Creating boldly requires you to leave behind your anxiety and hesitation. I use a Technique called “Versioning” which allows me to mentally and creatively step forward without hesitation to try a creative and perhaps crazy notion with my script, novel or play.
Blockchain can be complicated with its new terms, concepts and strategies. Here’s a very good video aptly entitled “Blockchain Simply Explained.”
The key in learning about blockchain for me was in learning some basic key terms and then examining the conceptual side. When visually presented, then I grasped the concepts more readily. Video leads the way!
Essentially – at least from what I can figure – the strategy of “Tokenization” is linking a digital token on the blockchain to other digital assets. Now what these assets are can vary wildly. Here is an article on this phenomenon with some highlights.
Digital assets, usually represented by a token, are tradeable assets representing the rights to something (e.g. currency, stock, piece of real estate, a sports card), that’s digitally stored and cryptographically secured. Assets could be tokenized in a fungible or non-fungible manner, where non-fungible tokens (NFTs) are unique and no two tokens are the same (or hold the same information). Fungible tokens, on the other hand, are identical (e.g common stock shares).
So everything from real estate to a sports card.
Although a drastically different industry in comparison to real estate, the use case in terms of technology and value add is almost identical. Liquidity, fractional ownership and digital distribution of traditional art pieces are all extremely attractive to artists who often struggle to commercialize their labor.
What’s super interesting is the emergence of digital art. Digital collectibles, e.g. CryptoKitties, have caused an absolute frenzy and the space shows no signs of slowing down. Each digital collectible is represented by a Non-Fungible Token (NFT) and easily tradable.
Art could work, especially if it’s unique and has limited editions. Otherwise, the Art is just a digital knock-off which are popular for bath towels. But how would one create art in a limited edition to create value. And not just the crap from celebutards puffing their stuff online.
The International Financing Landscape: France and UK
The models used in these countries has a strong public broadcast government support with license fees. But that’s up for significant change. I remember when Amazon and Netflix first pushed into France – and got some serious pushback. These countries (along with Spain, Italy, Germany, etc., )decidedly wanted to have their own cultural identity in their programming. Not every TV show should become a Big Mac.
Last week, legislation was introduced in the French parliament that will do away with the license fee, dramatically shifting the way in which the nation’s public broadcasters (PSB) are funded and leading to potential government meddling and instability. In the UK, the 100-year-old funding model is under review from a Conservative government that is no friend to PSB and, arguably, is ideologically opposed to it.
According to the EBU, European broadcasters generated €35.5B in 2020 – a 7% real terms fall over five years – and 60% came from countries that use a license fee model, which sees each household pay anywhere from $100 to $200 per year in order to gain access to the PSBs.
The move comes at a time when French broadcasting is “held in very high regard,” according to Curran, who pointed to the nation’s TV and radio taking a “much stronger role across Europe more generally.” France Télévisions CEO Delphine Ernotte-Cunci is the EBU’s current President, for example, and has been warmly received around the continent, most recently addressing a packed Lille auditorium at Series Mania, during which she passionately argued in favor of the now-derailed license fee system.