When thinking about community, I always stress the value of intentionality. Often people first think of rules and what they don’t want in their community because that’s easy, but I always try to encourage moderators and community managers to reframe that and instead try to identify what they do what. Try to describe the community that you want, that you want to hang out in, by what it is, not what it isn’t. Try to write every point as a positive not a negative. It’s actually harder than you think to do this, but I believe it makes a powerful statement and attracts people who want the same thing as you as well as helping you fine tune your own intentions.
Two guiding documents I helped write that I’m really proud of are the Safecast Code and the Cryptopunks V1 Discord server etiquette.
For Safecast, the environmental non-profit I helped start in 2011, we wanted something for our volunteer community to act as our guiding principals, so in 2014 we published this:
We’ve been thinking about what describes the Safecast project as a whole, and came up with a list of 10 things that we try to incorporate into all of our efforts. This is something like our code of conduct, what are we doing, what we should be doing. We try to check ourselves against this list and encourage others to do the same.
ALWAYS OPEN – We strive to make everything we do transparent, public and accessible.
ALWAYS IMPROVING -We can always do better so use agile, iterative design to ensure we’re always refining our work.
ALWAYS ENCOURAGING – We aim to be welcoming and inclusive, and push each other to keep trying.
ALWAYS PUBLISHING – Results are useless behind closed doors, we try to put everything we’re doing out to the world regularly.
ALWAYS QUESTIONING – We don’t have all the answers, and encourage continued learning and critical thinking.
ALWAYS UNCOMPROMISING – Our commitment to our goals keeps us moving closer towards them.
ALWAYS ON – Safecast doesn’t sleep. We’re aware and working somewhere around the world 24/7
ALWAYS CREATING – Our mission doesn’t have a completion date, we can always do more tomorrow.
ALWAYS OBJECTIVE – Politics skews perception, we focus on the data and the questions it presents.
ALWAYS INDEPENDENT – This speaks for itself.
I’ve written before about the overuse and redundancy of Discord servers in the web3 space so with for the Cryptopunks V1 Discord I asked that we think of what didn’t already exist, but that we wanted to exist, and explicitly try to create that. I’m proud of these guidelines and think they’ve helped shape a friendly and welcoming community.
We are inclusionary and you’re welcome here. No matter what you look like, where you come from, what you have or your beliefs; you’ll be treated with respect.
We are here to have fun but not at the expense of others.
We celebrate CryptoPunks and Web3 Punk culture in its entirety. We recognise the visionary of our creators, LarvaLabs; the current owners of the brand, Yuga Labs; and all of the wonderful Punk derivatives. We reject repeated, intentionally divisive or derogatory comments towards any in the Punk ecosystem.
We show respect and positivity because we want to be respected by the wider community.
We share our interests, achievements and current projects without incessant shilling. In general, if you’re repeatedly bringing up a particular topic without prompt, that could be considered shilling.
We’re all at different stages of our journey and continuously learning. Teach others about your experiences, learn from others about theirs. All questions are good questions and our chat is an open forum.
We recommend you turn off DMs and be extremely careful in the interactions you have here. Phishing, impersonation and all manner of trickery are persistent threats.
If you post a suspicious link, NSFW/NSFL content our mods might act to ban or mute you immediately. If in doubt about whether something is acceptable, it’s better not to post.
Mods are here to clear away bad actors and facilitate positive discussion. If a mod asks for a discussion to move on, or to an alternate channel, or reminds you of these guidelines; please heed their advice.
We Punks are ultimately the moderators of our peers. If you see something that isn’t constructive to the community we’re building, say something.
While I’m not trying to suggest these are perfect or pat myself on the back too much, I think these are two really good examples of directional documents that can help a community shape itself rather than just leaving things up to chance. If you are a community steward, manager, curator or janitor I can’t recommend doing something like this enough.
As editions of the first piece from my new “Connections” series have started to find homes, I thought I’d take a moment to talk a little bit about what I’m doing with this series, where it’s coming from and why.
I was a designer before I was a photographer and the initial motivation to pick up a camera stemmed from needing to fill a design element, so my initial look through the lens was purely aesthetic. Obviously I moved into storytelling later, but I never stopped thinking of composition. One could argue that street photography is also an experiment in abstracting the subject, but that might be a bit of a bleak take. Camera in hand, I intentionally tried to look at things a little differently than what I saw from others around me, and this lead to trying out different angles and perspectives. Often I found myself looking up.
Right away I was attracted to the similarities, stark feeling and contrast of both power lines and leafless tree branches in winter. Especially in black and white, which is my default. I started taking pictures of these right away, again with a “layout” approach and if you followed my early flickr, instagram and various other “moblogs” you might remembers these as recurring themes. The overhead rat’s nest power lines of Tokyo only exacerbated this fascination so once I started spending time there my collection of these images started multiplying.
In the past 2 decades I’ve amassed hundred of these photos, always feeling that there was something to them that I just couldn’t put my finger on, and if I just kept scratching at it sooner or later the connection would reveal itself to me. In the meantime I kept looking up and kept collecting photographs of settings that struck me. One thing I started thinking about a while ago was how both tree branches and power lines (or telephone wires in some cases) were means for transmission. Information being sent back and forth. And of course the duality that finds its way into all my work was present here as well, bouncing between the natural and the manmade. Intentional vs accidental, or maybe questioning how much intent is actually in the natural.
I kept finding new ways that these images and their subjects were similar and for a while I considered doing an exhibition that just juxtaposed the two sets, allowing the viewer to make the visual connection on their own but something about that wasn’t quite working for me. It felt unfinished. Around this time I started playing with AI. While I loved the idea of text prompt generated imagery, I was immediately fascinated by the idea of feeding my own work into the machine and seeing what it spit back at me. I loved the distorted abstraction and a kind of return to shapes and light and a step away from the literal subject that had been the focus of my original photos and in a way pushed me to look at my work a little differently again.
(Above: A crow in Tokyo by me, Below: Dall-E reimagining my crow)
As I continued to play with these new tools I thought again of the images of trees and wires that I’d been amassing and I began seeing what AI might make of them. The first attempts were admittedly uninspired though I didn’t really have a clear idea what I was looking for. Just kind of poking around to see if I stumbled across something interesting. Telephone poles that look like trees? No. Tree branches that look like power lines? No. The further I got away from my work the less interesting I found it, and in that realization I hit on something. What if I returned to my work very intentionally? What If I seeded the AI with several images and asked it to combine them – not in a “give me one photo of trees and powerlines” kind of way, but in a “here’s a bunch of images of the same thing, combine them” kind of way. What I got back was brilliant.
Without the projected human context of “this is this kind of thing, that is that kind of thing – and they are different things” the AI just looked at the shapes and structures and tried to imagine what it would look like for them all to fit together. This was the missing piece I’d been looking for – it wasn’t a question of how do these two distinct bodies of work fit together, but how could I combine them into a singular thing that continued to work with the narrative I’d been building.
These new images did exactly that – this collaboration being a direct synthesis of the human and synthetic, a merger of the natural and the manmade. Suddenly the relationships get more confusing and more less straight forward. The clear lines between one and the other fall apart. The black and white (both color and theme) becomes endless shades and interpretations of grey. Thinking back on the notion of communication, it’s less clear what kind of information is being sent, and where, and by whom. I’m always attracted to art that makes me ask questions and that’s hard to do with my own work because I usually have the answer to begin with, but this brought some of the that uncertainty into play. These outputs, unquestionably grown from my own imagery, had become their own thing leaving the viewer with much more room for their own individual assessment.
I decided to create 2 different distinct collections – editions and 1/1s. To differentiate them the editions will be a 1:1 square format and the 1/1s will be more traditional 4:3 landscape aspect ratio. There will also be a series of physical prints, and potentially a book collecting them all at some point in the future. Because of how deeply invested in this process I’ve become I decided that the actual distribution of these pieces should also be part of the project and fit into the concept of connections and relationships. To that end, I’ve begun gifting the first piece in the editions collection to people that I meet in person. This piece is effectively an open editions, until I decide to close it and while it may end up on the secondary market at some point minting will only ever be available from me, directly, in person. I’m not selling this piece, it’s a free gift from me to the recipient which further contributes to the concept of relationships and connections. Each future piece in the editions collection will be available to different groups of people under different circumstances. These will be announced as they are released.
I’m still deciding how and when to release the 1/1 collection and if I’ll do it on my own or through a curated platform. I’m still fine tuning which pieces will make up that collection, and how large it will be. A lot of potential directions here and decisions I’ll make as I get to them. In the meantime the focus is on the editions, and I’m very happy that so far the people I’ve given one to have resonated with the project and appreciated how it’s coming together. I’ve set up an Instagram account for this project specifically and will be posting art there as I make it public. Thanks for reading this far, and I hope you’ve enjoyed this look behind the curtain.
Update: The 2nd piece in the Editions collection is available now, it’s only available as a burn to redeem. You’ll need 9 NFTs from my previous “cats” collection to exchange. (current floor is 0.0023 on OpenSea, 0.0001 on Blur)
From the very beginning of the internet we’ve wanted to talk to our friends. Or to talk to people who might become our friends. At first this was easy because there weren’t many people online so you could know everyone who found their way into an IRC channel or MUD or various other chatroom but as more people got online staying in touch with your friends became harder and it wasn’t long before our online social networks evolved into and were enabled by social networking sites (SNS). In my memory this starts with SixDegrees, for others it might be Friendster, Xing, MySpace or any number of other sites where you could subdivide everyone into a smaller group of people you wanted to connect directly with long before most of the world found their way onto Facebook. And everyone who has every used one of these sites has faced the same dilemma – leaving.
Not that it’s hard to walk away from any particular site but it is hard to walk away from the friends you made there, and in a very real way this became one of the tools used by these sites to keep you there. If you leave the site you are leaving your friends and you wouldn’t want to do that right? They used guilt along with various technical lock ins to make it very hard for you to recreate your social network on some other site. You might think of these people as friends but these sites look at your friends as valuable proprietary data. Of course this isn’t a good thing, they actually are your friends after all, but business models as they are with these sites want you to think you only have friends because they allow you to. So almost since there were social networking sites people have been trying to find ways to export their list of friends (or their social graph if you want to get fancy) and bring it into another site.
But just getting the information isn’t enough, if your friends aren’t using a new site then trying to connect with them there is going to be hard even if you somehow were able to bring over your friend list from another site. This is a problem with centralization, you need people to go to the specific place. There’s other privacy invasive options like uploading your entire address book but maybe you don’t want to show this company everyone you know, or maybe you don’t want to leak your friends private info, or maybe just because someone is in your address book doesn’t mean you want to connect with them on every social media site. Are they actually your friends or work colleague or ex-roommate or a million other potential classifications that makes this problematic? Anyway, this isn’t a new problem and smart people have been trying to solve it for a long time.
I first remember Ryan King talking about it in 2005 though he even notes then that this was a frequent conversation at the time. We were in the beginning of Web 2.0 but already imagining what Web 3.0 might be, and calling it The Semantic Web. (This is not to be confused with Web3 – the distinction between Web3 and Web 3.0 is still lost on a lot of people, and sadly a lot of the people who dreamed about Web 3.0 are missing Web3 because if silly biases, but that’s a different story for another time). Projects and proposals like Microformats and IndieWeb imagined an internet where an individuals personal data was owned by and controlled by themselves rather than by for profit companies. Rather than a website allowing you to see who your friends are you could choose to allow a website to see your friends. It was a revolutionary idea at the time, as Ryan notes, and unfortunately it didn’t catch on in the scale that any of us hoped it would. And as a result of that lack of adoption my Twitter feed right now is full of friends worrying about how they will stay in touch with each other if Twitter suddenly disappears. It’s got people talking about Mastodon again, which while open source is really many of the same problems in a different uniform. And so the dreams of 2005 have gone largely unrealized in the last 17 years.
Until now…
If you have been paying attention to whats going on in Web3 then this description of “own your own stuff” probably sounds familiar. And this is where things start getting really, really exciting. (Well, I mean if you are a nerd about this stuff it’s exciting, and I clearly am, and if you are still reading I’ll assume you are as well.) There are two new blockchain based protocols I’ve been playing with, Farcaster & Lens, which are super promising and already delivering on some of these dreams and I wanted to share them here.
Farcaster is a “sufficiently decentralized social network” which combines on-chain (ethereum) with off-chain to create something where people own their own information, their usernames, social graphs and posts, and decentralized enough that anyone can build something on top of those profiles – and enables people to switch between services without needing permission from a company. A quick look at the growing ecosystem shows how people are already putting this to work. For example right now the primary Farcaster application (which is not yet publicly released) doesn’t show public profiles, but Discove.xyz is built on the protocol so you can see my profile here.
(Farcaster as seen in the desktop app)
Lens Protocol is a decentralized social graph built on Polygon which takes the interesting approach of making your username an NFT and then minting NFTs of your connections, which then allows any application using the Lens protocol to just look at your wallet and then immediately build out your profile. For example here is my profile on Lenster which is currently the primary SNS using the protocol, and when I signed into Orb (another currently mobile only option) it instantly populated my profile, posts, and followers/following with everything I’d set up on Lenster.
(my profile on Lenster)
(My profile on Orb)
I didn’t need to export anything from Lenster, I didn’t need to import anything to Orb. Didn’t need permission or anything. When I updated my header image on Orb, the change was immediately reflected on Lenster. I looked at a few other Lens based sites and it was the same everywhere. Possibly even more exciting is that not only the posts were mirrored, so were the reactions. Hearts, replies, shares, etc.. all the same everywhere. It was mind blowing. Of course there are ways to syndicate out a post from a Web 2.0 SNS to others, using IFTTT for example you can write a script to send your Tweets to your Tumblr, or you can connect Twitter to Instagram so that a photo you post on Instagram is announced on Twitter, but the result is that these are still separate sites with individual comment threads and ultimately disconnected. With Lens it’s all the same, because they are decentralized and I as the owner of the post and the profile let each site access it from the blockchain. However we haven’t moved entirely from Web 2.0 to Web3 yet, so luckily there’s a way to send things back as well. I tested it out and it worked brilliantly – this post originated on Orb, was cross posted to Twitter and reflected on Lenster. Obviously any replies on Twitter stay on Twitter, but a reply on Lenster is seen on Orb. It’s magic.
(as seen on Twitter)
(as seen on Lenster)
Looking through the ecosystem lists on both projects I don’t see any option to sync the two yet, however I can’t imagine that is going to be too far away. Similar problems being solved in both and a lot of overlapping ideas. I’m really so excited to see this and to realize we don’t need to have the “____ sucks now because [policy/management] change, I’m deleting this app, where is everyone going next so we can connect there?” conversations every few years any longer. Obviously this is early days, these are beta applications on beta protocols but I can see where it’s heading and it’s so much of what I’ve been dreaming about for almost 20 years. I’m sure it’ll take a little while for this to click with everyone, and a lot of people are going to need to get past their crypto biases, but this really is the empowered user world we’ve been hoping for. If we’re friends, if we’re connected on one of any number of current social networks, I do hope you’ll check this out sooner rather than later. I don’t think mass adoption is an if, it’s a when.
From the early days of screen names and /nick to usernames and avatars and anons and on and on we’ve continually struggled with (or perhaps played with, depending on who you ask) how best to represent ourselves online. Hell, how we represent ourselves offline is already difficult enough and forever falls back on who you know, who will vouch for you, and your reputation – all of which is easily manipulated. That’s 1000x more complicated online where in most cases you don’t actually have any idea who you are interacting with. The dismissive cliche leading up to the dot com boom was that anyone you spoke to online was really some overweight, socially inept dude still living in his parents basement, especially if they were representing themselves as an attractive woman. This stereotype was largely driven by people who weren’t online and saw no reason to get online and just wanted to poo-poo anyone else who did. But then “being online” got profitable and that made all these other people get interested and suddenly there was a rush and people who had been mocking anyone spending time on the internet needed a way to be on the internet but make it clear they weren’t like those other people on the internet. Proving who you are, while also allowing you to be who you want, has been a struggle ever since.
One of the things that I and others have been thinking and talking about is how Web3 has to some extent freed us from the constraints of the avatar and given us some further flexibility as to how we manage our online identities. Almost exactly a year ago I wrote a lot of words about avatars and identities, largely focusing on community membership and how the ability to own an NFT which becomes your access to and identity within a community, and being able to have wallets with multiple NFTs that you can switch between depending on context was both scary and exciting.
One thing I observed was that being able to prove you owned an NFT which you were using as your avatar allowed for some authenticity and reliability, and while of course anyone else could right-click-save that image and use it themselves (and we’ve seen a lot of scams emerge doing just that) the increasing ability to gate some interactions or prove ownership as verification was quite the revolution. I can use my CryptoPunk while interacting in the private CryptoPunk discord and my Bored Ape while interacting in the private Bored Ape discord and in both cases everyone knows it’s me, just kind of wearing a different outfit to fit the occasion. Of course, we’ve also seen that people gravitate to one of their avatars more than others and begin to use that across platforms and that avatar starts being associated with them. This is super interesting for lots of reasons, not the least of which is what happens when an NFT avatar is deeply associated with someone and then they very publicly get rid of it as we saw with Punk #4156, or it becomes so much of who they are they couldn’t part with it? Are these little images now subject to typecasting? So once again a solution presents new complications.
And this is where things get super fascinating, because what if the image that becomes so associated with you and your online identity, isn’t “the real” thing (whatever that means)? Consider for a moment the case of CryptoPunk #1060 vs CryptoPhunk #1060.
CryptoPunk #1060CryptoPhunk #1060
I’ve written about CryptoPhunks before and won’t repeat myself here as it’s a complex discussion, but will just note for anyone unfamiliar that the imagery of the CryptoPhunks collection (released in 2021) is a 1:1 mirror image derivative of the CryptoPunks collection (released in 2017). There’s a lot more to it than that, but in this context that’s the important detail. In the case of #1060, one of these is used regularly as an avatar and the other sits dormant in an unused wallet. As an experiment I recently posted CryptoPunk #1060 on Twitter and asked people who first came to mind:
Obviously this is not scientific and is biased by who follows me and what communities they spend time in but the point I was trying to make was pretty obvious. Chopper is a developer who is very active in web3 building open source software and helping to manage several overlapping communities. Chopper does not own CryptoPunk #1060. He does own CryptoPhunk #1060 and has used it as his avatar everywhere for more than a year to the point that this image, regardless of which way it’s facing, reminds people of him. For all intents and purposes, in the world of web3, it is him. This is aided by the fact that the “original” CryptoPunk is sitting unused in a wallet that hasn’t been active in over 3 years. Is it lost forever? Maybe. Could it suddenly be reactivated and sell tomorrow? Maybe. But what does that matter, because the association between the person and the imagery is already so strong. And this is far from the only example, I could easily do the same experiment with the photographer Ruff Draft. This leads to the question how much does authenticity matter, or does the entire notion of authenticity need to be revised in this context. What happens when the derivative becomes more recognizable than the original? What if someone with ill intent bought CryptoPunk #1060 and started using it as their avatar? What if somehow Chopper came into possession of CryptoPunk #1060, would he change his identity to face the other direction? I somehow doubt it. We know that the value of a CryptoPunk can be increased because of how it’s used, so could the value of one also be decreased because it’s not used, or because of how a derivative is being used?
I don’t think the answers to these questions are as cut and dry as many of us would like to believe, and that complicates the relationship between ownership and identity, as well as how much value (financial and social) words and concepts like “original” or “official” or “authentic” hold. If actions speak louder than words, does that apply to avatars as well? Is this a new example of “use it or lose it?” Earlier this week one of the most iconic and recognizable CrytpoPunks sold for $4.5 Million dollars to an anonymous buyer. The previous owner held it for almost 2 years but didn’t use it as his avatar – will the new owner embrace and put to use this newly acquired identity they just spent so much money on, or will they neglect it and let someone else usurp them?
This is a potentially controversial position to take, but these days when people ask me how to start their own Discord server I have one simple bit of advice – don’t.
This isn’t because I dislike Discord, quite the contrary and honestly I find it to be incredibly useful and powerful for community building. The problem is there are just too many Discords. At this point “come hang out on my Discord” directly translates to “come hang out on my Discord instead of someone else’s Discord.” That’s not intentional, but it’s a limitation of there only being so many waking hours in the day and a limited number of those that people can spend hanging out on Discords. I don’t have any extra hours at this point, and judging by conversations I’m having and seeing happening between others – neither does anyone else.
Discord lets people join up to 100 servers which used to seem like an impossible limit to hit, but I’ve hit it and now to join a new Discord I have to leave an old Discord. Because I run a few Discords for various projects that eats up a few of my options, because some of those projects have sandbox servers there goes a few more. I’m relatively new to the Discord universe so I can’t be the only one who actually has less than 100 spaces available. One might ask why Discord doesn’t just up to limit for everyone, but honestly I think a better move would be to decrease it. Chop it to 50. Or 35.
Here’s the thing, just joining isn’t the issue – it’s the time you need to invest and there’s only so much of that. So every Discord server is competing for your (my) time and attention – not just with other servers but also with the rest of my life. If you are like me, you find yourself stressing about where you are spending your time, what you are neglecting, and how to be more efficient in your social interactions – none of which are very fun things to have occupying headspace.
The next question I get asked frequently is by people who have their own Discord servers, and they are wondering how to get more engagement or activity there. I have a list of minor suggestions and best practices that I’ve seen work, but those are all secondary to the bigger issue that people just don’t have the time to spend on all these servers. So unless you are offering something incredibly unique or already have a very committed audience I think spending time trying to get people to your server is counter productive. And I want to explain that a bit more.
One of the things we talk about right now is how important community is. It’s shaping up to be one of the defining factors of web3 in ways that some of us have been pushing for for decades. It’s exciting, and awesome to see. But you build community by contributing to a community, not by trying to get people away from other communities. And that’s what happening here, even if no one realizes it yet. That’s why I’m telling people in their heads they need to realize that asking people to come to their server is also actively asking them not to go to other servers.
So what’s the solution? Community. One Discord server with 20 artists is infinitely more compelling than 20 Discord servers for 20 different artists. This is the hypothesis* (see update below) that we’re playing with on Discord.art. I recognize that might seem like I’m asking you to do the thing I just asked you not to do, but I’m not. I’m just using it as an example. A number of us, many who had our own Discord servers that we were struggling with came together and decided to see what would happen if we combined forces instead. Invest in a community rather than trying to lure people away from others. And I think it’s worked, incredibly well to be honest. It’s super active, incredibly positive and has become a cultural hub for this moment in so many ways. That’s not because of any single person involved, but rather because the combination of all those people is greater than the sum of the parts. And hanging out together leads to further inspirations and collaborations that never would have happened if everything was segregated.
Another thing we did recently was look at what channels we have, vs what channels people are actually using. Again, looking to the community rather than trying to direct the community. We found that we didn’t need a huge chunk of those channels and deleted them – the result being a tighter and more active server. If you have your own Discord server I’d encourage you to take a hard look at your channel list and see what is actually being used, and consolidate anywhere you can. Having fewer channels means less cognitive load is needed to keep up, which takes less time and makes your server more viable. When I need to join a new server and I’m forced to pick a server to leave – 9 times out of 10 I’m leaving the ones with hundreds of channels because I’m already missing most of what is happening on them. I feel more connected to the servers with just a few channels because I know what is going on and who is there.
IF you can get your server down to just a few channels, my next bit of advice is to look around at the servers you also participate in. Are any others similar in size to yours? Some overlapping interests? Maybe even shared community members? If so, thats a prime candidate for a merger. Right now, every single say I’m being asked to join a new Discord server and that’s just impossible to manage. What I’d love to see in the coming weeks and months, is all of these disparate servers joining forces and consolidating under a unified roof. I would much rather be in 10 Discord servers that collect 10 different projects each, than 100 different servers for individual projects. And I think the communities around those projects will benefit from that sharing as well.
Let’s stop building new Discord servers and instead build stronger communities.
*Update Dec 2021: A hypothesis is an idea or theory that is not proven but that leads to further study or discussion and sometimes you have to accept that hypothesis was wrong. Since writing this things have changed at Discord.art and the community that I’m referencing here has fractured due to creative and directional differences and I’m no longer involved with the server.
My family moved around a lot when I was a kid. In fact I can date my childhood memories really well because I was in a different school almost every grade, so depending on which school or group of kids are in the memory I know exactly when it happened. This was the source of a lot of trauma for me (as soon as I’d make friends I’d move away and have to start all over again) which led to various trust and interpersonal relationship issues that I spent years working through, some better than others. This has manifested itself in various ways, one of which is that as you might know I’m deeply fascinated by and attracted to subcultures and communities – I never had “my people” as a kid, and when I finally found them in my high school years I never let go.
I gave a talk at the Academy of Fine Arts in Vienna once about my career, and jokingly said that bouncing from music to art to technology didn’t make any sense. The professor who had invited me to his class interjected that it made perfect sense, because the notable common thread through all my work isn’t the particular medium of the moment, but rather the community around it. He observed, perhaps better than any therapist I’ve ever been to, that in my work I’m always trying to build sustainable communities.Perhaps, he noted, because I never had a community growing up so I’m destined to spend my life chasing after them. Well thanks for that one there Prof.
But he was right.
I call myself a misanthoplogist which is only half a joke, most of the communities I dive into and immerse myself in are subculture, occulture even, and often skeptical of outsiders. Most of us are misfits and weirdos who didn’t fit in with the world we saw around us, so we built our own. Or since it’s so much easier these days, we found others like us and embraced the world they’d already started building. And once a part of this chosen family, which ever one that might be (or several concurrently, as I’ll get to in a moment) it becomes deeply important to us, shaping us as much as we shape it. We become the community, and the community becomes representative of us – our interests, our hopes, our dreams.
When I meet someone else from one of these communities out in the world we share an instant understanding and a bond that unless you are also part of that community, likely makes no sense. In fact, you might not even notice it. In this way, these friendships and communities become almost secret societies. Indeed, band logos, slang and inside jokes can map perfectly with some cryptic rune, sigil or foreign language. If you know, you know. If you don’t, you don’t. Forget music and just consider Hobo Symbols or Warchalking – just understanding what these markings mean puts you into a very tiny group. Now apply that same logic to graffiti’d gang tags or bumper stickers.
Those are physical world examples, but it should be no surprise to you that I’m heading towards the virtual. Years ago my ex-roommate brokep made a brilliant comment that he doesn’t use or like the then common abbreviation “IRL”(In Real Life) instead preferring to use “AFK” (Away From Keyboard) because in his perception, and for those around him, online was just as real as offline and the difference wasn’t which was real or not, but which had your attention at any given moment, and he didn’t want to perpetuate the false idea that things happening online were any less important or “real” than those happening offline. Ernest Cline’s Ready Player One takes this a step further by making the online more important than the offline, and the introduction of metaverses. I’ll get back to that shortly.
(A few of the NFT Avatars I own and use in various online communities)
My son has lived all around the world. I like to think this was a conscious decision informed by expert learnings and my own lived experience, but it could just as easily be repeating the same mistakes my parents made. Time will tell. But the point being at almost 12 years old he’s spent significant chunks of his life living in Los Angeles, Paris, Tokyo and now Vancouver. And he’s traveled to dozens of other countries in the interim. When I was a kid in the 80’s jumping from school to school in city to city, I often tried to be penpals with friends I’d made but that usually lasted one or two letters until we’d both forgotten about it. The internet changed all that as we know, and with my son any school he’s been in has been for at least a 3 year stretch and he’s stayed in touch with a number of friends regularly, for years now, in any number of online worlds, primarily Minecraft where he and his friends can actually build out a world that remains the same no matter where they are accessing it from.
Knowing how insufferable I am in these posts, you can only imagine how much worse I am in person. My excitement this year about NFTs has infected every corner of my life and this has rubbed off on my son who has his own collection and is an active member of several related communities. So here’s what I’m starting to get at – when I ask him, out of all the places he’s lived and all the places he’s visited, which is is favorite – he points out that it’s not such a simple question as all the places have pros and cons. He’s a smart kid. If we’re talking about food then one city might be better. If we’re talking about hiking or snowboarding or bike riding then yet another city might be better. If he’s talking about where his friends are, then he knows exactly which Discord server he’d pick. Online or offline are the same – they are just different places where he spends time.
I get that. A few years ago I played some World of Warcraft with him, which was a game I spent a significant chunk of time playing in the early 2000’s. Walking through those in game cities felt every bit the same as it feels when I visit a city I used to live in, or a favorite place to travel. I know what’s around the next corner and where to get the good food. So I assure you, he’s not the only one who feels that way. I know a lot of people in my generation and a little older who would think that sounds crazy. But this is the future, and the younger kids all get it.
So to connect this back around, Discord servers are communities. Cyber cliques. Digital gangs. Virtual families. This is real life in every way, and the relationships we form there are just as real. I need more than one hand to count the number of friends who have had marriages end because of affairs being had with people they had never met in physical space. That’s as real as it gets. But that’s beside the point, which I know I’m talking a long time to get to, but here it is – offline I can I look at you and know who you are, know if I know you or not. Online, I look at your avatar. And your avatar can be anything. And if your avatar can be anything then you can be anyone, right? Right. That’s equal parts liberating and terrifying. If you can be anyone, how do you know who anyone is? Or maybe more importantly, does that even matter?
Going back to Ready Player One again, in the metaverse people were able to create avatars that were the perfect versions of themselves. Who they wanted to be, without the limitations of their physical lives (like, how much money they have or where they lived). And, they didn’t have to be just one person – they could be different people for different situations. This begins to really pick apart the idea of identity – but again this isn’t new or exclusive to the internet in anyway. People have had secret lives and kept separate identities offline forever. We all know someone who acts one way at the office and completely differently outside of the work environment. Or what about LARPers or Furries or hardocre Trekies. Or what about punk rockers who put on nice clothes to go to a real job between 9-5. I’m being a bit obvious but you get the point – the notion of being different people in different contexts is a very normal thing, and doing that online with an avatar in a community just makes it even more… well, real.
Back to my son – in the communities he’s a part of, no one knows he’s a kid. That’s intentional on his part, because he recognizes that people treat him differently if they think of him as a peer. And yes to alleviate any fears we know what he’s doing and who he’s hanging out with, and have regular open conversations about safety around that – but we also respect his wishes and love that he has this ability to safely explore who he is, and who he wants to be. His identity is connected to his Avatar. His Avatar shows his connection to this community, and unlocks special membership privileges. His Avatar is also a unique digital object that he owns, because it’s an NFT. There are a few thousand others who hold NFTs from this collection and while they might meet each other on the project Discord, they can also recognize each other anywhere else on the web as well. It’s a digital band t-shirt.
This week twitter announced plans to add web3 integration to the site with two examples of how they are going to do it – they are going to add tipping with Bitcoin, and verified ownership of Avatars. Now, if you’ve been reading the news or following related headlines you might have heard about the Bitcoin tipping part but likely didn’t catch the avatar bit. This is because most of the “technology journalists” writing about web3 have no idea what is actually happening and are just looking for recognizable buzzwords to drive stories and Bitcoin is recognizable but NFTs and Avatars are confusing so Bitcoin drives the story and the Avatar bit gets a passing mention just so that all the boxes are checked. I’m not just making that up, I’ve spoken with no less than 10 writers at major publications in the last 2-3 months who have all had similar stories. “I’ve written about art/web/entertainment/memes before so my editor just told me to put together something about NFTs but none of this makes any sense to me, can you try to help me understand what is happening?”
But this is a legitimately big deal. “Why would I buy it when I can just right click and save it?” falls apart the moment wallet verification is introduced, and a social platform as large as Twitter recognizing that what NFTs you own directly relates to your online identity is the tip of the iceberg. People already spend a lot of time, effort and money crafting and curating their online persona – the dismissal that they wouldn’t buy an Avatar to signify their connection to a community or social standing is silly. That’s so obviously where this is all heading. And the natural extension of this is if your identity is tied to an Avatar, and you have many different Avatars then you natively have the potential for many different identities. I might use my Bored Ape Avatar when I’m on the Bored Ape Yacht Club Discord Server and then switch to my Punk Cat Avatar when I’m on the Punk Cats server. Other people who hold NFTs from both collections might do the same, and we might recognize each other and intentionally connect those two avatars into one identity – but there’s no reason at all that I couldn’t keep an avatar in a separate wallet and when I switch to it also switch to a completely unique identity.
So far I’ve been talking about forums and websites, but as metaverses like Cryptovoxels, Decentraland, Sandbox, etc etc etc begin to pop up and start intermingling the situation gets much more interesting. When we’re talking about virtual worlds and not just screen names, it’s an entirely larger thing.
As someone who has been using my real name online for more than 25 years and has spent way too much time thinking about how identity and reputation and positioning impact online interactions, this is mindblowingly exciting. Scary as hell, but inevitable and totally obvious at this point. I can’t wait to see what’s next.
I woke up this morning to messages from several friends directing me to this tweet, asking my thoughts. Unsurprising, as anyone who knows me probably knows I’d have more than a few thoughts on something like this. I started thinking of snarky replies or gotchas that I could cleverly post and trust me dear reader, there were many that came to mind. But the more I thought about it, and read the replies from artists who seem to be bending over backwards to agree in hopes that the tweets author might check out and buy their work, I thought it would be better served with a more thoughtful response to illustrate why this is so problematic. Also, I would like credit for my display of maturity and restraint in not just posting a snarky reply. Sean from 20 years ago is wondering who the hell has hijacked his blog right now.
As an art dealer, I would refuse to sell art to someone who came in to my gallery and made a statement like this. I don’t say that hyperbolically – when I had a gallery this was a topic that came up from time to time and we were unapologetic about refusing to sell work to anyone who asked questions like “how soon will I be able to sell this and double my money?” or “do you have anything that will match my couch?” Additionally I’d actively and vocally advise artists to avoid selling work to someone with this approach because while a sale might be nice today, in the long run buyers like this will most likely make decisions later that will negatively impact the artist. And if you think of art as a long term thing, as I do, selling to a buyer like this is basically failing the marshmallow test. This is investing in the art and not in the artist. To me, the artist is always more important than the art. As an art dealer, I wanted to develop long term relationships with artists and watch them grow, and help out where I could. I wanted to look back on my life and the careers of artists I worked with and be proud of what we did together. This artist-first approach wasn’t always the best decision for the profit margin of the business but it allowed me to sleep well at night, and that 15 years after the gallery closed I still count many of the artists I worked with as close friends tells me I made the right decisions. As a dealer, I worked for the artists not the collectors. I wanted the value of the art to go up just as much as anyone else (and it has) but I deeply believe that this happens much more reliably by making decisions that are in the best interest of the artist, and selling to someone who only sees art as an investment simply isn’t.
As an artist, I would be disappointed to know that someone bought my work and didn’t want to be thanked for it. I would be sad to learn that they didn’t have any interest in supporting me or my efforts. This statement is both hurtful and dehumanizing. It says that this person sees artists as nothing but a factory to crank out things which will make them money. Amusingly this is one of the reasons I eventually got out of the technology start up world, which I wrote more about in The Interest Driven Life, but I couldn’t stomach having meetings with venture capitalists who didn’t give a shit about me or my dreams or my goals and only wanted to know how much money I was going to make them, and how fast. Now, I’m not knocking this kind of investing approach – I just think there are ways to do it which don’t hurt people. Invest in shitcoins or flip some Bored Apes. That doesn’t hurt anyones feelings, or make anyone second guess their life choices. I guarantee you no one at LavaLabs is going to be suicidal because someone is rage tweeting that their Meebit hasn’t doubled in value yet. Pure investors don’t understand (or care about) the difference between artwork and a collectable, between individual artist and for profit company.
For most artists I know, just admitting you are an artist is unspeakably hard. It’s a position filled with self doubt, insecurity and questioning choices, but deep down we do believe in our work and our vision and have to trust that somewhere out in the world someone recognizes and connects with that. I make art to tell stories, and find connections, and find communities, and build relationships. Not to make some investor money. I do recognize that I’m in a position of privilege to be able to turn down sales that I don’t think are a good fit, to people who I don’t like. Not everyone can do that, but that’s also why I try to forge the path so that it’s easier for the next group of artists. And I’m pretty sure I can confidently say that standing here at 46 years old, everyone who has bought my work in the last 20 years has done so because they either wanted to support me personally or because my work meant something to them personally – and I’m deeply thankful for that. I would sell my work to someone who loved it and planned to keep it forever over someone who was hoping to sell it at a profit any day.
As an art collector, I despised buyers with this kind of an attitude. Selfishly, because they usually had more money than me and would buy things I loved and it pained me knowing they didn’t actually care about them. I much prefer the Vincent Price / Dennis Hopper approach which comes from recognizing the value that the artists bring to the world, to culture, to society and trying to support that. I forget where but I saw Hopper speaking once and he said something like “If you do it right, being an art collector means you are just a care taker” going on to say that he saw his job as protecting the art he bought until the “real art” world recognized it and made space in museums for it. He says something similar at the end of this short video. He viewed collecting art as documenting a culture and a community. I visited his house in Venice Beach once and and stepped over carefully rolled up Basquiats in order to get a better look at framed photographs by artists I’d never heard of hanging on the walls. His love for the art and for his friends was unquestionable, and it made me feel so much better about my own collection which is almost entirely work by friends. Some of whom I knew before I bought the work, some of whom I became friends with after buying the work. To me, those relationships are so much more valuable than any individual piece of art, but often the art is a physical representation of that relationship. The context is different but I’m reminded of the lyrics to Softcore by Jawbreaker which accuses “They just want the wrapping, They throw away the prize.” As a collector who values and appreciates the culture and the community, it pains me to know that work is sold to people who don’t care about any of that. I understand why it happens, but I don’t have to like it.
To be clear, I don’t think this is a zero sum topic. You don’t have to care about the artist, or your investment. Someone can care about both the value of their investment and in the artist that created the art, and I’d wager to say most people buying art fit into that category. But a comment like the one above represents a hard far end of a spectrum which I can only sum up as “bad.”
When we’re talking about NFTs, which we often are these days, there is a tendency for investors to lump everything together. They see no difference between something created by hand or something created by an algorithm. This illustrates their deep misunderstanding of both art and NFTs. I think this is actually a dangerous mindset which can actually harm artists and communities, and would recommend steering clear of buyers with this approach. This is a brand new world and the collectors who love the art and want to build the community are still showing up every day. Let’s embrace the people who want to build something together with us. We don’t need to make sacrifices to make people who don’t care about us rich.
I’ve been thinking a lot about the transparency that comes along with transactions happening on-chain. Especially with art this takes some big steps to demystify a lot of what happens behind closed doors in the traditional art world, and the benefits to artists are obvious. While this doesn’t solve every problem, it’s the right steps forward for many. Shining a light onto this part of the business takes a lot of the power away from the dealers and puts it directly into the hands of the artists. It also makes the collectors who are more interested in flipping work a little easier to spot. Obviously this makes some dealers and collectors uncomfortable, but that’s how you know it’s progress. When the people who have traditionally held power start seeing the cracks in their structures, they start complaining.
Conversely, this is also really good for the collectors who are focusing less on the investment and more on the artists. The philanthropists and art lovers. Public ledgers make it much easier to know exactly what an artist wants and needs for their work without having to navigate through multiple layers of middlemen which has typically been the case. Even when dealers would put artists and collectors into direct communication, many were afraid to talk “business” out of fear of alienating a gallery or dealer who might feel threatened or cut out, and thus losing that resource for the future. Again, not every problem is addressed, but this is movement in the right direction.
But I think there’s an even more interesting aspect that hasn’t been widely discussed. We all know that the blockchain provides concrete provenance for the work, we’ll now be able to see everyone who owned the work going all the way back to the moment the artist minted it, or look ahead and find where something ended up. This is exciting because artists often lose track of where work goes once it enters the secondary market, unless the new owners are committed to being public about it, which many aren’t. We’ve all been talking about that for months, but another potentially fascinating detail is the ability to see everyone who ever tried to buy a work. The losing bids, the rejected offers – those are on chain too. At the moment we’re focusing on acquisitions and winning bids, but the story that gets us to that point is far more layered.
Imagine being able to look back in history and see everyone who ever tried to buy a Warhol, or a Basquiat, or a Haring – before they were popular. We know who ended up with the significant works, and work is being done by their foundations to fill in the blanks, but that focus is entirely aimed at knowing where those works are now. But consider how interesting it would be to be able to see the unsuccessful offers. To be able to cross reference those people and find someone who tried to buy work from all three of those artists, but didn’t. Then, being able able to see what work they did buy. Are there artists from that area that have been flying under the radar all these years? Did someone repeatedly get out bid by a specific rival? Were artists supporting each other?
I’m thinking about these on-chain transactions, documenting the bid history as a snapshot of community. Let’s talk about right now. A number of artists who are selling work in the NFT space are talking about how they are reinvesting their proceeds back into the community. They are putting some % of the crypto they make from sales back into the market by purchasing works by other artists. It’s been obvious to anyone paying attention that there is a huge (and important) overlap between people selling and buying work. Collectors are also selling their own art, artists are also collecting their friends work. That’s powerful today, but how about in the future? Think 20 years from now, being able to look back on a sale today with a bidding war between friends. This is evidence of a social network, and the power of a community. This of the forensics this will allow as well – being able to see the exact moment that an artist started gaining momentum. Or pinpoint a single collector who funded an entire group of artists with a buying spree, and how those artists in turn lifted others up with them. We’ll be able to see friend groups and shared interests – and divergences. Again, that’s pretty interesting today but it monumentally more so if a relatively unknown artist today blows up in the coming years.
Today we’re focusing on what all this changes and what is suddenly possible, but it’s all new in so many ways and I think we’ve only scratched the surface on how much this all will really change. I can’t wait.
In the past decade I've lived in Tokyo and Los Angeles, and now in Vancouver. I've run hackerspaces and blog networks, an art gallery, a design firm and a record label. I'm one of the co-founders of the environmental non-profit Safecast, a Shuttleworth Fellow and have been an Associate Professor at Keio University and a Researcher at the MIT Media Lab. I take photos and make noisy ambient music under the name Delay 5000 (D5K). For most of the last 2 years I've been working around NFTs and Web3. Read more about me here. I don't use Facebook.
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