I agree with Rachel. Wow. Gaming the system is a feature, not a bug, of the financial markets. After you analyze it for a while (as I did for about a decade) you just get too disgusted to go on. New technologies/same principles. I didn't know that Hirst and Jopling were behind the diamond skull episode, but it's par for the course.
What's so sad is not only that we are relentlessly told that this is the best way of allocating capital to productive enterprise. Or for that matter, that we are relentlessly told the blockchain will save us from corrupt banks and governments. What's tragic is that the scams of the oligarchy - or what Veblen called the "New Barbarians" - are consistently able to fascinate global public opinion, while the lived environment decays. I am not "just" talking about CO2, nor "just" about basic infrastructure, but also about decaying social relations between the impoverished/abused and all the rest. American cities got close to urban warfare this summer. You gotta wonder what next time will be like. In that regard, the hacker fascination with cryptocurrencies is a symptom of the same disease. There's no use going further with it. In the end, no one will be liberated. Everyone will be stuck with worse conditions on the ground. This is a dead-end avenue for culture. Crptocurrencies are the electronic mirror of the New Barbarians. On Sun, Mar 14, 2021 at 1:56 PM Rachel O' Dwyer <rachel.odw...@gmail.com> wrote: > wow. that story reminds me of the auction of Damian Hirst's For the Love > of God in 2007 (the diamond skull). > it sold for something staggering like $100 million to a private collector, > but the collector was later revealed to be an investment > consortium consisting of Hirst, his dealer Jay Joplin and a third unnamed > party. > > > > On Sun, Mar 14, 2021 at 6:23 PM Felix Stalder <fe...@openflows.com> wrote: > >> >> >> On 14.03.21 14:25, Rachel O' Dwyer wrote: >> > The article includes a discussion of economic *'signalling' *that was >> > prompted by conversations with Ruth Catlow which chimes with Felix's >> > questions about what the digital art purchase 'says'. >> >> >> Doma alerted me to this analysis, and if it's correct, then this is >> basically a "pump-and-dump" scheme. >> >> >> https://amycastor.com/2021/03/14/metakovan-the-mystery-beeple-art-buyer-and-his-nft-defi-scheme >> >> I suspect there is more to it, more layers of scamminess, but so far the >> story goes like this: >> >> The buyer, MetaKovan, and the seller, Metapurse, are entities >> controlled by the same person, Vignesh Sundaresan. >> >> Metapurse is a fund which owns digital art works. It's mission is to >> "democratize access and ownership to artwork." Quite a statement to make >> in relation to digital art, but the entire story is full of scammy >> rhetoric. >> >> You can buy into this fund, called B20, then you own a tiny portion of >> its art works. You do this by buying special B.20 tokens. The value of >> these tokens reflects some speculative position on the underlying value >> of the art works held by the funds or profits to be made from selling >> these works. >> >> There are 10 million tokens minted. 56% of these are owned by >> Metapurse/MetaKovan who thus controls the entire process in terms of >> writing to the blockchain. 2% are owned by Beeple himself (oh!). In >> December, Metapurse bought Beeple's art work for 2.2 million. On January >> 23, Metapurse sold 1.6 million tokens at $0.36 a pop. >> >> After the sale, which greatly inflated the value of the "assets" held by >> the fund, the value of the tokens rose to 23.00 and then fell back to >> 16.00. Given that buyer and seller are controlled by the same person, >> the actual costs for the purchase are only the feeds to be paid to >> Christie's, some 9 million. >> >> You can do he math yourself, but the profit margins are staggering, if >> Sundaresan manages to to get cash out his own tokens while it lasts. >> >> What I find remarkable is the role of Christie's in generating the >> narrative. Auction houses seem to have specialized in this lately, >> perhaps they always have. But, remember Sotheby's sold a Banksy work >> that shredded itself (Oct 2018). Well, almost shredded. The story went >> around the world, greatly enhancing the value of the work. It's hard to >> phantom that Sotheby's did not examine the art work before hence >> realized that there was something hidden in the frame. Or, when >> Christie's auctioned off the "Portrait of Edmond de Belamy" in December >> 2018. The value is really generated by the story, told by a blue-chip >> auction house. >> >> The fact that all of this is so scammy doesn't seem to matter, because >> it's the money that makes it real, the sheer scale is self-validating, >> even if the money itself is barely real to begin with. >> >> >> >> >> >> >> -- >> | |||||||||||||||||| http://felix.openflows.com | >> | Open PGP | http://felix.openflows.com/pgp.txt | >> >> # distributed via <nettime>: no commercial use without permission >> # <nettime> is a moderated mailing list for net criticism, >> # collaborative text filtering and cultural politics of the nets >> # more info: http://mx.kein.org/mailman/listinfo/nettime-l >> # archive: http://www.nettime.org contact: nett...@kein.org >> # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: > > > > -- > http://www.rachelodwyer.com/ > > +353 (85) 7023779 > # distributed via <nettime>: no commercial use without permission > # <nettime> is a moderated mailing list for net criticism, > # collaborative text filtering and cultural politics of the nets > # more info: http://mx.kein.org/mailman/listinfo/nettime-l > # archive: http://www.nettime.org contact: nett...@kein.org > # @nettime_bot tweets mail w/ sender unless #ANON is in Subject:
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