We call these events Fault and Spin–movements of conversation where problematic thinking or participation is encountered.

Once the threshold is reached, participants co-write what is reliable, personal and what is the open question around the topic, winning these permissions through the game play, which publishes the outcome in a transparent way.

This is how the Consensus idea started, a single coherent idea…but the idea can change…

This is the result, one single coherent idea was transformed into an article with “contextual completeness”, or the “total view”, what is known, personal, and what is unknown in the topic, published as an article through conversation, computationally.

Convergence or Abandonment

At each moment of game play, decision making incentivizes convergence, or a mutual agreeable outcome in some way, while abandonment, deception or trolling has neutral effect on the outcome of the consensus process. This means the system can account for all possible outcomes within a challenged conversation between conflict and resolution.

Introducing the Win Win Protocol for the World Wide Web

Our computational system comes with an API which can be exported to social media platforms, consensus platforms, web3 governance or blockchain transactions, and most intriguing, AI agents. Aiki Wiki offers a profound solution to the issue of ethics in AI and LLM systems, perfect alignment and perfectly reliable systems where human agents make all of the decisions but the AI is solely focused on win win collaboration and reliable distribution of information on the web.

Please support the Win Win Protocol for the World Wide Web

We are currently raising funds to further develop Aiki Wiki, set up the companies and global library, as well as resubmit for the National Science Foundation’s SBIR program, which invited us to submit the project.

If you would like to send crypto support for the project, we accept Ethereum and Matic here: 0xaaA8503B7281e50Cc2bFa08ff328d6A54057101e

If you would like to invest in Aiki Wiki through BAE or private investment, reach out to rome at bigmotherdao DOTCOM.

While our word of mouth narrative fund continues to gain momentum, especially since being awarded a grant by CultDAO––most of the focus has been on Aiki Wiki, and “PiP”. We have barely begun to introduce our highly innovative art collection, Why not World Game, first of its kind.

Why not World Game (WNWG) is a very large art collection made by a team of artists and designers, including yours truly. It may be one of the largest singularly created art collections in the world with exactly one-thousand and eighty unique works of art that detail a full narrative structure, a story.

Why not World Game is a fictional scene that imagines Bucky Fuller, who died in 1983, somehow “coming alive” on the internet in 2022. This may be Bucky’s ghost or maybe some super-human AI, we don’t know–we only know that on 11/11/22, Bucky Fuller came online through the appearance of profile-picture NFTs created by regenerative AIs.

Why not World Game however, is not a profile-picture NFT at all, it just “fakes” likes it’s a profile-picture NFT as part of the real world art collection.

WNWG tells the story of Bucky Fuller somehow coming alive on the web and choosing a medium with which to reach the “internet citizens” through a medium they will recognize. If you are not sure who Bucky Fuller was, perfect––that’s how the scene begins, with Bucky asking everyone why they are not playing the World Game and no one knowing who the hell Bucky is or what the World Game is about.

Bucky Fuller wants to have a conversations with us and this is what Why not World Game is about, the conversation Bucky has with us on the net through a three act structure, Acts 1, 2 and 3. While Act 1 features this “pop art” quality, mimicking pfp NFTs, Act2 switches up the style and goes deep into narrative graphics, while Act 3 emerges as a fine art collection. Three uniquely different styles of art for three acts in a narrative art fund. It’s a real story, a real body of art, and most importantly a real body of copyright that the community continues to develop over time.

This art collection has a novel property of distribution––the art collection unfolds scene by scene through selling the art and giving awarded copyright royalty stream co-ownership to any individual or organization that wants to play “bootstrapping arts and engineering” with us. The body of copyright takes the proceeds from the sell of the art collection and gives it to engineering or design startups who then pledge their equity value or something similar back to the copyright of the art work, creating the worlds first truly hybrid art collection.

Our unique, compliant token is called CopyCake. The innovation of CopyCake is around copyright itself. CopyCake is a specific manner of copyright registration and royalty stream assignment that is written into 9×3 Narrative Logic, the communities highly innovative algorithm which it calls the “win-win protocol for the world wide web”. CopyCake is a type of community created money, plural money, that hedges itself, making it flexible and responsive to any situation and environment, good or bad. This innovation turns artwork of any kind into a community hedged asset, where as the viewer of the art work can become the distributor of the artwork, can help build the value of the artwork through the creation of the communities engineering and design projects.

Case in point, we launched WNWG on 11/11/22, exactly when the market crashed, FTX revealed the dark side of crypto, and things like NFTs became a quickly de-escalating fad. This means that WNWG did not pick up any steam from any of the web3 hype around NFTs and digital art collections. If we did, WNWG’s unique “BAE” market would have played out completely differently than it is. If we were not a hedged asset, WNWG would have crashed upon landing. That didn’t happen at all, instead we sold out of Act 1 on 12/21/22 surprising even us with how quickly.

Because the art collection is a hedge, it has multiple opportunities with which to present itself, both as an art collection and unique collectible, first of its kind to have these properties. So while web3 crashed and is now in a pretty severe bear market, WNWG continues to gain steam because our asset is hedged by our engineering projects, which have emerged since our launch and attracting investors and funds. Whether someone is an art collector, investor, non-profit or builder, our BAE market allows all of these different perspectives of a marketplace to participate in one game together in “Why not World Game”, first hybrid art collection in the world. We have sold over four hundred and twenty unique works in the 1,080 piece collection so far and are already go-to-market on one engineering project, PiP, and coding the pilot for the second project, Aiki Wiki.

As a type of hedge, our art collection presents itself as a remarkable store of value, stable, growing and most importantly, compliant with all US laws and regulations. This pilot launch of CopyCake and BAE will open a platform where any community in the world which is comprised of creators, engineers, designers and their respective viewers can create their own community created wealth through art as the storage medium.

Caterpillars and Butterflies.

Big Mother’s PiP, a new content distribution platform for the web––is broken down into two distinct phases, Caterpillar and Butterfly, as we roll out and deploy decentralization into the world of media, art, governance and finance.

You can read about Caterpillar phase here if you are interested, but this article is a tease about the “Butterfly” phase of PiP, which fully decentralizes the web down to viewer, creator, and/or sponsor. Butterfly launches a true attention media marketplace, as detailed in our Whitepaper. which describes how a true attention currency can form by creating P2P insertion orders that are distributed through a decentralized server using nothing more sophisticated than a bittorrent network.

We discovered an incredible thing.

Natural Human Attention is a non-zero sum decentralized and permissionless global currency.

Attention has been a currency since the dawn of civilization. Our natural attention was, is, and will continue to be the only “global” currency the world could ever possibly have. What’s more, our naturally occurring global currency is a non-zero sum crop, eternally replenishing itself moment by moment, day by day, year by year. Other than solar energy as life sustaining source, attention is the only other resource that has this unique property.

Because attention is a naturally replenishing resource, we should be able to do novel things with that if we can find a way to distribute and store that naturally occurring value.

Back in 2018 when PiP’s “attention currency” was being designed, and BAT token was pretty impressive, rolling out a Basic Attention Token that could pay viewers when they see ads, we went in to design an attention currency for our system, we realized that natural attention already is a currency, and nothing could replace that, but something could capture it.

Our system does not “create” an attention currency in the Butterfly phase.

What we have done is something similar to what solar energy markets also do: develop a distributive decentralized network that can store, sell or trade that value as it distributes attention into the system. All our currency does is distribute the transaction between the viewer and the content creator; and pay out all respective parties in whatever currency they buy or sell media in.

Our attention asset is really just a “P2P insertion order” with a novel type of base three denomination instead of base 10 like all other currencies. It is hyper-flexible, even demonstrating both fungible and non-fungible properties.

Because our natural attention already is a natural currency, and already “wraps” all other currencies, fiat or permissionless––that’s what our unique P2P insertion order does as an asset, it can wrap any other currency, creating a novel new type of financial instrument that is both fiat and crypto friendly, compliant and stable.

Stability through remittance

Our novel type of financial asset allows transactions to be distributed and measured by the value of attention solely as it trades on media markets, averaging currently around $450B a year globally, which enables our unique financial asset to distribute and store the actual attention value, the real resource driving the entire system.

As global media marketplaces require a form of remittance banking to accommodate payout systems, which can be distributed and measured in the actual value of attention as it trades on media marketplaces, this creates a unique opportunity for introducing stabilization into the world of digital currencies, producing a true micropayment for the web that is highly flexible, can interact with any financial environment, can become gamified without becoming a risk or loss.

This is a big honor for the Big Mother community––CultDAO recently awarded Big Mother a hard won grant, representing the first web3 fund to embrace Big Mother’s approach to initiating the “win-win protocol on the world wide web.”

CultDAO, as a nonprofit , applies Decentralized Venture Capitalism to identify, promote, and fund projects that challenge centralization and work toward positive social changes. CULT has successfully financed 112 distinct projects, totaling almost $3M. You can read a write up about CultDAO in The Economic Times–– and in addition to their notoriety, they are one of the very few web3 projects that is making it through a lot of web3 skepticism during a true “bear” marketplace. Additionally, CultDAO has one of the most genius viral marketing campaigns and they continue unabashedly to grow in popularity, especially with the upcoming release of their Modulus protocol, a new L2 to build on top of for many new developers.

This represents a very important milestone for our community, which began “locally” in Los Angeles and has slowly grown word of mouth via direct introduction or discovery of our projects in a natural and organic fashion. CultDAO is the first community to “discover” our key projects, Aiki Wiki––The Win Win Protocol for the World Wide Web and PiP––private internet content distribution for Decentralized Autonomous Media Networks. The discovery of our projects is no easy task due to their sheer scope in development and vision.

Two members of their volunteer anonymous community, Mudra and Wastelander, discovered us on Twitter in 2022, and we engaged in direct conversations with these individuals, who were remarkably patient in deconstructing our very complex projects, which requires a lot of business and tech savvy and since then, slowly developed more relationships within their community, thanks to their relaying of our projects and rallying those in their community behind it.

Cult’s early interest in our community began with fascination with Aiki Wiki which engineering is currently being funded by their grant, in addition to PiP. Big Mother is developing a decentralized autonomous media network for web3, a private content channel that will exist in between pages of major crypto and web3 internet publishers and CultDAO is the very first community to peer the value of such a venture.

Since, many new friends and partnerships have been emerging between our communities, and it has been an honor to meet so many like minds!

More to be announced over time, thank you CultDAO!

Scene: In an epoch of unparalleled strife, the city of stars, Hollywood, teeters on the precipice of chaos! The most colossal union strike in the annals of history has darkened the glamor of the studio craft, casting a ghastly shadow upon Tinseltown’s illustrious pantheon.

Yet, in the gloaming of this turmoil, a glimmer of rebellion pierces the obsidian night!

Cut to: Erupting from the confluence of innovation and audacity is “Studio Novitá,” the brainchild of the pioneering entity, Big Mother! Bucking the tyranny of Hollywood’s mighty “Big Studio” system and challenging the goliaths of Silicon Valley’s “Big Tech,” this trailblazing platform has staged an exhilarating coup in the entertainment cosmos!

Cue dramatic opening:

Big Mother’s Studio Novita, or a Study of Novelty, is a platform that pairs artists and creative designers with solutions engineers and systems scientists, allowing them to form a new type of media asset called “CopyCake” that is an application of formal copyright, smart contracts, and computational narrative structures. 

The CopyCake asset is then used to fund engineering startups, technology platforms, art collections, non-profits, public good utilities, even films.

The CopyCake asset not only achieves this, but it also acts as the distribution medium for the creation itself. CopyCake incorporates “9×3 Narrative Logic”, a computational algorithm that applies narrative structures to community outreach, allowing the asset to distribute itself through the terms of community controlled smart contracts. 

Such a platform allows for a new type of fully decentralized studio system that could potentially resolve many of the problems facing Hollywood today.

Art is the new money, community is the new distribution.

In this new paradigm, art’s worth is measured in copyright value, which is co-owned by artists and distributed by their communities who also become co-owners. This new paradigm takes the creative asset itself and, using smart contracts that follow narrative structures, turns the copyright into a form of “money”, a hedged asset that can be bundled with other forms of wealth, such as equity, revenue streams, or real estate. As the terms are all “enforced” by smart contracts which are supported by win win outcomes as the rules of collaboration––an entirely new value for copyright and its creators emerges.

This new process eliminates the need for intermediaries like executives and agents, placing the creators in the driver’s seat and making the audience the co-pilot. It eliminates the need for distributors by replacing the Studio distributor directly with the audience itself.

Decentralizing Hollywood means that it is the studio executives and their entire centralized infrastructure that is replaced. A decentralized Hollywood means that all creations, i.e. all “copyright” is a relationship between audience and creator with no need for a “middle man” owning all the true underlying value.

Combined, the audience and the creator have a new relationship in the new Hollywood, one of wealth creation, and a second with purpose driven applications of the underlying body of work, and third, an elegantly interwoven network community that has its own unique “money” based on copyright.

The Win Win Design Revolution goes to Hollywood.

Studio Novitá, a “studio system” decentralized platform is designed with algorithmic and computational elements and has begun to reveal its potential in reshaping studio systems through the Why not World Game community pilot, written in 9×3 narrative logic and distributed on Polygon.

Let’s compare and contrast how a new decentralized studio system operates in comparison to “Big Studio” Hollywood today.

In the old Hollywood, “copyright” of all creative works is owned by studios, not creators, and access to the art, the “copyright” is sold in the form of “tickets” or sold to sponsors in exchange for the audience’s attention.

In the new decentralized Hollywood, the creators own the copyright and sell ownership of the copyright directly to the audience who, in the new decentralized Hollywood, are responsible for the distribution, and therefore become co-owners of the underlying copyright along with the creators. Unlike the old Hollywood, when investing in a film would be considered a risky venture, the new decentralized Hollywood would hedge the copyright with equity and launch a small ecosystem of startups.

The new decentralized Hollywood means that the audience is now a partner, neither a product nor a passive consumer, but active.

Contrasted, in the old Hollywood, profits from popular films, music or television go to a centralized corporation which not only owns the copyright, but grows an expanding treasure chest whose incentive becomes to maintain its own growth, independent of the vision or the audience which funded them. As its concern is only its own growth, its concern then becomes ways to cut costs of production through an appeal to common denominators instead of moments of inspiration and novelty.

In the new decentralized Hollywood, profits from the creations are applied to the aligned purpose of the creators and the audience, allowing true world building to emerge. 

James Cameron, to some degree, is already demonstrating this. His motivation for the Avatar film series is for the purposes of funding both engineering and research into deep ocean exploration. He relies on the profits of the films to advance engineering and research startups.

This demonstrates a new “flow of funds” for creative studios, what if flow of funds created equity companies that were matched with the copyright? What if the pressure of “selling tickets” to a film as the profit was replaced with equity values or revenue streams that emerged from companies that were funded by the project? What if the purchase of a single ticket to such a film gave the audience a “stake” in the copyright of the film as well as a stake in the projects that emerged from it?

A Fund is Born

The new decentralized Hollywood would look at its collective potential in this new radical way. Creators identify a “purpose” that would align a large audience of some kind, customize it as a “narrative theme” that holds copyright, and from there build a community around the shared purpose, shared meaning, and shared “goals” of the audience.

That purpose communicated as a creative medium is copyright––that same copyright designed by artists would become “matched” with projects and real world companies that were engineered to serve that same purpose, and a fund is born.

This unique pairing, artists who are responsible for creating a “theme” which can unite a broad “purpose” shared by an audience as well as engineers and designers they are paired with, is exactly the type of protocol that is contained within Big Mother’s Studio Novita, and we demonstrate how it is already working.

The new decentralized Hollywood would align the themes of its creations with the purposes of its audience, and not just for “dreaming” about them, but building them and using them to create wealth and treasure between them. Hollywood could build a new landscape for innovation that could, in principle, easily rival that of Silicon Valley.

Returning the Hollywood dream to an era of innovation

The “studio system” in the classic Hollywood sense is more ripe for decentralization than Wall Street or Silicon Valley could ever hope for. In many ways, Hollywood’s shift to decentralization could shift the entire world far more than Google or Facebook.

Studio systems are essentially decentralized systems comprising thousands of independent start up companies, each with a unique brand to market, one for each unique film or television show ever made in Hollywood.

What’s more, Hollywood is already independent of Wall Street and venture capital money so its already “de-fi” friendly. Hollywood money is more memetic and more space cowboy than Dogecoin could ever hope to achieve.

Cue Act 1: Why not?

Building decentralized structures from these earlier pre-cursors from Hollywood just makes sense, and this is exactly what Big Mother’s Studio Novitá platform is currently demonstrating, our first pilot project, crude in comparison to its potential, yet has already begun funding two engineering startups, both of which will be essential to the new decentralized Hollywood system.

Cue Act 2: The Win-Win Design Revolution

PiP introduces the power of broadcast to Big Mother, a new way to distribute and monetize content on the web, allowing for the emergence of decentralized autonomous media networks, while its second startup, Aiki Wiki, introduces the “win-win protocol for the world wide web”, a new mechanism and methodology for conflict resolution and AI alignment that replaces nothing but improves everything.

To be continued.

Aiki Wiki is introducing programmatic win-win conflict resolution and consensus building to the web through the heart of the Big Mother community.

We’ve developed an innovative computational algorithm that expertly melds narrative structures with natural conversation and psychological elements. Its aim is to consistently generate win-win scenarios through mutual agreement, thus demonstrating a seamless integration of complementary transactions across digital platforms, including social media like Twitter or Discord, smart contracts and de-fi, even legal contracts.

The Win-Win Protocol

Introducing the Aiki Wiki protocol, a groundbreaking method for conflict resolution. This tool offers a conversational form of mediation, designed to cultivate consensus within communities on various scales, with adaptability being one of its key traits.

At present, our protocol showcases a decentralized consensus-building approach. It facilitates thorough, mutually satisfactory agreements without voting, without third-party mediation, without censorship, even without advanced AI systems like LLM. The protocol is self contained. All it needs is a conflict or a problem which it then distributes into a solution or a resolution, a collaborative algorithm for solving and resolving.

The protocol functions by effectively transforming conflicts into resolutions. This process entails one-on-one conversations, moving from a stage of disagreement to a final state of mutual agreement.

The cyclical dynamic between conflict and resolution forges what could be considered an invulnerable psychological blockchain. This unique structure is naturally adept at filtering harmful online elements such as trolling and misinformation, including harassment, while simultaneously making the interaction enjoyable and engaging.

Moreover, our protocol introduces a groundbreaking concept we call “narrative logic.”

In principle our protocol can be seamlessly integrated into any digital ecosystem, with far-reaching implications for various fields, including law, governance, social media platforms like Twitter and Discord, decentralized finance structures, art collectives, creative studios and both community and commercial structures.

Although our protocol doesn’t require advanced AI like LLM or GPT4, we propose that achieving true AI alignment might be possible when training within the specific scope of conflict and resolution.

Could a single chatbot engage effectively with conflict, steer towards resolution, and guide all disagreements to their optimal outcomes?

Our conviction is that this is entirely possible. Indeed, this exciting possibility informs the current evolutionary trajectory of our algorithm.

Symbiquity, a system for AI alignment

“Symbiquity” as presented in this project refers to shared environmental and perceptual information and properties common to all perspectives, regardless of cultural, ideological, psychological or linguistic differences.

It’s seen as a fundamental and universal agreement on aspects of our shared reality – for instance, a blue sky is perceived as a blue sky by all observers relative to their position, despite any potential conflicts that might exist between those observers.

From this view, all disagreements are paradoxically built upon a foundational level of agreement through naturally occurring symbiquity between viewpoints.

Symbiquity, while shared amongst all viewpoints in a consensus process, is something that is not possible for an LLM system to share with us.

We believe training AI systems to become informed of human symbiquity through conflict and resolution represents the future of LLM ethics, where an AI system is always contained within these narrative boundaries of the “win-win” outcome.

Twitter has two major issues it is facing, social chaos and monetization around user generated content. These issues left unresolved makes it more and more likely that Twitter will continue to de-stabilize as a platform.

Could Big Mother resolve this problem for Twitter? The short answer is yes, in principle.

I am not expecting Twitter to come knocking on our door anytime soon, nor is this an appeal for them to do so.

This is only an exercise into the solutions thinking and engineering behind Big Mother and what it has to offer. We never expected the web to turn out so ugly as it has, therefore we never expected that solutions designs we’ve been working on since 2014 to take on such profound meaning in 2023.

Solving for Twitter social chaos

Big Mother is introducing the “Win Win” protocol for the world wide web, Aiki Wiki. From an algorithmic and computational view, the protocol addresses conflict and resolution as a foundational layer inside of any implementation of the protocol. It introduces a new methodology for consensus building that follows an open narrative structure. It follows elegant logical structures that can insure only one possible programmatic outcome, a resolution to a conflict or a solution to a problem, specifically as they occur between ideological divides.

We call this 9×3 narrative logic, and it simply walks users through conflict and resolution and can accomplish this with a remarkably simple set of user tools and interfaces.

In principle, this is what the user experience would look like if Twitter implemented the protocol. You hardly see it.

This algorithm would be able to replace the likes algorithm, content created by users can be measured by the collective intelligence of the crowd––Tweets that are more reliable or demonstrate “honest and collaborative” viewpoints will leading the ranking algorithm.

Tweets containing toxicity, disinformation will be difficult to discover. Tweets that seduce more conversation and more questioning, what could be considered the “win-win” in conversational form, would simply dominate all aspects of the ranking algorithms.

What’s more, Twitter can provide this in a robust manner, so journalists, those both progressive and conservative minded, can collaboratively work together contextualizing news sources, which only Twitter could deliver in real time, making it a wonderful contribution to journalism again and a place for reliable fact checking.

Solving for Twitter Monetization

Linda Yaccarino, NBCUniversal’s former head of advertising, is the new CEO of Twitter. This is good news for PiP, Big Mother’s approach to creating truly “Decentralized Autonomous Media Networks” that can operate independently of big tech. I am excited about Linda because she is not a Silicon Valley media executive, but rather a Hollywood media executive.

She is from NBCUniversal media side, which means she speaks Big Mother’s language and would likely agree that Twitter could adopt “PiP”, or “Private Internet Pages” as a tertiary broadcast channel that the top websites, especially news and journalism sites, could easily integrate and monetize.

This gives news publishers a private content channel that exists in between all of their own web-pages, a true “interstitial broadcast channel” that allows a news publisher the ability to reach 100% of their audience with a piece of reliable news content.

What Linda Yaccarino would like see right away is that this channel is non-indexed by Google tracking, and could be sold by news publishers as a form of premium monetization, a new “ad model” basically that would pay them more than Google would.

Twitter could become a third party private content network for not just their own monetization, but the monetization of the online publishing world, which Google and Facebook have destroyed, but Twitter could save.

Combining both the protocol of Aiki Wiki, as well as PiP’s unique and proprietary content management and distribution platform, in a very short time Twitter could, in principle, create the most robust “win-win” town hall the world has ever known whilst simultaneously introducing new monetization tools that allow web publishers, news and journalists and creators a new, easy to use, robust channel to simply make more money than they currently do with Google and Facebook’s ad-networks. What’s more, Twitter could conceivably capture about 2% of the market, which is a few billion dollars, returning them into the pink.

Big Mother introducing a radical new approach to a “win-win” web.

All agreements and contracts in the world have three distinct contractual types, common bonds, legal contracts, and smart contracts, with each providing an intrinsic and important layer in one whole system of commerce and distribution.

We introduce a new property that can distribute common bonds, legal, and smart contracts into one cohesive whole system.

Of the most importance is the common bond––common bonds form the foundation from which legal and smart contracts can emerge. If a common bond is unable to form in a community––then legal or smart contracts should not be issued.

This allows the common bond to “vet” members of a community around a shared purpose and here is how it can work.

First, let’s define a few things about contracts.

Common Bond

Common bonds, sometimes called social contracts, are friendly, flexible and flimsy––only as strong and dependable as the integrity of the individuals in a community.

Compare; dating is a type of common bond used today, whatever flexible terms people engaged in each other decide, it’s all just verbal communication and verbal agreement, relying on pure trust.

How important are common bonds with people you trust? Very. Some individuals are highly trustworthy and consistent; others flimsy, flakey, and undependable. Having strong social contracts with strong individuals is really the underlying governance of society and what influences all other types of contracts.

The idea of common bonds can be traced back to ancient civilizations, where unwritten rules and expectations were used to govern behavior and social relationships. It is likely predictable that social contracts would break down where social complexity would increase.

Legal Contracts

A common bond is a social contract, for example dating––that evolves into a legal contract, marriage. Likewise, a common bond, such as a purchase of goods, evolves into legal contracts as commerce.

The concept of legal contracts emerged in ancient Greece, Egypt and Rome, where social contracts become too flimsy, new “legal” contracts were seen as binding agreements that could be enforced in a court of law. Over time, the use of written contracts became more widespread, and contract law developed into a specialized area of legal governance.

We can see that legal contracts become more flimsy as society became more complex in the 20th-21st centuries, and to solve for this, new contract types emerged.

Smart Contracts

The concept of smart contracts is a more recent development, which emerged with the rise of blockchain technology and cryptocurrency. Smart contracts use computer code to automatically execute the terms of an agreement, without the need for intermediaries, i.e. law firms.

Overall, the evolution of contracts has been shaped by changes in technology, society, and legal systems. While social contracts have been used for centuries to govern social relationships, legal contracts and smart contracts are more recent developments that reflect changes in the way that people transact and do business.

All three types of contracts can co-exist, work alongside each other and distribute through a community marketplace called the “Bootstrapping Arts and Engineering” (BAE) marketplace.

Contract unification via CopyCake

BAE has an innovation called “CopyCake” which allows multiple contract types including social contracts to become bundled and distributed together, creating novel properties.

Through the BAE marketplace, CopyCake allows for legal contracts in the form of equity financing contracts and copyright royalty stream contracts to become distributive in a compliant fashion through a blockchain.

To accomplish this, artists on the BAE marketplace register their creative work with the US Copyright Office along with a blockchain address, which puts the smart contract location as a congruent component of the copyrighted work.

Copyright contracts are created by community artists whenever they create a body of work that can be sold, with the proceeds going to engineering startups.

The artists sell their creative work including the formal royalty stream for that creative work––and distribute the profits from the work on the blockchain directly towards the engineering startup technology companies.

When any given work of art is sold and distributed in BAE, the holder of the art work is awarded ownership of 66% of the Copyright Royalty Stream of the art they purchased. This means they will receive 66% of all sales against the copyrighted work, through sales of lithographs, serigraphs, special editions.

The startups act as equity companies, and pledge to match equity value to the copyright value of the registered work.

CopyCake Smart contracts allow Copyright contracts and equity contracts to become distributed as single contracts in a digital wallet, fully within compliance of US Securities.

Once registered, the smart contract becomes indistinguishable from the copyright contract and can be potentially matched to an equity contract in the digital wallet, such as a Reg A+ Security Token for example.

Selling BAE

The BAE marketplace only sells artwork, specifically a very large art collection that follows a narrative theme. The proceeds from the sale of the art work are directed towards the engineering startups.

The collection is sold in three acts, with each scene containing unique one-of-a-kind works of art with unique distributive properties.

The first scene costs $120, and anyone who purchases it owns the retail side of the Scene Two contract, which costs $360 while making the following scene in the narrative story available.

Owners of the creative work become distributors in the narrative which allows them to own the retail side of the following contract, or 2/3rds of the purchase price.

When each scene sells, 1/3rd of the price is distributed to the engineering startups who have equity contracts, and the artist’s reward the distributor with formal copyright royalty stream ownership of the work of art they purchased.

This introduces the first novel distributive property of BAE, ownership is assigned after the owner sells an asset, whatever they sell they can paradoxically also own.

This distributed property, ⅓ to ⅔ produces a dynamic where 1x is distributed as 2x back to a wallet holder.

The necessity of a social contract to prevent abuse

What prevents such a system from being abused or used fraudulently? This is where the social contract comes into play.

When individuals are invited to participate in the BAE marketplace, they form a social contract that expresses enthusiasm for the shared purpose of the community and trust in the smart contract that distributes the funds from the sale of artwork. They learn that a “smart contract” will distribute twice the amount they put into the marketplace back into their wallet. What do they want to do with that return?

Only those who commit to the purpose of the community and agree in a “social contract” to distribute those funds back into the community are invited to purchase a formal legal contract (Copyright Royalty Stream) in the form of a “smart contract”.

In the context of the BAE marketplace, social contracts play an important role in maintaining momentum and fostering a sense of community among participants.

The BAE marketplace creates a decentralized “co-fund” where 1/3 of the funds from the sale of artwork goes towards engineering projects, and 2/3 goes towards community projects building on top of the engineering projects.

While the smart contracts ensure that the retail price of one scene will return twice that amount in the following scene, it is the social contract that creates trust among community members to put those funds towards the purpose of the community, and not turn it into a “flip” like day traders marketplaces.

The Co-Fund System

By combining smart contracts and social contracts, the BAE marketplace creates a decentralized “co-fund” system. The use of a co-fund in the BAE marketplace can help to build momentum in several ways.

First, it creates a sense of shared purpose and community among participants, as they are all working towards a common goal. This can help to maintain interest and enthusiasm for the marketplace over time.

Second, the use of a co-fund allows participants to pool their resources and invest in the acquisition of more scenes in the BAE marketplace. This can help to accelerate the growth of the marketplace and allow it to reach its goals more quickly.

Third, the use of a co-fund can help to preserve equity in the engineering startups involved in the marketplace. By using the 2/3 of the purchase price from the sale of artwork to fund the co-fund, participants can avoid diluting equity in the startups, while still contributing to the growth and success of the community.

Overall, the use of a co-fund in the BAE marketplace can help to build momentum by creating a sense of shared purpose and community, accelerating the growth of the marketplace, and preserving equity in the engineering startups involved. This can help to ensure the long-term success and sustainability of the marketplace.

In summary, the BAE marketplace is an example of how legal, social, and smart contracts can be used in combination to create novel dynamics useful for community funding and cooperation. Social contracts play a critical role in building trust and maintaining momentum, and the use of a co-fund can help to preserve equity in engineering startups while accelerating the growth of the marketplace.

ORIGIN STORY is our community narrative regarding who we are, where we are from, and where we are going.

Origin Story recalls Act 1 of Why not World Game which launched on Nov 11, 2022 and sold out Dec 21, 2022.

Below is a reprint of our community “recreation”, telling our story. It comes with video scenes (some with really crappy sound, sorry!) but the “quicky” can be absorbed by casually scrolling the page.

Act 1 of Why not World Game is decentralized, any member of our community can tell the story of how they were introduced into the community.

To visit Act 2, please go to Why not World Game.

Begin here: Origin Story––Act 1, decentralized

Why not World Game emerged within the community of Big Mother, which formed from a Los Angeles tech startup that collapsed in 2020.

When we say our previous company “collapsed”, we mean “collapse” as in “the worst possible case scenario ever”, but worser.

Our failure to launch our technology in 2019 had consequences beyond the disturbances in our own personal lives. Our technology company developed solutions products outside of the Google/Facebook matrix, and our main product was for web journalism and news publishers to achieve 100% audience reach around reliable and verifiable content to counter things like misinformation and disinformation.

If we would have succeeded in launching our network in 2020, this technology could have had unmeasurable benefit during the global COVID-19 epidemic.

Ouch.

(five minutes, seventeen seconds)

When COVID hit in March of 2020, co-founder Zack Zarate was simply worried about his pal, co-founder Rome Viharo, who was the architect for the previously collapsed company, Native Smart.

Just trying to be a pal, Zack told Rome that he should put the old company away, forget about the old thing, and take the time as a paid vacation to focus on the next thing.

“Our story should not be about what fucked up, it should be about how we can put it back together, we should make this a better story, we’re not “fuckup nights”, lol” said Zack to his pal.

I think that was the point, to try to get Rome to laugh, but he wasn’t laughing.

Rome, COVID lockdown, what’s her name, lost everything, on couch–ouch.

Due to COVID lockdown, Rome was stranded and stuck on the couch at his old pal Carey Yost’s spot in Mid-Wilshire Los Angeles.

So two pals were trying to figure out how to cheer Rome up, help him get his bearings back together, help him focus on the next thing instead of the old thing and what’s her name.

Carey Yost, of all things, is a notable cartoonist and designer, far outside of the sphere of technology.

Anyone who knows Carey Yost knows that Carey is a hoot. As a roommate, he is better described as a muppet puppet. This story really can’t go on until you know about Buddy.

How to laugh while sunk in the abyss.

Six minutes, twenty seconds.

In no time at all, Rome was laughing again. It was now time to focus on the next thing.

Turmoil 2020

The riots of 2020 actually began in Los Angeles a few blocks away from where Rome was in Covid lockdown with his ol pal Carey Yost, roommates again for the first time in 20 years.

So Rome grabs Zack and Carey’s ear about a problem that could be the underlying cause of the turmoil erupting in 2020.

The Problems with Binary.

(six minutes, ten seconds)

“Exactly, focus on the new project, Rome. Focus on that “aiki wiki” thing you’re always talking about, let the old thing go.”

The Solutions within Ternary. 9×3 markup language.

(nine minutes, fifty seconds)

So, Zack is pleased with himself, because Rome is tooling away on Aiki Wiki, thinking about the new thing instead of the old thing and what’s her name.

Zack sends him a link to submit the new thing to the National Science Foundation’s SBIR program for entrepreneurs, which Rome does because…a whim?

Everything is suddenly stopped in motion, and Rome disappears into a swirling vortex with what’s her name.

Thirty days later, Zack’s wife Melissa watches the Social Dilemma on Netflix, and learns that Zack encouraged Rome to let go of the old thing to focus on the next thing.

The old thing was equity. The old thing was valuation. The old thing isn’t even old, it just never had a chance to launch!

“Are you crazy, Zack? Why would you let go of something you have equity stake in??? And why now????

Rome returns from the swirling vortex to discover that the new thing was accepted into the National Science Foundation and Zack wants to now bring the old thing back.

Combine the new thing and the old thing?

To proceed with Phase 1 for the NSF grant, Rome would have to form a company around the new thing, and scope out the first pilot.

And the old thing needs three hundred thousand dollars.

Old and new things need funding!

Zack’s six year old daughter gives him an idea…

Specifically, to get Carey Yost to to create an NFT because Zack’s daughter is a fan of SpongeBob Squarepants, which Carey helped design.

Carey is famous with kids. Carey has designed the most popular cartoons in history. Hmm…

This gets Zack thinking…

The crew needs to raise money…

Should Carey do a PFP NFT?

…NO!

Two minutes and forty seconds

GenX versus Millennial, GenX are NOT BOOMERS!

So Zack really likes NFTs, and think its a good idea, but Rome was already thinking about DAO structures and not NFTs. Carey wanted to draw Bucky Fuller.

Zack wants Carey to make a character with regenerative AI.

Why would a cartoonist use regenerative AI to create variations? That’s their job! That’s what animation is, but better because it tells a story.

“Reality check, GenX created the internet for millennials, who messed it up along with the boomers!”

Zack hates it when Rome says that.

Zack felt rejected, like GenX thinks NFTs were dumb or something, and that’s not true at all.

Web3 is great but…

Scarcity and Malthusian thinking is not good for web3: A Toon Talk

Two minutes and forty seconds

Huh? Zack says this is all going to be worthless!

And that is a reasonable position. Everybody trades in scarcity, from crypto to stock to food to natural resources.

Making something “abundant” produces less wealth, not more, right?

….right?

Welcome to the Solar Economy

Zack gets mad at Bucky Fuller, still skeptical. Says “Show me how Bucky would design an NFT!”

So Rome uses Detective Comics to show how Bucky Fuller would design an NFT that could fund the construction of a global energy grid, and even space exploration.

How would Bucky Fuller design a web3 NFT ecosystem?

Eight minutes thirty two seconds

So…this isn’t really resolved.

Zack likes Bucky Fuller but says the whole problem to narrative logic Bucky Fuller NFT is that there is no story here.

“We need a story! How does Bucky Fuller arrive on the internet in 2022? I say let’s make Bucky Fuller a zombie, it’s the zombie apocalypse, and resources are scarce…”

Rome explains to Zack, “No”.

“What? I have rights! This is a DAO! I say we make Bucky a Zombie, how come I do not get what i want?!?!?!?” Zack has a millennial meltdown.

Rome says “because Zack, you have copyright ownership, not the rights to change the story, you only have rights because you are now in the story.“

Just like our audience, our community who has the Passport Token, you are not just following our story now, you are in the story, right at the beginning!

Welcome to Narrative logic and the end Act 1 of Non Fungible Theater

Five minutes and two seconds

End Act 1 “Why not World Game?”

Go to Act 2 @ Why not World Game.

“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.