On Thursday, Forbes became the latest mainstream publication to tease the art market’s possible “disruption” by startups—a topic that summons me from the depths to wreak havoc as dependably as a Cthulhu ritual.
The concept is basic enough: Store the music files on the blockchain permanently, lock them for protected access, and give they keys to the people who have the right to access the content. OPUS addresses this through its API-based distribution layer.
Technology used for secure transactions in gold and diamond trading is at the core of a new ticketing platform trying to stamp out fraud and touting in the entertainment industry.
Source : thestage.co.uk
“The consumption of cultural products is increasingly achieved through IP systems,” said Glen O’Farrell, president and CEO at Groupe Média TFO. “We wish to participate in creating next generation tools to credit and reward the rightholders in a way …
Trois sociétés majeures de gestion de droits d’auteur, dont la Sacem, ont décidé d’utiliser cette technologie de stockage et de transmission de l’information. Objectif : mieux identifier les oeuvres musicales.
It is art , and it has an owner. What does that mean in the digital age? That’s what the guys at Larva Labs want to find out. The image above is just one of 10,000 pieces of art released last week as part of an experiment called CryptoPunks.
The Englishman added: “With the odd exception this is exactly what has happened, as Hollywood ‘whitewashes’ cultures and histories where the good guys always see the US Government always win…to support the political agenda of the moment.” The film …
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