Codex Viewer | Codex Record #3033 | LOVE DECENTRALIZED

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Description This is a decentralized part of the whole manifesto regarding the blockchain movement. It was originally published on City A.M’s crypto spread Tuesday 9th July and handed freely to the people of London, UK.This is 1/12 verified on the blockchain and sold only with cryptocurrency.TEXT:As a cutting edge tech leader orhigh-end finance person, likelythe last thing on your mind, whileprofessionally driving your sector forward in today’s climate, is the art world.When I meet CEO’s and inquire aboutthe creative aspect of their business,they immediately assume I’m attempting to sell the paintings. They are onlyhalf right and then proceed to say, witha belly erupting laughter: “First, we willraise $50-500MM, then buy our yachts,and after that,we might think about acquiring some art.” After the mostlymental, vitamin-free, deconstructionsmoothie the contemporary art worldhas been serving for the past 50-60 or soyears; I can hardly blame them.Counter-intuitive as this might seem,the current state of the modern arts isa profound commercial mistake and aneven worse for the collective well being.This is, of course, a long, nuanced conversation, but some themes can quicklyrevitalize it.When Apple first launched, Steve Jobscommissioned a true modern artist, inthe form of the notorious film directorRidley Scott, to direct the advert 1984,for which he paid a million dollars.That sum is now hard to quantify intoday’s relative value as big business advertising budgets are stratospheric with a fraction of the results. The Orwell’sbook-related advert integrated and attributed a societal shift to Apple fromthe start, transcending it as a tech company in people’s minds – so it was amovement from the starting pistolbang.I’d argue this approach is why thecompany is the biggest in the world.Jobs knew the vision for the companyneeds to ride on something bigger thanitself, could see the future and why theuser experience is critical. The real substance of crypto is completely underutilized by the companies pushing for mass adoption in their outward communication. Crypto needs to return to the big picture and be comfortablewith the responsibility that comes withdisruption.Let’s go back much further to find asuitable springboard. When LeonardoDaVinci was designing flying machines, cannons to defend Florence andexploring the scientific and mysticalrealms, he had a forward vision. TheMedici’s funded architecture andMichelangelo, not because of only looking good, but with an equal understanding of the value of this effort tosociety and legacy at large. This kind ofhuman exploration would now be considered more political rather than adeep internal desire for meaning andvalue. The art and mastery DaVinci produced was attached to a thriving andbetter future for all. Michelangelo hasinspired awe for centuries. As crude andmixed as the following may be, there issome truth to it. Today, what is considered high art by the establishment isutilized to criticize society (AI Weiwei,Banksy) or rides on our eternal lust forshiny and sexy things (Koons). It alsosometimes it makes death more sanitized fun(Hirst), but the current tabu ofart has become its most functional origins – spiritual transcendence, beauty,and visions for the human future. I washappy to see a swing towards this in Hirst’s latest work, but something newis cooking here.Crypto is genuinely inspiring formost who take the rabbit hole dive. Youcan feel it in the emerging creativecommunity inside it too. The art sidewas written about in Forbes at the beginning of the year, and it is changingthe lives of many. Verifying various artand digital creations in an immutableand decentralized blockchain, especially by the living creators themselves,solves many of the problems we nowhave with the dead ones. Crypto provides many solutions for us, whose authentic originals live on a hard drive.Bitcoin, Ethereum, EOS, and many others are ending the dark ages of digitalvalue creators.In private conversations, and on RT,financial sector insiders, who are concerned about the next financial bubble burst are unknowingly predicting a lotabout the future of contemporary arttoo. Those of us who are fighting toothand nail to bring a diversity of substance back to the art world, are horrified by documentaries like the BBC”The Great Contemporary Art Bubble.”We know that the next financial crisiswill not be kind to many artists nowbeing pushed by commercial galleriesand contemporary museums.What is most interesting aboutcrypto is that it is far more deservingof the theme of 1984 in terms of the decentralizing nature, but what Jobsknew already in the ‘80s or the Medici’sfrom the 1400’s still voodoo to businessin 2019. With emerging AI and furtherrevolutionary robotics, many companies, and white-collar jobs will be maderedundant in a far smaller time bracketthan many anticipate. This is why creativity is the next thing to become acorporate meme after the sustainability and identity protection motion. Unless taken seriously and adopted fast,the meme will be a weak band-aid to awar injury. Another interesting side aspect of this is also how it teaches creatives to take responsibility and chargeof their own financial futures. The lessfinancially dependent and free to thinkartists we have, the better off societywill be.”Vesa Kivinen,
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