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From YouTube: Keynote Panel: How NFTs Are Changing... David MacFadyen, Imogen Heap, Brendan Cooper, Daniel Heyman
Description
Keynote Panel: How NFTs Are Changing the Music and Media Landscape - David MacFadyen, UCLA; Imogen Heap, Musician / Founder of The Creative Passport; Brendan Cooper, Panini America; Daniel Heyman, Palm NFT Studio
The Hyperledger open-source community is bringing together technical, academic, and industry-related expertise in order to solve long-standing problems in the creation, fair distribution, and legally appropriate attribution of media assets. In this panel, moderated by the Chair of the Hyperledger Media & Entertainment SIG, we will explore the topic of blockchain in current media, together with the opportunities and use cases already in action at Hyperledger. The panel includes Imogen Heap (musician and founder of the Creative Passport), Daniel Heyman (co-founder of Palm NTF Studio), and Brendan Cooper (Director of NFT, Blockchain & Digital Systems at Panini America).
To learn more about Hyperledger, the open source community focused on developing a suite of stable frameworks, tools and libraries for enterprise-grade blockchain deployments. Which serves as a neutral home for various distributed ledger frameworks including Hyperledger Fabric, Sawtooth, Indy, as well as tools like Hyperledger Caliper and libraries like Hyperledger Ursa click here: https://www.hyperledger.org/
Session Details & Slides (if available)- https://sched.co/j451
Access All Sessions: https://events.linuxfoundation.org/hyperledger-global-forum/program/schedule/
----
Hyperledger – Open Source Blockchain Technologies
Hyperledger is an open source community focused on developing a suite of stable frameworks, tools and libraries for enterprise-grade blockchain deployments.
It serves as a neutral home for various distributed ledger frameworks including Hyperledger Besu, Fabric, Sawtooth, Indy, as well as tools like Hyperledger Avalon, Cactus and libraries like Hyperledger Aries, Ursa. Learn more about Hyperledger projects: https://www.hyperledger.org/use
Case Studies: https://www.hyperledger.org/learn/case-studies
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#Hyperledger #HyperledgerGlobalForum2021 #Blockchain
A
C
Great
to
see
everybody
here,
thanks
very
much
brian
for
that
introduction,
so
today's
format
will
be,
I
think,
maximally
informal.
There's
no
need
for
for
us
to
observe
a
dusty
procedure
here.
So
if
we
could
just
start
with
a
general
introductory
question
which
is
given
the
the
enormous
journalistic
and
public
and
financial
interest
in
nfts
over
the
last
half
a
year
or
so,
how
exactly
have
they
impacted
your
work.
B
Well,
I
I
have
done
this
really
as
an
experiment
to
see
what's
out
there.
What
does
it
mean
for
me
as
an
artist?
What
could
it
mean
for
us
in
the
future
as
musicians?
So
I
really
just
I
released
a
few,
a
kind
of
bundle
of
them.
They
went
up
about
three
or
four
weeks
ago,
and
a
few
of
them
are
sold
and
a
couple
of
them
haven't.
B
It
was
really
insightful
just
to
understand
the
space
and
how
actually
really
complex
it
is
and
how
it's
changing
every
single
day
and
how
even
I
imagine,
heap
early,
you
know,
interests
in
blockchain,
still
found
it
really
hard
to.
You
know
to
sell
my
own
ft's.
You
know
you
really
have
to
be
in
amongst
it
and
and
really
kind
of
live
and
breathe
it.
B
But
for
me
what
it's
changed
is
my
imagination
of
how
I
could
create
music
in
the
future,
not
just
like
song
format,
but
in
kind
of
short
form,
something
kind
of
more
bite-sized,
manageable
chunks.
For
me,
especially
as
a
mother
and
kind
of
doing
a
lot
of
things,
I'm
quite
excited
about
the
idea
that
there
is
no
kind
of
template
right
now
it
can.
It
can
literally
be
an
idea
for
a
song
or
a
few
lyrics
here
or
something
over
here.
It's
very
undefined,
and
I
really
like
that
play
space.
D
In
the
last
six
months
in
the
last
six
months,
I
guess
I
left
my
job
and
started
a
new
business
seller
on
nfts.
So
it's
impacted
me
significantly.
I
think
it's
fair
to
say
I
think
it's
incredible
the
the
way.
There's
this
groundswell
of
enthusiasm
and
blockchain
has
sort
of
managed
to
cross
into
the
public
attention
in
a
way,
it's
never
actually
succeeded
in
doing
so
before
through
an
ft's.
D
Blockchain
primarily
has
been
used
for
decentralized
finance,
experimentation
and
that's
a
huge
market
and
very
exciting,
but
nfts
represent
all
things
all
assets,
all
media,
all
creativity
and
that's
so
much
bigger
of
a
market
and
to
see
the
potential,
experimentation
and
creativity
that
you
were
talking
about
unleashed
in
those
various
fields.
It's
been,
it's
been
wild
and
fun.
C
D
Sure
so
I
my
way
my
personal
background,
I
spent
the
last
three
and
a
half
ish
years,
leading
the
protocol
engineering
group
at
consensus
and
so
we're
very
close
to
the
iphone
ledger
foundation.
For
example,
we
contributed
a
hyperledger
basu
and
had
a
couple
members
in
my
team,
former
team
on
the
technical
steering
committee.
D
What
I
realized
is
the
nft
craze
was
exploding.
Is
that
a
lot
of
the
technology
we
had
already
built
with
hyperledger
base?
U
for
enterprises
like
jpmorgan,
js
or
ubs
or
mastercard
could
solve
a
lot
of
the
challenges
that
nfts
have
on
mainland
ethereum
and
so
in
partnership
with
some
amazing
creative
partners
and
consensus.
As
a
technical
partner,
we
decided
to
launch
palm
as
an
nfg
optimized
chain
inside
the
ethereum
ecosystem.
D
C
B
No,
I
found
a
lot
of
collaborations
in
the
music
space
around
this
I
mean,
even
just
on
the
on
my
own
personal
little
nft
that
I
released.
It
was
musicians
who
are
supporting
me
to
do
that,
and
there
doesn't
seem
to
be
competition
in
the
same
way.
I
think
there's
this
feeling
that
you
know
there's
just
so
much
opportunity
and
it's
fun.
This
kind
of
idea
of
picking
each
other
up
against
each
other
just
doesn't
seem
to
exist
in
this
space.
B
B
So
it's
quite,
it's
really
exciting
to
be
able
to
have
those
discussions
openly
right
now,
because
none
of
these
things
are
are
defined,
and
so
it's
good
to
work
with
people
and
we
have
to
do
it
because
otherwise,
you
know
there's
going
to
be
this.
People
are
going
to
come
in,
like
publishers
and
labels
and
they're
all
going
to
try
and
get
a
piece
of
it
and
not
really
understand
we're
not
going
to
have
a
chance
to
to
let
it
have
its
full
potential.
B
C
And
when
it
comes
to
audios
in
audio
in
particular,
what
do
you,
what
have
you
found,
or
what
do
you
think
might
be
the
most
successful
marriage
of
different
art
forms?
Would
it
be
audio
with
a
video
loop
or
audio
with
a
static
image?
What
strikes
you,
as
maybe
the
most
promising
combination
of
audio
with
another
form
of
expression,.
B
I
mean
one
of
the
some
of
the
most
beautiful
ones.
I've
seen
are
holly
herndon's,
hollyhanded
and
matt
dryhurst
have
released
some
absolutely
beautiful
foundation.
I
think-
and
I
mean
that
just
seems
like
the
perfect
kind
of
to
me
anyway.
If
I
I
would
like
to
buy
them,
they've
gone
up
way
too
much
for
me,
but
just
the
way
that
all
the
technology
is
integrated
and
the
ai
and
all
the
projects
that
they
have.
It
just
feels
like
a
beautiful
kind
of
it
feels
like
the
perfect
place.
B
It
wouldn't
exist
if
it
wasn't
for
nfts
and
it
feels
like
these
new
art
forms
are
being
born
like
every
day.
So
I
don't
know
I
feel
like
not
putting
it
into
a
box
because
it
seems
like
that
box
is
just
kind
of
being
already
out
of
shape
by
just
saying
one
thing,
but
I
really
love
you
know
some
of
the
just
simple
photography.
It's
just
really
beautiful
kind
of
parallax
photography
of
nature
or
it's
what
I
love
about.
It
is
it's
about
these
these
these
nfts.
B
They
feel
more
like
about
a
moment
in
time.
They're,
like
encapsulating
a
moment,
which
is
something
that
you
can
contemplate
rather
than
music,
which
on
streaming
services,
just
feels
like
this
kind
of
endless
kind
of
stream
of
noise,
and
you
know
it's
kind
of
in
the
background.
It's
not
really
being
paid
attention
and
this
is
kind
of
the.
It
feels
like
the
flip
off
that
right
now,
it
feels
like
people
are
really
paying
attention
to
these
quite
detailed
small
pieces,
and
I
think
that's
really
lovely.
C
D
But
I
love,
I
think,
there's
such
a
powerful
kernel
of
truth
and
what
imaging
just
said
about
people
paying
attention
to
the
medium,
and
I
think
it's
because
we
have
a
different
relationship
to
content
when
we
feel
like
we
own
it
or
have
a
say
in
the
content.
The
whole
rise
of
streaming
has
become
this
one-way
flow
of
content.
That's
really,
I
think,
made
the
fan
sort
of
peripheral
in
that
process,
not
a
stakeholder,
not
care
as
much.
C
So,
ultimately,
when
those
when
one
or
multiple
art
forms
are
put
together,
one
of
the
appeals
of
nfts
is
that
they
perhaps
become
collectibles,
and
that
brings
us
directly
to
you
brendan,
because
you're
in
the
field
of
sports
collectibles
and
because
I'm
rather
familiar
with
some
of
your
work.
I
know
very
well
that
you
take.
Let's
say
the
traditional
static
design
of
what
previously,
on
paper
or
cardboard,
would
have
been
a
a
card,
a
baseball
card
or
a
basketball
card.
But
you
you
join
it
with
a
little,
for
example,
a
little
video
loop.
E
Well,
it's
been
very
exciting.
First
of
all,
everyone's
talking
about
them.
They
they
kind
of
dawned
on
the
public
consciousness
in
a
really
big
way.
In
the
first
quarter
of
this
year,
panini
launched
its
nft
product
in
january
of
last
year,
and
it
was
difficult
because
we
were
having
to
think
how
to
explain
an
nft
and
then
all
of
a
sudden.
E
We
no
longer
have
to
explain
at
nft,
at
least
with
respect
to
collectibles,
but
certainly
lots
of
questions
around
what
it
means
to
be
authentic
and
what
are
the
actual
contractual
rights
and
is
it
property,
and
is
it
not
and
is
a
token
good
enough,
and
what
all
these
things
mean.
But
you
know
the
athletes,
the
agents,
the
entertainers,
that
we
work
with
they've
all
been
hugely
interested
and
motivated
in
this
direction.
E
You
know
we're
we're
really
focused
on
protecting
the
first,
the
panini
brand
as
a
60-year
brand.
Of
course,
we
represent
some
of
the
largest
licensors
in
the
world
and
and
we're
practicing
in
a
120
year
old,
collectible
category,
so
we've
moved
deliberately
and
slowly
we're
actually
using
the
hyperledger
sawtooth
technology
and
we're
really
excited
about
the
future
of
the
category
and
what
it
means
for
collecting.
C
Since
some
two
of
you
have
already
mentioned
hyper
ledger.
Needless
to
say,
the
issue
of
the
positive
issue
of
blockchain
technology
lies
behind
a
lot
of
what
we're
discussing
so
brendan.
How
has
the
issue
of
forgeries
been
addressed,
or
maybe
even
just
appreciated
by
your
by
your
client
base,
because
when
we're
talking
about,
let's
say,
for
example,
baseball
cards,
I
mean
for
decades
there's
been
a
an
enormous
problem
with
with
forgeries.
E
Sure
so
you
know
the
this
technology
has
evolved
very
quickly
and
in
fact
it's
it's
evolved
quicker
than
the
actual
adoption
of
different
decentralized
identity
solutions,
for
example,
and
establishing
authenticity.
So
if
you
have
a
major
company,
that's
representing
what
they're
doing
either
on
a
public
or
a
private
blockchain
network
that
can
be
a
really
strong
point
of
authentication,
but
in
in
the
larger
world,
the
larger
community
of
creators.
E
If
anyone
on
the
internet
can
be
a
dog
well,
anyone
that's
creating
nfts,
can
potentially
rip
off
your
work,
and
so
there's
some
really
important
work.
That's
ongoing
in
terms
of
how
to
create
public
registries
and
certification
process
for
the
creators
and
the
content
developers
so
that
you
have
the
strongest
authentic
authentication
possible
at
the
point
of
creation,
when
it's
actually
when,
when
the
creator
assigns
it
to
a
public
blockchain,
it's
connected
to
the
the
network.
C
And
when
it
comes
to
creators,
actually
that
brings
us
directly
back
to
you
image
and
one
of
the
things
we
haven't.
We've
only
been
here
for
ten
minutes,
but
one
of
the
things
we
haven't
yet
touched
upon
is
uptake.
What
barriers
do
you
think
there
have
been
one
of
the
greatest
obstacles
been
to
public
involvement
or
or
uptake?
How
hard
are
these
things
to
make
for
you
and
your
your
peers.
B
Yeah,
well,
everyone
has
a
different
story
because
there's
so
many
different
routes,
there's
you
know
different
markets.
There's
in
you
can
go
your
own
way
and
kind
of
bespoke
create
your
plan.
I
mean,
I
really
didn't
know
what
I
was
doing
so
I
I
worked
with
somebody
called
sam
porter
who
sorry
sam
parker,
who
does
know
the
space
a
bit
and
he,
after
a
lot
of
kind
of
deliberation
and
chatting
to
this
other
guy
tim
exile,
who
we
launched
it
with
this
company
called
endless.
B
Where
I
made
the
little
pieces
on,
we
decided
to
go
with
cargo
to
you,
know,
put
all
the
information
and
again
they
would
go
to
that
thing.
Perma
web
are
weave
and
so
they'd
be
stored
on
our
weave,
and
then
we
would
put
them
up
on
open
sea,
and
so
we
had
these
three
different
kind
of
pieces
to
it,
and
then
it
was
the
the
metadata.
You
know
we
almost
and
in
fact
we
actually
they
put
it
up,
and
then
I
was
like
wait.
B
We
haven't
done
the
metadata,
yet
they
were
like
oh
yeah,
so
we
had
to
take
them
all
down
again
and
then
go
in
and
make
sure
that
the
metadata
was
perfect
because
that's
a
real
opportunity
that
we
don't
have
in
digital
distribution.
A
lot
of
the
time
is
to
be
able
to
explain
where
it
comes
from.
Who
did
what?
How
much
percentage
might
be
going
to
a
charity,
for
example,
to
be
able
to
exhibit
that
and
be
connected
to
that
piece?
B
B
There's
there's
like
hickmink
and
there's
this
thing
over
here
and
if
you're
lucky
you
get
onto
foundation-
and
you
know,
there's
there's
so
many
great
places
and
I'm
sure
there's
a
million
there's,
probably
like
20
more
since
I
you
know,
did
my
research
just
three
weeks
ago.
So
it
is
a
kind
of
free-fall
right
now.
B
There
is
a
misconception
that,
because
we
only
hear
about
the
big
sales
that
as
if
you
put,
if
you
put
you,
know
an
nft
up
you're
going
to
make
tons
of
money
which
is
kind
of
what
I
thought,
but
that's
not
the
case,
you
know
you
still
need
to
work
it
just
like
anything
else
out
there
and
go
out
and
market
it.
And
you
know
so.
The
people
who
are
successful
are
there,
who
kind
of
living
and
breathing
it
and
they're
working
the
clubhouse
rooms
and
they're
in
the
community.
B
B
It's
not
an
easy
win,
but
it
is
a
very
exciting
space
and
I
and
I
do
love
to
share
the
positivity,
because
the
future
is
really
exciting
and
it
will
become
much
easier
and
there
will
be
services
that
will
take
bigger
cuts
and
it
will
just
make
it
easy
for
artists
to
go
up
and
you
know,
put
up
stuff
and
they'll
curate
it
and
you
know
so.
I
just
hope
that
there's
going
to
be
lots
of
options,
the
thing
that
really
does
need
to
happen,
as
brendan
mentioned,
is
the
identity
layer.
B
How
do
we
connect
the
nft
to
the
artist
or
the
creator
and
how
do
we
enable
them
to
be
really
searchable
across
different
blockchains
across
different
services?
Like
a
massive
marketplace
of
you
know
every
bit
of
art
that
could
be
out
there?
How
do
we
find
them
and
for
things
to
be,
you
know
interoperable
and
transferable
and
so
yeah
so
much
simple
to
do,
but
and
and
for
many
artists
I
would
actually
say
if
you
don't
have
lots
and
lots
of
time.
B
Yeah,
so
the
creative
passport
really
came
out
of
hearing
about
blockchain
for
the
first
time
or
exactly
six
years
ago.
Actually
in
may
yeah
this
year.
My
friends
that
were
keating
told
me
that,
because
I
was
lamenting
about
having
to
like,
have
this
song
and
then
upload
it,
and
then
none
of
the
data
kind
of
sticks
to
the
song
I'd
have
to
go
and
make
sure
everyone's
registered.
B
You
can't
be
sure
whether
everyone
gets
paid
and
just
on
discovering
really
what
blockchain
spot
contracts
and
this
kind
of
that
world
could
look
like
if
it
was
put
in
the
right
directions
and
the
pieces
were
kind
of
puzzled.
Together
correctly,
we
could
have
a
really
fluid
fast,
sustainable,
transparent.
B
You
know
thriving
music
ecosystem
with
tons
of
services.
You
know
with
songs
with
all
of
their
data
intact.
On
a
you
know,
an
amazing
ledger
that
can
get
searched
and
anything
you
want
to
need
to
know
about
those
songs,
including
who
to
pay,
would
be
agreed
by
all
parties
and
be
able
to
be
seen,
and
then
the
identity
layer
which
I
realized
was
missing
from
a
lot
of
the
services.
C
B
I
kept
hearing
about
all
this
service,
I'm
like
yeah,
but
how
do
we?
How
do
I
get
a
part
of
that
and
they're
like
well,
yes
kind
of
through
the
labels,
with
only
seals
with
the
labels
and
they're
like
no,
it's
happening
again.
We're
just
recreating
old
problems
in
a
new
amazing
possibility
possible
space.
So
we
started
to
develop
the
creative
passport,
which
is
really
a
digital
identity
for
music
makers.
At
the
moment
it's
in
beta
and
it's
actually
quite
static.
B
It
just
is
a
knowledge
store
for
you
know
your
biography,
your
your
press
picture.
Your
skill
sets
your
websites,
maybe
your
nfts
and
whatever
you
want
to
share
publicly
in
one
place
that
you
might
want
to
share
kind
of
like
a
dashboard
like
a
patchbay
of
information,
that's
public
and
privately
permissible
that
you
can
decide.
I
want
this
information
to
be
shared
with
these
people
and
this
information
not
to
be
said
so.
You
could
have
like.
B
I
want
my
biography
to
be
freely
shared
across
all
music
services
that
come
share
our
apis,
and
then
you
would
have
biography
and
press
image
always
up
to
date,
always
exactly
as
you
want
it.
But
equally,
if
somebody
wanted
to
cross-reference
some
information
about
you,
they
could
find
it
with
your
skill
sets
combined
with
your
passions
combined
with
your
interest.
B
You
know,
so
it's
really
just
a
base
layer
and
at
the
moment
we're
just
trying
to
rally
together
musicians
to
understand
the
importance
of
data
and
the
value
in
their
data
just
on
its
own.
You
know
ahead
of
the
music,
but
just
get
that
bit
right,
get
yourself
organized
and
we
can
be
prepared
to
allow
those
services
of
the
future
to
to
know
that
we
are
who
we
say.
We
are
we,
I
am
verified
imaging
heap
and-
and
I
can
start
to
plumb
into
these
services
without
them
having
to
do
the
kyc.
B
So
at
the
moment,
it's
very
early
stages,
but
really
it's
about
kind
of
sharing,
a
vision
and
trying
to
get
musicians
to
sign
up
to
actually
what
there's
not
really
very
much
there.
But
it's
just
together.
We're
going
to
continue
to
develop
this
platform
because,
ultimately
it
could
be
that
our
ceo
in
a
couple
of
years
time
would
be
the
dao.
You
know,
it'd
be
a
dao
of
musicians
and.
C
B
Just
already
starting
to
explore,
you
know
voting
and
governance
just
in
a
kind
of
soft
way,
where
we're
just
about
to
launch
a
website
where
you
can
just
vote
basically
and
suggest
changes.
I
got
inspired
by
seeing
the
flamingo
app
flamingo
dao
app
page,
so
so
it's
just
very
early
stages
like
we
don't
have
a
way
to
do
the
kyc
in
terms
of
the
person,
so
we
do
need
to
work
with
top
layer
kind
of
did
companies,
so
we've
actually
been.
B
I
mean
I've
done
so
many
of
those
here's
your
passport.
Yes,
I
do
want
this
crypto
wallet
to
you
know,
basically
all
that
stuff.
I've
done
that
so
many
times,
but
we
know
that
it's
going
to
become
the
norm.
You
know
we're
all
going
to
have
a
digital
identity
and
then
this
stuff's
going
to
be
way
easier.
But
right
now
you
know,
as
brendan
said,
we
don't
have
that
yet
and
that
is
slowing
things
down
because
there's
this
adoption
that
has
to
happen
just
like
we
did
credit
cards.
B
C
So
I
mean
brendan,
let's
say
somebody
has
a
has
that
metadata
in
place
and
they
got
a
creative
passport
set
up.
One
of
the
the
less
familiar
issue
will
be
how
to
get
started,
and
we've
just
had
a
question
come
in
from
the
public
through
the
chat
which
is
well
verbatim.
The
question
is:
how
can
an
artist,
digital
or
freehand
get
into
this?
What
are
the
first
steps?
So
if
they
came
to
you
and
your
platform,
what
would
you
suggest
as
the
the
best
way
to
get
going
logically,
with
your
own
help.
E
Sure
so,
with
the
you
know,
most
of
the
major
nft
marketplaces
have
facilities
for
creators
to
mint
and
create
nfts,
but
that's
a
little
bit
different
than
a
turnkey
service
kind
of
what
imogen
was
saying
about.
You
know
if
you
have
an
overall
strategy
that
the
the
people
you're
going
to
want
to
talk
to.
E
I
can't
represent
any
at
this
time,
but
they're
they're
coming
and
you
know
in
six
months,
certainly
this
time
next
year,
there's
going
to
be
some
really
sophisticated
offerings
or
a
whole
suite
of
different
nft
products
on
with
established
distribution
and
rates,
and
hopefully
some
adele
ownership
or
stake
I'ma.
Jim
is
talking
about
the
distributed
autonomous
organizations,
because
that
unleashes
the
possibility
that
artists
at
all
scale,
both
those
that
are
world
famous
like
imogen
and
then
smaller
ones,
can
all
participate
in
a
network
without
being
captive
to
the
established
distribution
models.
C
C
D
D
We
wouldn't
be
interacting
directly
with
artists,
but
we
also
through
the
creative
studio
partner
with
creatives
damian
hearst
will
be.
Our
first
project
obviously
he's
an
artist
of
quite
quite
high
stature
in
his
world
across
worlds,
but
there
are
other
solar
artists
we
work
with
for
us,
while
we
select
partners
based
on
the
two
criteria.
D
Obviously
financial
impact
is
one
of
them,
but
we're
most
excited
by
artists
who
have
a
vision
for
how
to
use
the
technology
to
push
forward
their
art
a
lot
of
people.
I
think
just
want
to
take
something
they're
already
doing
and
put
it
in
an
ft
and
have
it
sell
for
the
jillions
of
dollars.
That's
not
really
how
the
world
works.
D
C
How
we
have
time
for
a
couple
more
questions?
How
optimistic
do
the
three
of
you
feel
about
this
technology
as
a
truly
revolutionary
potential?
Do
you
think,
there's
much
of
a
risk
that
ultimately
nfts
might
be
used
to
recreate
or
re-establish
the
current
power
imbalances
in
the
media
or
entertainment
space.
B
I
am
slightly
nervous
of
that.
I
have
to
say
that's
why
it's
going
to
be
very
hard
to
do,
because
it's
so
enormous
and
fast
spreading
and
there's
so
many
independent
people,
but
I
I
am
a
bit
nervous
for
the
music
space
that
there
is
a
history
which
I
would
say,
of
the
music
industry
kind
of
taking
a
very
hard
line
on
things
that
they
don't
have
control
over
and
that
have
the
potential
to
you
know,
stop
the
flow
of
innovation
but
they'll
always
be.
B
I
mean
certainly
for
anyone
who's
already
signed
because
they'll
be
like.
Oh
no,
but
this
is
a
new
format
and
therefore
we
need
to
have
our
massive
junk
in
it.
So
that
is,
you
know
slightly
concerning,
but
there's
massive
hope.
You
know
there's
such
hope,
we're
so
early
on
in
the
time
in
in
these
days-
and
you
know
just
in
a
little
month
of
kind
of
a
month
or
two
of
exploring
this
space.
My
mind
has
been
opened
up
to
the
possibilities.
B
I'm
feeling
you
know
really
positive
about
my
own
creative
output
and
that
I
am
not
limited.
Finally,
to
this
you
know
four-minute
chunk
that
that
there's
this
whole,
you
know
and
also
the
collaboration
side
of
things.
You
know
how
once
we
all
get
our
identities
kind
of
sorted
out
and
everything's
interlinking
and
nice
and
smooth,
which
might
take
five
or
ten
years.
B
But
the
idea
that
you
know
these
nfts,
like
kind
of
go
into
virtual
worlds
and
out
over
here
and
come
out
of
the
radio
at
this
point
and
then
go
into
that
person's
wallet
and
they
skip
over
a
stepping
stone
in
some
other
program.
And
then
it
does
this
and
but
everything's
everyone's
like
paid
fairly
and
acknowledged
fairly,
like
the
all
the
worlds
and
all
the
different
mixed
mixed
media
kind
of
come
together.
B
E
You
know
in
the
past
was
a
captured
captive
model,
and
so
this
technology
unleashes,
in
my
view,
huge
new
potentials
and
and
the
long
tail
of
creators
are,
I
think,
and
I'm
very
optimistic
about
it-
are
going
to
get
their
due
they're
going
to
be
able
to
create
their
communities
and
whether
they're
global
superstars,
or
not,
there's
going
to
be
a
space
for
them
to
get
economic
returns
on
their
creativity
and
the
audiences
that
they
generate.
I'm
really
optimistic
about
that.
B
B
So
I
yeah-
I
I'm
very
excited
about
that
and
when
we
have
this
kind
of
essential
core
protocol
layer
where
things
are
able
to
float
between
services
and
everything
is
kind
of
clean,
there's
just
going
to
be
a
blossoming
of
new
ways
to
interact
with
art
in
such
a
huge
way,
and
it's
going
to
be
so
much
easier
for
the
users
to
be
able
to
flow
through
them
and
you
know
know
what
they
can
do
with
art.
So
hopefully
we
never
any
more
questions
or
emails.
B
B
So
hopefully
it
will
just
be
there'll
just
be
a
lot
more
ease
of
collaboration
and
genuine
kind
of
yeah
good
will
because
nobody's
worried,
because
everybody's
credited-
and
I
think
that
often
that
often
stops
people
from
working
together,
because
they're
just
they're
worried
they're
not
going
to
get
credited
or
anyway
so
yeah,
I'm
I'm
the
same.
I'm
super
positive,
as
you
can
tell.
C
D
Yeah
please
so
first,
this
is
not
a
direct
answer,
but
I
would
love
someone
to
do
an
analysis
on
the
energy
consumption
of
the
traditional
financing,
the
traditional
entertainment
distribution,
business
with
millions
of
people
going
into
massive
towers
every
day
to
make
those
systems
work.
It's
it's
interesting
and
hard
to
compare
apples
to
apples.
The
numbers
are
certainly
scary
when
it
comes
to
blockchain,
but
we
already
know
that
systems
exist
and
are
continuing
to
roll
out.
That
are
many
many
orders
of
magnitude
more
efficient
than
the
current
proof
of
work
standards.
D
Those
are
coming
to
the
ethereum
ecosystem
rather
rapidly
with
ethereum
2.0
palm,
which
will
be
launching
imminently,
is
sort
of
a
million
to
10
million
times
more
energy
efficient
than
proof-of-work
systems.
So
you
know
the
first
car
in
1914
was
massively
inefficient,
they've
become
more
efficient
over
time.
I
think
the
impetus,
and
particularly
the
demands
from
creators,
are
forcing
our
industry
to
prioritize
this
in
a
way
that
maybe
it
happened
before
and
the
solutions
are
coming
to
market
very
quickly.
B
I
concur
completely
yeah,
I
mean
it
just
every
single
blockchain
out
there
needs
to
be.
You
know
completely
at
zero
in
the
future
to
be
able
to
to
be
able
to
make
it
with
the
public.
You
know
it's
good
that
there's
this
massive
concern.
It's
forcing
people
to
get
to
that
place
quickly
and
those
that
that
can't
or
won't
are
going
to
fall
off
quickly.
C
A
Thank
you.
Thank
you,
david.
Thank
you,
imogene.
Thank
you,
dan.
I
I
I
it
what
a
terrific
panel,
as
you
can
see
from
looking
across
today
and
looking
at
our
keynotes
this
this
entire
week,
our
community
here
at
hyperledger,
really
encompasses
not
just
the
big
money,
core
infrastructure
use
cases
like
supply
chains
and
central
bank
digital
currencies.
A
They
also
touch
on
issues
like
the
fight
against
disinformation
and
reinventing
the
music
industry,
and
so
thank
you
to
all
of
you
on
the
panel
for
making
that
that
really
come
to
light,
and
it's
so
great
that
we
can
be
working
on
technologies
like
this.
So
let
me
pivot
now
to
the
close.
Thank
you
all.