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.