Mois : avril 2021

In today’s episode of the a16z Podcast, we’re talking about the Creator Economy, and how NFTs (but not just NFTs!) are making it possible for artists, musicians, videogamers, game developers, and writers to create entirely new markets to make money from their work and engage with their fans.

Part of this emerging picture is social tokens, which share a crypto foundation with NFTs, but unlike NFTs (which are non-fungible tokens, in which each token is unique), social tokens are typically fungible, meaning each token has the same value. (Listen to our explainer episode “All About NFTs” with Sonal Chokshi, Jesse Walden, and Linda Xie, or see our curated NFT Canon for much more info on NFTs!)

This hallway-style chat features a16z General Partner and crypto investor Chris Dixon, talking with Kevin Chou, who founded Kabam, and is the founder of Rally, an open network on Ethereum where creators can launch social tokens; and Jesse Walden, the founder of Mediachain, a music attribution protocol that was acquired by Spotify; he’s now the founder of crypto venture fund Variant.

They’ll talk about how musicians, artists, and writers can think about NFTs and social tokens as well, and how those different types of assets can interact to create models that haven’t existed before.

Chris starts off the discussion by talking about the emergence of crypto tokens, and a look at how videogames and gamers were early to the idea of community engagement and digital assets, and how that model is beginning to spread outward.

TRANSCRIPT

Chris: We’ve all…all three of us and our friends have talked about this stuff for years. I think we’re starting, this year, to see what you can kind of call app layer mainstream kind of crypto token things happening.

And so, that, of course, is a lot of people have heard about or, you know, originally, I think it starts with NFTs, so non-fungible tokens. But Kevin, you’re working on, is sort of the fungible token counterpart to that, which are tokens that would be associated with communities on the internet. I kind of think of it as analogous to how modern video gaming works, where you have, a game like Fortnite, and the most progressive games. The game themselves are free, but you have in-game currency. In the case of Fortnite it’s called V-Bucks. And then you use that currency for various things, including for buying digital goods, like, in the case of Fortnite skins, and emotes, and things, which, you know, in the web world, the V-Bucks would correspond to social tokens, and the virtual goods to NFTs, right?

And so I think what I believe is sort of happening now is that video games, which are the most advanced in thinking about how to engage people in social software, and in a way that both goes viral and spreads on the internet, but also makes them money. Those ideas that have been developed over the last 10 years in the gaming world are now propagating out to the rest of the internet, in the open internet. And that, of course, is going to have some similarities, including a lot of design overlap, I think, but also differences, in the sense that these crypto blockchain concepts exist on the open internet and not within silos.

That’s where I feel like we are. And I think the first bit of the kind of sunlight has broken through in the NFTs and people are starting to see it, but there’s a whole bunch more hopefully coming in the near future.

Kevin, maybe you could describe how you think that might evolve over the next year or two.

Kevin: The gaming world is a little bit unique because we created these online communities that had a deeply integrated, set of social interactions and communication tools.

And so, you know, before there was social media, there were these games that these nerds like me kind of hung out in, and we developed our friends and communities, and, played these games. And we cared about what our mounts looked like, we cared about what our skin looked like, and how we appeared to the rest of the community that we developed relationships with. And, you know, today, you don’t need a game for that. You don’t need a World of Warcraft, or EverQuest, or something like that.

Now you have Twitter, you’ve got Facebook, you’ve got Snapchat, you’ve got TikTok. The game is not just in the game anymore, it’s happening across all of social media. It’s happening across forums, and Reddits. I mean, it’s happening everywhere.

And if we could build at the blockchain layer, , how do we then take that and propagate it all across the internet, and not just have these things being games?

Chris: Yeah. I mean, Jesse, you have a long background in music. So, like, the video game industry, I think, is something on the order of $150 billion, with a B, per year in revenue. And I believe the music industry is something more like 20, and for the most part it’s not really grown with the internet. And why isn’t a musician, with a community on YouTube, or Twitch, or some other place, just kind of an MMO. Instead of shooting other cartoon characters, you’re listening to music and talking to people. You know, and why can’t they take advantage of all the same monetization and engagement technologies that the gaming world has developed? Certainly, there’s no lack of passion for music, you know. People are just as passionate in those environments, arguably, more so than in games.

Jesse: Yeah, well the sort of recorded music industry hasn’t grown all that much in the internet age, one thing that’s interesting is, like, the live music industry has grown. People are definitely engaged with musicians.

Chris: Well, but what they’re doing is, that’s the virtual…they’re monetizing the complement, right? So they’re using the internet as the free part, and the offline is the premium, right? To analogize, to, like, productivity software and freemium models. But there’s no reason they couldn’t have a scarce resource on the digital side as well, right?

Jesse: And I think that’s what’s been missing today, is that, you know, music became free with the advent of mp3s and piracy. And then Spotify, sort of, you know, won by making accessibility super convenient. But with that, you also sort of demolish the value in the sort of scarce creative work that artists are producing. And I think NFTs have reintroduced, you know, the concept of scarcity to the digital realm, and sort of given fans a new way to patronize creators, express their support, route financial value to things that they want to see in the world. And from there, there’s all kinds of interesting things you can do with them, and communities can build around them, and start to get more into social tokens and the like.

So, one analogy I think is useful when thinking about social tokens and music is, you know, artists had fan clubs, right? And if you bought a membership into a fan club, you got maybe access to the artist’s meet-and-greet, you know, backstage or something like that. But, you know, we haven’t had a digital equivalent of that today. And I think social tokens might be it. You’re becoming a member of an artist or creator’s sort of community by owning their token. And that probably gets you access to all kinds of new cool experiences.

In crypto world, a lot of people talk about how early they bought Bitcoin, right? It’s sort of a signal of, like, you know, how O.G. you are or how deep you are in the space. And I think that same behavior definitely exists in, you know, certainly with indie music fans being early to a band or whatever. Now you can prove it and profit from it, which is cool.

Chris: So, Kevin, what does this mean in practice? Can you just kind of walk through what the user interaction is? When will people encounter this? And what will their experience be?

Kevin: Yeah. I think there’s a few different dimensions So one is how easy is it for the average fan, not the crypto audience but the fan, to figure out how to earn, or buy, or trade either an NFT or a social token. And there’s a lot of different approaches there. There’s very crypto-native type of approaches, where everything has to be on chain. It’s got to be held in a non-custodial wallet, etc., to be considered real. And on the other side of it, what we’re trying to experiment with is how do we make that onramp experience for the average fan pretty simple. Vertically integrate as many different things as possible, have the first time crypto experience for the average fan be something that they would expect from another internet service. Some other approaches like what Zora and others have expressed as kind of putting up a big enough barrier so that the fans will have to figure it out.

So there’s all sorts of different approaches, and there’s no right or wrong answer. And different young musicians or celebrities will figure out what’s best for their fan community and do that.

The second dimension is, once you own this thing, how do you actually use it? So it’s great if I have an NFT in my wallet. Okay, maybe I can show people a link to my MetaMask wallet, and people can look at the NFTs that I have in there. But how do I actually show this thing to the rest of the community that cares about it.

And so there’s a lot of work in terms of just status and reputation, and being able to show off different things. But I think, even more importantly, is how do you actually potentially use these NFTs. There is no doubt in my mind that five years from now, maybe even sooner, your backstage pass will literally be an NFT. Somebody will stop you at the velvet rope, they’ll scan your QR code that shows that you indeed own the NFT.

Chris: An NFT, will it just be like  a digital equivalent of a backstage pass? I find one of the interesting things about NFTs is that it can be multipurpose. Like, it could be both a beautiful picture and a backstage pass, and an investment opportunity, right?

Kevin: There’s nothing that says that an NFT can only have one use case, right? Certainly, you’re talking about a financial or economic dimension of the NFT having value of whatever the community or the fan gives it, or what the next highest fan would pay for it. But then you can use it as a backstage pass after the event, right? It’s not like the NFT disappears. I mean, you could certainly configure it that way, if you’re a musician, and say, “Hey, once you use the NFT, it burns.” You could certainly do that. But in this particular case of a backstage pass, what probably makes more sense is that you still own it as a fan. And a year from now, five years from now, it’s proof that I went to this event and I was a fan from five years ago when the band was still undiscovered, or whatever it was. So the NFT could be a collectible.

A lot of what’s happened in the gaming realm, for example, is creating sets and creating different ways that you can compose different items together. So in the MMO world, one of the primary mechanics that have evolved is taking, you’ve got to get this leather strap, you’ve got to get this gem, you’ve got to get this catalyst, and you’ve got to go get this ticket. And you put all of them together and it gives you this new thing, right? And so what happens if you own a track from the musician, what happens if you then combine that with one of the backstage passes that show you’ve been to an event? And then you combine that with something else that shows that you bought a vinyl or equity.

So we’re going to see all sorts of different ways you could create NFTs. You can use them, you can then as a creator say, hey, if you go collect a bunch of these other things, you can then forge a new type of thing that you only get by being a true fan of mine.

Jesse: I think the key thing that, Chris and Kevin, you’re both touching on is that these assets are programmable, right? And you can sort of compose them into all kinds of new use cases, and they’re also portable, and that’s because you own them in the same way you own Bitcoin. It’s yours, you can choose to park it somewhere like Coinbase or you can take it with you to another platform. And so, because they’re both programmable and portable, you can take your assets and bring them into all kinds of new experiences that developers build, that give them different utility. Like, it can be a fan club backstage access pass, but a third party developer can add some additional functionality to an NFT or social token that makes it useful in another context for a different purpose.

Chris: I think when people start to really get a tangible feel for it, it will make a big difference. So, right now, if you’re buying a piece of art on Foundation or something, or you’re buying a basketball moment on Top Shot, you basically can use it in that context. But because they’re blockchain objects that are portable, third parties will start creating experiences around them. I think you’ll very soon see companies that get funded, that let you do games, and social experiences, and other things with all of these assets.

And kind of the broader thing is you’re inverting the polarity. The earlier web was built around applications. The next, the web3, will be built around these user-controlled objects, as primary and then the applications come secondary, and serve them.

Kevin: We’re talking about Flow and NBA Top Shots just absolutely exploding. And then we have OpenSea, and Zora, and a few others on Ethereum, and then there’s emerging some of these Layer 2 NFT, you know, sort of like purpose-built Layer 2s for NFTs and a few other things. And I wonder about this portability and kind of what you guys see as how portability evolves over the next year or two, as this fragmentation of the Layer 1 and Layer 2, things fragment more and more.

Jesse: So, for social tokens, I think there’s going to be a lot more interoperability because they’re fungible tokens, they’re sort of easier to port around, and it’s okay that they sort of fragment across the universe of various blockchains. NFTs, I struggle a little bit more to reason about because one thing that makes an NFT valuable is the fact that it’s unique, it’s scarce, and therefore its provenance is an important attribute that people look at. And so, I do wonder if there’ll be more of a sort of power-law winner to the place where you want to originate an NFT. It may not be the case that all NFTs originate on this sort of canonical…

Chris: But couldn’t you have trustless bridges across blockchains that preserve provenance?

Jesse: Yeah. And I think that’s ultimately the solution. So, I believe in a world where literally every piece of media enters its existence as an NFT. Like, every photo you take on your iPhone, you know, every game asset is created as an NFT. And it probably doesn’t make sense to put all those very, very long tail of media assets on something like Ethereum, which is very expensive because it has a lot of security. Like, you probably put that on a side chain. But then I think as these assets take on social value and start to command more market value, they might migrate to the chain that offers the highest security, right? So, if you have a multimillion-dollar LeBron, you might not want that riding on some side chain, you might want that on Flow itself. And similarly, a photo that starts as inconsequential but becomes very important will maybe migrate to Ethereum for security.

Chris: I guess the way I think of it is you’d have different blockchains with different tradeoffs. So, right now, Ethereum, of the non-Bitcoin programmable blockchains, is clearly the highest security blockchain. But you pay for it. You pay to do stuff per transaction for gas fees. So you could imagine a world where the actual activity is happening on Rally, or Flow, or something else. But then as it appreciates, you put it in the “vault” on Ethereum.

I’d also say, I think that a lot of people will frame this as either or, Ethereum versus Flow. If you look at every computing resource in history — so, internet bandwidth, you know, PC, CPU power, just go through them all — demand outstripped supply by 10x. And, right now, you could imagine a world where tomorrow, you snap your fingers, Ethereum has sharding, proof of stake, all the good stuff, Optimism launches, you know, all the other Layer 2 launches. And then application developers would come up with some new clever stuff, and you’d very quickly be back up to not $10 gas fees, but $5 gas fees.

I mean, look, you just pay all the above. You pay inherent overhead for a blockchain, right? The game theoretic consensus mechanism just makes it slower than in a traditional centralized system. I think the specifics, as you raised, Jesse, like, you know, how do you preserve provenance across chain is really interesting. I think there’s a lot of entrepreneurial opportunity for abstraction layer. So, like, a stripe for minting NFTs seems like a no brainer idea. Like, stripe for NFTs, whatever you want to…for minting and read write, and it abstracts away the underlying blockchain, you know, taking care of the metadata properly. There’s a whole bunch. We need more entrepreneurs because there’s so many great living fruit ideas.

Jesse: Maybe we could talk about interesting intersections between NFTs and social tokens, So an author minted a blog post as an NFT on Mirror. And they also crowdfunded the creation of that blog post, which is sort of like a longform piece. And they said, “Look, if you want to see me write this investigative piece, back me to do it.” And the way that that crowdfunding happened was through crypto. And what the crowdfunders got was not just the piece, out there on the internet, but also ownership in the piece itself. Meaning, they were able to get fractional ownership of the NFT.

And that was in the form of a fungible token called the Essay token. And what’s really cool is that Essay token then became a social token for this author, in that he started using it for gated access to a Discord. And he started layering on all kinds of other utility, where if you had this token, you could talk to him about his next piece, for example. So that’s one interesting example where the social token is sort of a derivative of the NFT. And then, as we talked about already, there’s all this sort of, like, additional utility programmed onto it. And I wonder if you’ve seen people doing stuff maybe the other way around or different configurations.

Kevin: Yeah. You know, I think it’s really funny. We start with fungible tokens, Bitcoin, Ethereum, etc., and then we create NFTs as a new building block. And then of course, then we take the non-fungible token and we fractionalize it and make the fractions fungible. It’s a funny world.

I think we come up with some of these weirdnesses, especially here in the United States, because of the regulatory gray areas. And so I think, if you can sort of wave a magic wand and say, hey, like, there’s clear boundaries, and let’s just say we can talk about all the things we want to take about about, utility and so forth, without triggering any other things. I think a lot of people would start with fungible tokens. It’s just a lot easier to think about how do you create a community around something that’s more fungible and can be easily exchanged.

Chris: I don’t totally agree, Kevin. I think it kind of depends on the community. I think there’s a lot of people. I think we all come from technical financial backgrounds. I just find people like that just kind of have a natural affinity for fungible tokens. I think a lot of the world isn’t like that. I think a lot of the NFT appeal is just that, it’s a picture. It’s a movie. It’s accessible.

And it’s interesting, and it touches on culture and not just numbers.

Kevin: I totally agree with you. I’m certainly not suggesting that fungible tokens are greater in any way than non-fungible tokens. I’m specifically talking about once you take a non-fungible token, and you fractionalize it into a fungible mechanism, I think once you start going into that …

Chris: But the counterargument is Crypto Punks. That’s a great way to organize a community. And so it’s 10,000 punks, they look different. But it gives it this character. I think for a lot of people, that kind of metaphor is a better way to organize 10,000 people than 10,000, you know, indistinguishable, boring … it’s YouTube vs. Excel or something.

Kevin: Each one of those are unique and different, right? And the characteristics and traits of them really matter. Those Crypto Punks are not fungible in my mind, right? Each of them are unique pieces of art.

Chris: For sure, they’re not fungible, but they create a community of 10,000 people that feel an affinity for one another. You’re either in the punk community or you’re not. I was pushing back on your point that it’s because of regulatory constraints and things that people tilt towards NFTs. I think there’s a bunch of reasons.

I think one of the really interesting things that goes on with social tokens is that they’re multiple uses. So, you could want a token for your favorite band to get backstage access. You could want it to be able to buy NFTs, and make donations, and participate in the economic life of the community. Or completely different motive, you could want it because you see yourself as a modern day A&R person who is going to predict the next band and make money off it. And it’s the fact that the very same token has those multiple purposes is very important.

Because then you have the possibility for the A&R folks, the people that find these early bands, to come in, they kind of bid up the price. That, in turn, in your model, funds the actual musician to make music, right? Which in turn feeds the fandom. So the investment kind of activity, and the fan activity, and the creator activity, have this really nice kind of triangular feedback loop. And it’s the very fact that they’re the same thing as opposed to the old school model where you have sort of the investor comes in, gives money to the musician, buys up copyrights, then sells a different thing to the fans, right? The fact that there’s the same kind of… You see what I’m saying?

Kevin: That’s right.

Chris: To me, that’s a very big difference from the old world, and a very powerful difference.

Kevin: Yeah, We’ve always talked about the internet as kind of this disintermediating sort of mechanism. And I think crypto does it even more at the economic layer of things. And I think what we’re starting to see, we’ll stay on musicians for a little while, like, starting with Chance The Rapper, is probably like the most prominent example of an artist that just wants to own all of his own rights. And more and more are realizing that they get their power from their fans. And that the more that they’re just wholly focused on serving their fans, the more successful they become. And this weird layer of rights ownership, and labels, and publishers, that then distort that versus just how you get your fans to support you to create the music that you love.

Chris: And then when the fans have skin in the game, the fans become evangelists. And instead of doing all these old school things, advertisements, and other sorts of things, promotions, and all the things they would do in the old days to promote various kinds of creations, now the fans become the promoters, right?

Kevin: That’s right.

Chris: Because they have skin in the game. And that’s one of the remarkable things about crypto. Tokens, over a trillion dollars in value, lots of successful companies, you know, exchanges and such, and no one ever spends money on paid marketing because it’s all just done through kind of skin in the game peer to peer marketing, right? So, now musicians can tap into that, musicians, creators can tap into that energy.

Jesse: Yeah, it means that fans become part of the creative process to a degree. Not only do they have a willingness to pay for the creative work, but they’re also essentially investors in the work itself. And artists or creators that lean into that will find a whole new way to create stuff. Because they can do it as a community. And not just a community that’s communicating with one another, but a community that’s actually pooling resources with one another to achieve things together. So, it sort of blurs the line between creator and audience. So I think that’s a big opportunity that we haven’t seen a whole lot of yet, but is coming.

Kevin: Yeah, I think 3LAU is sort of experimenting with this, where you sort of sold the first track on his next album as something that would give you creative direction on that track as well as original ownership of that track.

The best thing about working with creatives, whether it’s a musician, or a visual artist, or a gaming streamer or entertainer, is that, these are naturally creative people that once they get their heads wrapped around how a tool or a cryptosystem works, I think we’re just seeing the very, very tip of the iceberg in terms of the use cases because the technical challenges there will get solved, the friction will get removed more and more, there’ll be a lot of different approaches to this. But I think the most exciting thing is getting these tools into the hands of creatives, that then try all these new ways to create that alignment and community with their fans, and disintermediate the folks that haven’t been aligned with serving that community.

I think the coolest thing that’s happening, is that we’re creating kind of an integrated way that creators can very simply create all different types of NFTs and denominate it in their social token. And, you know, we just think that those are such natural parings, right? So, you know, today, with just social tokens, we see our artists do things, like, you have to hold X number of our tokens to get access to the trove of music that’s here, or to get access to an AMA event or a virtual concert that we’re putting on, or virtual hangout that we see some of our artists are doing.

And when NFTs come out, it’ll just be much more simple to say, okay, you hold X number of tokens, you are part of the fan club, but to get access to this event, here’s the NFT that represents that event access.

And then so there’s a lot more granular things you can do. We’re starting to see artists experiment with things like creating physical representations and then digital representations, and then linking the two things together through their NFTs and social tokens. We’re working with an artist that sells sneakers and other physical merchandise. And then they’re creating NFTs of those designs and owning the NFT. They are now starting to say, well, if you own the NFT, you could trade that NFT in for the physical. We’re starting to see more experimentations with how does the physical and the digital sort of coexist.

And the beauty of all of this is that when you denominate it in the social token, there’s so many other different economic activities that can happen.

Chris: We’ve talked a lot about music and video games. What about other… Jesse, you mentioned writing.

Jesse: Yeah. The writing one is interesting because it sort of illustrates how this expands in all directions and eventually will touch all creative services. So, if you think about how big ideas come into the world, very often they come into the world through blog posts or writing. Think about, Elon Musk’s secret master plan for Tesla, right? Like, that’s sort of a canonical blog post. And certainly, someone might want to own that blog post as sort of a representation of all the value that Tesla is creating in the world. And it’s an investment in Tesla’s success that’s separate from Tesla’s stock price, potentially, right?

Chris: Owning that blog post is sort of like owning a kind of signed copy of the blog post, so to speak. It’s the cryptographically guaranteed one. Maybe kind of analogous, you know, if, I don’t know, Thomas Edison had a…I don’t know if they have it, but his original notebook or something. You know, that type of artifact.

Jesse: Right, exactly. So the idea here is like owning Elon Musk’s secret master plan as an NFT, could be valuable. Jack’s first tweet as an NFT is valuable. It represents the sort of inception of his huge network. You can imagine, in the future, that the next Elon Musk or the next Jack brings their big idea into the world as a blog post that is an NFT. And, you know, supporters of them as founders, or people who want to see that idea happen in the world, crowdfund to buy that NFT from the author. And potentially, that crowdfunding is actually used to finance the creation of that big idea. So, you know, what starts out looking like, oh, people are just buying essays, could actually disrupt the way that new creative things enter the world and they’re financed.

Chris: I guess what we don’t know is, will the economics work? I guess, one counter argument would be, such an exceptional blog post could be worth a lot, but the average stuff won’t be. I guess the counter-counter argument is the average person doesn’t usually need that much money. It’s sort of the Substack effect. If you take a writer with a million Twitter followers, who is getting paid X amount per year, and they go on Substack, and they get 1,000 people who are really excited, they can make 10x per year. Even if it’s not all some famous artifact, if it’s enough to fund the writing, that could just be enough to transform that industry and the creative activities there.

Jesse: Yeah, and I think… I mean, maybe an analogy is, you know, startup funding, right? Like, startups don’t raise many millions of dollars in their first round. They raise a little bit, just enough to hire the team and get going, right?

Chris: Sort of staged NFT sales.

Jesse: Yeah, yeah, exactly. Like, I think you just need… I think, to your point, you just need a little bit to get going, right, and to raise money to make the creative work you want to see. And then from there, if you can build a bigger audience around that, you can sort of move up the ladder and raise subsequent rounds of funding. And hopefully, as you perform better in the market, you’re able to double down and reinvest to keep doing that.

Chris: And Kevin, your model, that would be both NFTs and also a writer can just sell their coins as well, right?

Kevin: We think of tokens and NFTs all operating together in a singular economy. This is just something that certainly comes from the videogame industry, where you would expect that you go into a video game, just using the Fortnite example of, get the V-Bucks, the V-Bucks allow you to buy all sorts of different things in the game. And when we talk about things like backstage passes, or that essay, or something else, those things are best as an NFT.

But then what do you do to transact with that NFT? What if you, as an artist, let’s say your first creative work sells for $10,000. Let’s say at that point, you create your social token, and you denominate your NFTs in your social token. Well, now you have a way for people to say, okay, great, that creative’s first work was worth $10,000. Their second work, the audience valued it at $20,000, and their third work was $30,000.

The social tokens should then capture what the market thinks about the sort of total value of that economic output will look like over time. And so I think there’s really interesting economic forces between how you create your NFTs and what does that represent? And what does your social tokens represent? And how do they all work together in a singular sort of economy that you, as the creator, you control, you own 100%. And I think that’s a really powerful way to both give all forms of fans, and community members, and crypto members, kind of a way to participate in these economies. You may want to, you know, buy that NFT, because you’re a true fan and you just love it. You may want to buy that NFT because you’re an A&R and you want to speculate on what these things could potentially be worth in the future. Or you could just participate in the social token in all sorts of different ways. I think we’re going to be on the forefront of experimenting with how these things are intertwined, and all put into the control of the hands of a creative.

Chris: What do you guys think the role of the large tech platforms will be in this world?

Kevin: Well, I’m pretty passionate about this. I’ve tried to build businesses in the past, certainly that have been at the mercy of some of these big tech platforms. I look at what Epic is doing right now, and I know, Jesse, you were at Spotify for a while. There are very public emerging battles between big tech and some of these traditionally more application-focused developers. And I love what this does to the world.

As I was thinking about building a new company or building a new project, and thinking about building that on Ethereum was so liberating. Because I’ve been building on Apple, Google, Facebook platforms for a decade-plus, as a game developer. And there’s a ton of benefits and value that comes with it, but there’s a lot of headache too that comes with building on these other platforms, where the policies are changing all the time, the fees are changing, the rules are unclear. Maybe they the platform ends up competing with you in the case of music or some other categories. So it’s tough.

This is why I’m so in love with crypto as a builder because building on Ethereum, I don’t need to worry that Ethereum is going to try to go public someday, they’re going to change the way that the rules work or the fee structure works, so that they can meet their numbers for the next quarter or whatever it is. There’s not even a company, there’s not a CEO that runs it. The idea that this thing is a permissionless blockchain that anybody can build on top of was such a game changer for me as a builder.

And I think our approach to Rally was to do a lot of hard work so that we can make the same promises and commitments to the creatives that we work with. If we work with you to help you build your business and represent your brand, your fan audience, your community, through tokens, both fungible and non-fungible, you own this. You set the rules. You know, we do things at the protocol level to ensure that all people can participate equally and fairly with transparent rules, but we want to make sure that you, as the creative, you truly own this thing,

Jesse: Yeah, what’s happening in crypto definitely flies in the face of the way big tech platforms work right now. I think another lens to look at it from is just a complete inversion of their business model. And that’s because, like, you know, traditional big social media platforms, they own all the content that users post on it. And that’s because somewhere along the way, in the terms of service, users agreed to upload content to the platform for the platform to monetize it as they see fit. So, to be clear, I’m not talking about traditional copyright, like, the creator still retains that. But you are transferring some rights to the platform to monetize content that you upload, however they want to do it.

And with NFTs and with social tokens, the amazing new thing enabled by web3 and crypto, is that creators can just monetize directly. When you create an NFT, you’re sort of like uploading your work to the blockchain directly, and then developers can build on top of that content. In other words, the blockchain becomes this sort of universal library of media that any developer can build a social feed on top of or content feed on top of. But the creator retains ownership of their work and thus can monetize it without a third party taking a large cut. And so, these platforms traditionally have relied on being able to monetize creators’ work on their terms, and now creators get to set the terms and monetize directly.

Kevin: And if you start with that kernel of the creators create the content and then developers build interesting metadata and usage around that content, that then becomes the social graph itself.

So think about how, for big tech platforms that rely on marketing and advertising, yes, they create a simple platform for users to share, and create content, and build an audience and following, but it’s really a lot of the metadata around that content, who’s following you, who’s liked what in the past? I think what’s going to invert now, is, once you start with the content being on chain, who owns that content? Who’s owned it in the past? What are all the other metadata that’s associated with that? If you can see all of that, and that exists at the public blockchain layer, you then take it away from being this treasure trove that an advertising-based company can uniquely have as their advantage. And you open it up to the whole world anybody can look at that data. Anybody can look at that social graph and interest data, and then figure out how to build unique new applications and services on it.

Jesse: Yeah, right now, on social media, everything is sort of in 2D, right? Like, you have an image and it’s just a rectangle on your screen. And then you have some metadata associated with it. But if I copy-paste that image and put it somewhere else, it loses all its connection to the creator, its history, what it’s about. And now all that metadata can live on chain, any developer can access it. So, as a result, you know, this image goes from being a two dimensional box, to taking on some Z-access, where you can peruse through its entire history online, and put all the context on display in new areas where that image is shared.

Through that same channel that information is being surfaced, value can also flow. There’s this cool thing you can do with NFTs where you can impose royalties that flow back to the creator every time the asset changes hands. So that’s an example of, through the same channel, that information on who owned this thing in the past, well, value can also flow through that same channel.

Chris: Awesome. Thank you, both Kevin and Jesse. Great talking to you.

Kevin: Thanks for having us.

Jesse: Yeah, thanks.

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Groupe de travail BTP (Blockchain Transmission Protocol), une équipe de membres principaux d’ICON et développeurs tiers travaillant vers une véritable interopérabilité blockchain, a annoncé ses premières intégrations de BTP dans l’écosystème Polkadot. Acala, Moonbeam, Edgeware et Plasm, quatre des meilleurs candidats à la parachaine de l’écosystème Polkadot, seront intégrés dans la solution d’interopérabilité BTP d’ICON, permettant aux développeurs de créer des applications complexes exploitant différentes infrastructures de blockchain.

Même si la technologie blockchain a parcouru un long chemin, les solutions blockchain sont encore limitées en ce sens qu’elles ont besoin d’intermédiaires ou de tiers pour communiquer avec d’autres réseaux. Comme la plupart des infrastructures de blockchain dépendent d’autres systèmes centralisés pour communiquer avec d’autres chaînes, atteindre l’objectif principal de la décentralisation devient impossible.

Polkadot, ICON et son groupe de travail BTP construisent une solution d’interopérabilité pour des applications inter-chaînes entièrement décentralisées, créant un avenir pour les développeurs et les participants au réseau pour communiquer et explorer les opportunités sur les réseaux interconnectés et leurs écosystèmes.

«ICON est ravi de collaborer avec Polkadot car nous avons des idéaux similaires d’un monde inter-chaînes et d’une communauté de communautés», a déclaré Scott Smiley, directeur de la stratégie pour le projet ICON. «L’aspect unique de ces intégrations est la sécurité sans confiance obtenue grâce à la cryptographie plutôt qu’à d’autres technologies comparables reposant sur des tiers de confiance. Les possibilités de cette technologie sont illimitées, mais dans un premier temps, nous nous concentrerons sur les capacités de transfert de jetons pour les solutions DeFi inter-chaînes. »

Intégration ICON

Les intégrations de l’écosystème DeFi compatible EVM, Acala; Compatibilité Ethereum entre DeFi, NFT et les espaces de jeu, Moonbeam; la gouvernance communautaire décentralisée Edgeware; et la solution Layer-2 et le hub Dapp Plasm permettent aux applications des quatre parachaines d’interagir directement avec ICON et tout autre réseau de l’écosystème BTP. ICON DeFi DApps comme Omm.finance, Balanced.Network et Optimus.finance peuvent facilement ajouter des jetons des quatre parachains Polkadot et vice versa.

À la fin de 2021, ICON prévoit d’annoncer plusieurs cas d’utilisation et partenariats supplémentaires qui impliquent des applications inter-chaînes entièrement décentralisées, telles que des agrégateurs de rendement inter-chaînes, des marchés monétaires inter-chaînes et des marchés NFT inter-chaînes.

Plus tôt ce mois-ci, ICON a annoncé la création de BTP pour réaliser la vision ultime d’ICON de devenir une blockchain de blockchains. BTP est un protocole de transfert de données inter-chaînes décentralisé qui permet des interactions de contrats intelligents inter-réseaux, un transfert de jetons inter-réseaux, un transfert NFT inter-réseaux, etc.

BTP offre des avantages aux détenteurs d’ICX via l’achat de divers jetons à un prix réduit via un processus d’enchères. La valeur pour les détenteurs d’ICX est directement corrélée à la croissance et à l’utilisation de BTP car les jetons disponibles à l’achat proviennent des frais de transaction dans le réseau BTP. Plus de jetons à prix réduit seront disponibles à l’achat avec l’augmentation des transactions dans l’écosystème BTP. ICX utilisé pour ces achats sera envoyé au CPS ou brûlé.

L’intégration Polkadot lancera son testnet d’ici la fin du T2 2021

Points clés à retenir

• Draper Goren Holm a annoncé qu’il aiderait à développer l’écosystème Tezos.
• La société de capital-risque «incuberait et accélérerait» certains des projets les plus notables en déployant des capitaux et des ressources.
• La nouvelle a été bien accueillie par les acteurs du marché, mettant XTZ sur la bonne voie pour atteindre de nouveaux sommets sans précédent.

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Grâce à Draper Goren Holm, les développeurs auront désormais les ressources dont ils ont besoin pour construire leurs applications décentralisées en plus du protocole Tezos.

Tezos obtient une approbation cruciale

Draper Goren Holm annoncé qu’il avait ajouté l’écosystème Tezos à son fonds de capital-risque de 25 millions de dollars. La société d’investissement basée à Los Angeles a révélé qu’elle «incuberait et accélérerait» certains des projets les plus importants construits dans ce réseau.

Selon Tim Draper, le partenaire limité spécial de Draper Goren Holm, le protocole Tezos a tout le nécessaire pour définir la prochaine génération d’adoption de la cryptographie en raison de son protocole de gouvernance et de sa mise à l’échelle verticale.

«Tezos est la principale plate-forme pour les contrats intelligents et la faible consommation d’énergie, car ils utilisent la preuve d’enjeu. Nous sommes ravis de financer des projets sur la blockchain Tezos et pensons qu’elle a un avenir prometteur. Nous pensons que ce sera la norme des contrats intelligents », a déclaré Draper.

Draper Goren Holm n’est pas nouveau pour soutenir Tezos. L’année dernière, la société de capital-risque a soutenu l’équipe chargée de la construction du premier stablecoin Tezos, Tezos Stable Technologies.

C’était également l’une des premières entreprises de l’industrie de la crypto-monnaie à investir dans le secteur basé sur Tezos. Marché NFT Kalamint.

Hubertus Thonhauser, président du Conseil de la Fondation Tezos, a déclaré que Draper Goren Holm avait contribué de manière significative à la croissance que la start-up blockchain avait connue ces dernières années.

L’approbation la plus récente aura un impact significatif en «encourageant les projets» et en augmentant l’utilité du réseau Tezos.

Le marché réagit rapidement

L’approbation de Draper Goren Holm a été bien accueillie, car les passionnés se sont précipités vers les échanges pour obtenir un morceau de XTZ après que l’annonce ait été rendue publique.

Après une consolidation d’un mois, cette crypto-monnaie a pu sortir d’un triangle symétrique qui s’est développé sur son graphique de 4 heures. En coupant la barrière de résistance de 4,55 $, les chances ont considérablement augmenté pour que XTZ augmente de plus de 29,50%.

XTZ / USD sur TradingView

Un autre pic de la demande verrait probablement XTZ atteindre un nouveau record de 5,90 $.

Cette cible est déterminée en mesurant la hauteur de l’axe y du triangle et en ajoutant cette distance au point de rupture.

Divulgation: Au moment de la rédaction de cet article, cet auteur possédait Bitcoin et Ethereum.

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J’écris ces lignes suite à la lecture d’un article où l’on y mentionne la vente d’un NFT (Non-Fongible Token ou Jeton non fongible en français) représentant un pixel pour le prix de 900 000$. Un prix surprenant pour un simple pixel de couleur rouge.

Dans notre monde physique, une copie manuelle parfaite d’un objet est compliquée, d’autant plus si l’objet en question est riche de nuances de couleurs, de textures, de matières ou encore si sa création nécessite un savoir-faire peu commun voire unique. On peut créer manuellement des objets très similaires, presque identiques. Plus l’objet est complexe, plus sa reproductibilité à l’identique s’amenuise. On retrouve cette caractéristique dans la nature où deux mêmes organismes unicellulaires sont très peu différentiables alors que des jumeaux monozygotes n’ont pas les mêmes empreintes digitales ou rétiniennes. Même de simples flocons de neige comportent une grande diversité de formes et de tailles.

Depuis l’industrialisation de nos sociétés, il est possible de fabriquer à la chaîne des produits identiques et faire baisser leurs coûts de production individuelle. Cependant, le fait de produire en série fait baisser l’indice de rareté du produit. Pour augmenter la valeur de ces produits aux yeux de potentiels acquéreurs, les producteurs proposent des options et des éléments de personnalisation plus ou moins nombreux afin que le futur acheteur ait l’impression d’avoir un produit unique ou peu répandu, à ses goûts mais bien évidemment plus cher, dont le surcoût n’est pas nécessairement corrélé au coût de fabrication de l’option de personnalisation.

La valorisation d’un produit va dépendre de son indice de rareté, du nombre de personnes désirant ce produit ainsi que du prix que ces mêmes personnes sont prêtes à payer pour s’en porter acquéreur.

Un produit unique, d’un producteur talentueux a un potentiel de valorisation inestimable dans le temps.

Un produit rare, d’un producteur talentueux vaut très cher.

Un produit commun, d’un producteur talentueux vaut cher.

Hormis le cas d’une fraude, un produit commun, d’un producteur peu talentueux ne vaut pas cher.

Ceci est valable pour différents types de « produits » que cela soit une voiture, un instrument, une œuvre d’art ou même un étudiant à notre aire de l’industrialisation de l’éducation.

C’est aussi valable pour une monnaie, bien qu’elle soit un produit très particulier, qui n’a à la base de valeur que celle de son support physique. La valeur de la monnaie, comme tout produit, va dépendre de son indice de rareté, corollairement à sa non reproductibilité ou falsifiabilité, du nombre de personnes désirant cette monnaie ainsi que du prix (autre monnaie, énergie électrique, temps de travail humain) que ces mêmes personnes sont prêtes à payer pour s’en porter acquéreur.

Comment être sûr qu’un produit ou une monnaie a bien été créé par un producteur spécifique et n’est pas une contrefaçon? Il existe pour cela des spécialistes dans différents domaines pour certifier qu’un produit est bien un original et non un faux. Il faut alors aussi des spécialistes pour certifier qu’un spécialiste en est bien un. Le besoin d’avoir un tiers validateur augmente intrinsèquement le coût de revient du produit pour l’utilisateur final.

Lorsque l’on souhaite gérer la monnaie, on se confronte à la problématique de sa non reproductibilité ou falsifiabilité. Pour ce faire, de nombreux tiers de confiance ont émergé comme les banques, les chambres de compensations, les réseaux de paiement etc…

Le monde du numérique est conçu pour copier des chiffres et les manipuler. Utiliser l’outil numérique pour accélérer les transactions a été un de ses premiers usages. Il ne restait que la problématique du surcout dû au besoin de garantir une certaine confiance.

Depuis la naissance du réseau informatique Bitcoin, il a été enfin possible de prouver, par l’usage de mécanismes de preuves cryptographiques et sans tiers de confiance, l’authenticité d’un produit numérique.

Ces innovations ont donné naissance aux NFT qui permettent aux producteurs, comme par exemple des artistes, de créer des produits numériques uniques. Aujourd’hui rien n’empêche de faire des copies d’objets numériques, mais impossible de les faire passer pour des originaux.

Le caractère incontestablement unique d’une chose en augmente sa valeur aux yeux de son observateur. Quand un objet sans valeur marchande pour le commun des mortels, s’évalue à une grande valeur pour une personne ou un groupe de personnes, c’est par son caractère incontestablement unique qu’il provoque sur cette personne ou ce groupe de personnes.

C’est d’ailleurs peut-être une des raisons de la disparition des religions polythéistes au profit de religions monothéistes. Continuons dans l’analogie, en faisant le parallèle entre les différents courants de pensées économiques (autrichienne, classique, keynésienne, marxiste, mercantiliste, monétariste, physiocrate) et les religions. Je m’interroge sur les banquiers et économistes de nos sociétés basées sur la dette, s’ils ne seraient pas comparables à des Pharisiens de l’ancien temps, en s’évertuant à nous marteler que Bitcoin n’est pas une monnaie car il n’en possède soi-disant pas les trois fonctions définies par Aristote (unité de compte, réserve de valeur et intermédiaire des échanges). Comme si Aristote, bien qu’un « producteur » et « produit » (disciple de Platon) unique de grande valeur, pouvait définir quelque chose qui n’existait pas encore. Ces « Pharisiens économiques » font preuve de formalisme et d’hypocrisie sur l’état actuel du modèle économique international. Il est grand temps pour ces « Pharisiens d’Aristote » de s’inspirer d’un autre « produit » unique et producteur de talent, qu’est Satoshi Nakamoto.

Le caractère incontestablement unique d’un pixel rouge me laisse dubitatif (cela dit, certaines œuvres d’art moderne aussi). Lorsque l’on découvre de nouveaux modèles de productions, de nouveaux outils, il est normal et tout à fait compréhensible de vouloir commencer petit, simplement, (ex : « Hello World ») avant de produire un chef d’œuvre.

Le caractère incontestablement unique de Bitcoin et de son écosystème le rend inestimable à mes yeux. Quel est le juste de prix d’un bitcoin ? A mon avis, pas suffisamment cher mais comme on dit, « l’avenir nous le dira » 😉.

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A propos de l’auteur

Edwige Morency, architecte systèmes et réseaux, est spécialisé dans les blockchains et les cryptomonnaies.

https://www.linkedin.com/in/edwige-morency-76842217

News BTC est principalement une plateforme de prévision de prix. Après avoir écrit sur le côté culturel de la crypto pendant près de quatre ans, j’en suis venu à apprendre une chose ou deux sur la corrélation entre le leader, la communauté et le prix.

Même si je n’ai aucune qualification ou désir d’être un prédicteur de prix, je me suis fait de bons amis ici grâce auxquels il devient plus facile de naviguer dans les projets dont les fondations sont correctes. La brûlure Defi est allumée et j’ai le privilège d’avoir choisi et accepté le titre d’ambassadeur artistique pour Sheesha Finance.

Sheesha Finance est une entreprise de financement décentralisé fondée par Saeed Hareb Al Darmaki. La solide équipe réunie pour concrétiser cette entreprise a été approuvée par de nombreux membres de la communauté et approuvée pour rendre l’histoire DeFi encore plus intéressante.

«VESA a prouvé qu’il était un chef de file dans le domaine de l’art numérique, ce qui ne se fait pas du jour au lendemain. Il a travaillé sans relâche dans son métier pendant des années, ce qui lui a valu des fonctionnalités dans Forbes et lui a permis de travailler avec des infuenceurs cryptographiques très célèbres. Nous sommes honorés d’avoir VESA en tant qu’ambassadeur artistique, nous guidant dans la prise de décision sur les artistes à intégrer dans notre écosystème et travaillant avec notre communauté pour éduquer et fournir un contenu de qualité. »- Saeed Al Darmaki

Le cerf décentralisé du roi

«S’il est illégal pour un homme de se débrouiller seul, comment peut-il être un homme à part entière?» -Robin des Bois

En parlant de contenu, voici une pensée et un mythe rendus visibles à l’époque moderne. Nous vivons sans aucun doute une période sans précédent dans l’histoire du monde avec COVID. Malgré la rhétorique de «Nous sommes dans le même bateau» en adoptant la plupart des lois de verrouillage, ils continuent à voir leurs chèques de paie apparaître, car ils souhaitent bonne chance à ceux qui n’ont pas une telle chance. Les cerfs ont été revendiqués par le roi, laissant la plupart chasser la viande de lapin.

Bien que cela puisse sembler une bénédiction pour les végétaliens, la chaîne d’approvisionnement verte est également affectée, et il y a une augmentation étrange des prix des suppléments et du chou frisé ces derniers temps. De cette manière, tous les risques pour la santé que cela nous entraîne ne sont peut-être pas considérés. Pour ce problème, l’espace crypto et DeFi offrent aux gens la liberté de choisir les risques qu’ils prennent. L’espace Defi est une évolution continue de la puissance d’Internet et de l’éducation gratuite pour ceux qui le choisissent au lieu du dernier épisode de télé-réalité.

C’est pourquoi je pense que ce que le COO Benjamin Leff a à dire ici compte.

Ce qui m’enthousiasme le plus chez Sheesha Finance, c’est le modèle unique que nous avons conçu qui permet une exposition aux meilleurs projets DeFi par le biais de partenariats et de récompenses pour nos parties prenantes. Bon nombre de ces partenariats proviennent de relations directes avec les membres de l’équipe et les conseillers de Sheesha Finance. En s’associant à des projets aussi solides, les membres de notre communauté recevront des gages de mérite. Au fil du temps, nous transformerons notre projet en une Organisation Autonome Décentralisée (DAO) laissant la prise de décision à notre communauté! – Ben Leff

Il n’y a pas de prévente fermée, de récompenses principales, ni de hiérarchie autre que les premiers joueurs. Il est conçu pour le libre arbitre pour ceux qui le peuvent, et tous sont invités à rejoindre la communauté.

En ce qui concerne la validation du projet correctement, et le côté consultatif OG, voici quelques mots du seul et unique M. James Bowater, L’initié crypto résident de Londres.

J’ai été très impressionné par l’équipe derrière Sheesha Finance. En fait, Saeed Al Darmaki est membre de quelques-uns de mes groupes communautaires WhatsApp. Bien sûr, vous connaissez Ben Leff que j’ai découvert grâce à son travail avec Brittany Kaiser. Connaissant d’autres personnes dans l’espace DeFi comme mes bons amis Stani Kulechov et Julien Bouteloup, une chose que je sais qui est essentielle est la véracité et la sécurité du codage des contrats intelligents et donc la dernière partie de mon processus de décision était d’être satisfaite du Audit. J’ai été ravi de découvrir que mon bon copain Hartej Sawhney de Zokyo.io faisait non seulement l’audit (que Sheesha a passé avec brio) mais rejoignait également l’équipe de conseil. Depuis que j’ai rejoint Saeed, d’autres visages familiers et amicaux sont venus à bord – essentiellement une équipe formidable pour un grand projet que je suis ravi de soutenir. – James Bowater

Comme premier signe d’appréciation, j’ai fait ce NFT, qui sera offert en cadeau limité aux premiers investisseurs. Le charbon blockchain dont la fumée liquide de chicha raconte une histoire de puissance douce. En collaboration avec les températures, l’eau est la plus adaptable des substances que nous connaissons. On sait qu’il donne les bonnes conditions de vie, partout où il apparaît.

Travail: Community Drive
NFT numérique à supports mixtes
Pour Sheesha Finance par VESA

La dernière mais percutante citation d’aujourd’hui est de M. Matthew Armstrong de Royale Finance.

«Le partenariat avec Sheesha Finance est extrêmement important pour nous. Il fournit la stabilité de distribution indispensable qui manque aujourd’hui dans la plupart des écosystèmes DeFi. Ce partenariat mutuellement avantageux aide Sheesha à élargir ses partenaires de réseau et à atteindre tout en offrant aux participants du réseau Royale une avenue d’investissement intéressante à travers les événements de génération de liquidité de Sheesha. -Matthew Armstrong

Pour une plongée plus approfondie, consultez cet article Medium sur Sheesha Finance.

Je vais bientôt retourner à Dubaï pour rencontrer de vieux amis et en faire de nouveaux. J’ai hâte de sentir ce soleil du désert sur mon visage.

En attendant, je vous souhaite des pieux bénis.

VESA
Artiste Crypto
Tous les liens vers des sites physiques, des NFT et plus ci-dessous
http://linktr.ee/ArtByVesa

Le protocole DSLA a annoncé le lancement de la version 1.0 qui comprend des innovations internes fonctionnant sur la technologie blockchain. DSLA est une alternative peer-to-peer aux accords de niveau de service (SLA), des contrats d’externalisation qui apportent une couche supplémentaire de confiance à la relation utilisateur-fournisseur, en garantissant des performances cohérentes pour les utilisateurs et en tenant les fournisseurs responsables des défaillances de performances.

Le protocole DSLA a été développé pour aider les utilisateurs à naviguer facilement dans les services tiers et encourager l’excellence des fournisseurs. En conséquence, les utilisateurs peuvent réduire le niveau d’exposition au risque et maximiser la qualité et la livraison en temps opportun. «Le protocole DSLA est un cadre de gestion des risques qui permet aux développeurs et aux opérateurs d’infrastructure de réduire l’exposition de leurs utilisateurs aux retards de service, aux interruptions et aux pertes financières, en utilisant des accords de niveau de service auto-exécutables, des polices d’assurance bonus-malus et des pools de liquidités à financement participatif. la société a noté sur son site Web officiel.

Selon les développeurs, le protocole DSLA version 1.0 devrait fonctionner sur la couche principale du réseau Ethereum 1. Le protocole DSLA sera déployé sur un Ethereum solution de couche 2 peu de temps après, ainsi que sur les réseaux blockchain Harmony et Avalanche.

Principales caractéristiques du protocole DSLA V1.0

Après avoir introduit et développé l’infrastructure nécessaire, le protocole DSLA a mis en place un tel aspect qui rend le projet clé dans les perspectives de croissance future de diverses industries.

L’une des innovations internes est les marchés de prédiction des risques, qui permettent aux développeurs, aux utilisateurs et aux fournisseurs de liquidité de négocier le risque entre eux à l’aide d’accords de niveau de service décentralisés (DSLA).

Les prévisions de fiabilité constituent une autre innovation. Ils permettent une évaluation des risques par des tiers en un coup d’œil, grâce à la sagesse du marché DSLA et de ses participants.

Parmi les autres innovations notables, citons les positions à terme des SLA, une conception à triple jeton, les récompenses de Staking SLA, les brûlures de jetons natifs, les SLA programmables, les outils de développement et les outils sans code. Ces caractéristiques clés du DSLA font que le protocole est considéré comme le premier cadre de gestion des risques du genre.

Le protocole DSLA est axé sur la réduction des risques de la finance décentralisée (DeFi). L’écosystème financier décentralisé a été l’un des sujets les plus brûlants de l’industrie de la blockchain et de la cryptographie au cours des derniers mois. De nombreux développeurs et investisseurs se sont lancés dans l’industrie DeFi pour exploiter le vaste marché mondial.

Cependant, les risques liés à la DeFi l’écosystème empêche l’industrie de passer au niveau d’adoption suivant. Alors que les produits d’assurance offrent un niveau initial de protection contre les piratages, les utilisateurs DeFi sont quotidiennement exposés à des défaillances et à la volatilité de tiers. Jusqu’à présent, il n’existait pas d’instruments de couverture contre l’infrastructure DeFi et les risques de marché, et le protocole DSLA comble cette lacune importante dans l’industrie.

Entre autres risques, le protocole DSLA est spécialisé dans l’atténuation du risque de baisse de l’efficacité du jalonnement (APR), ainsi que de la perte impermanente qui décentralisait les échanges et les jetons non fongibles (NFT) sont exposés à.

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