***How To Attend RareArtFest2 Exclusive Livestream
Attend RareArtFest2 outside of NYC via Ikohaus LiveStream partner CPNStream at the Bushwick Generator in Brooklyn this upcoming May 18th, 2019. CPNStream will bring their Telecom streaming experience into the Digital Art Movement and stream the event over our exclusive CPNStream, #Supporter Network worldwide on our verified Facebook platform. Just become a #Supporter at $4.99USD/Mo
DAM? Actually an acronym for the Digital Art Movement, which is alive and well and proliferating at an enormous rate. Unfortunately there are a vast array of different platforms, solutions and crypto currencies backing these platforms.
Here fortunately for those readers that have been following my journey as an Avant Garde artist [and those taking the time to go through the archives here] you can follow my pioneering path from 1994.
We will leave you to do the research but would rather dive into where I am pioneering a path and unpack it working from the inside out. To do that first we must consider and remember the whole idea of the digital movement was to move the fine artist into the digital realm, just as musicians and photographers in the 80’s and the 90’s adopted digital processing techniques.
In the beginning back in 1994 we used the Giclee [Giclee in 1991 was coined by printmaker Jack Duganne] process to produce digital work in print. Albeit the poor artists process as actual Giclee called for a high end plotter printer originally costing 10’s of thousands of dollars, so instead we used much smaller commercial inkjet printers.
Again the problem here became the valuation of the work as it could be mass produced in the vein of the silk screen print. The argument was baseless as the same method had been used in silk screen printing for years. What was more important I discovered was authenticating my work.
After an art exhibit in Orange County California in 2009 with the then World Art Foundation where I met with much resistance to my early digital concept I met Mark Busacca a former teacher and founder of the Busacca Gallery. I do not believe at the time I had won my case with Amazon to have living artists be able to sell their work on Amazon as they had a big deal about everything having to have a UPC code. I soon discovered a technique for acquiring inexpensive UPC codes got my work on Amazon and was immediately copied by Sotherby’s and other galleries putting living artists on Amazon.
That is a story for another time, but Mark gave me a chance to exhibit my Giclee’s in the Busacca Gallery on consignment. We would have mentoring sessions at length where the topic of discussion was authentication for physical works. It was Mark’s concept to fingerprint my physical works besides my signature that would give my super rare physical works the security that they were indeed my creation.
This still left an issue. Unless I placed a physical thumbprint from my own hand on the back of the work along with my signature it could be photocopied and forged. Plus in the case of digital works it was out of the question on having a physical thumbprint combined with the digital or finding an embedded watermark that could not be forged.
Let us fast forward to 2015 where at this point in time I had resigned myself to becoming an Avant Garde proponent of digital fine art while searching still for an authentication solution. On an experimental livestreaming platform called Blab is where I met Theo Goodman a big proponent of the then still new to me blockchain and crypto currency. Theo taught me the basics of the blockchain and crypto currency and I explained to him my use case for digital art on the blockchain.
This is where it all wraps around in 2015 when I started to look into a project that had support from an I-Corps grant from the National Science Foundation administered by East Carolina University and Greenville SEED @ ECU. At the heart of the matter no one there still new what I was talking about when I declared I would be looking to develop a method to put my digital work on the blockchain.
I was referred off to an initiative in Raleigh North Carolina that IBM was doing in reference to the IBM blockchain. But no one still got the advance concept of a digital asset being on the blockchain and then being able to be viewed on various digital devices via my IkoVuX concept. That is where in research I came upon a woman Jess Houlgrave that had a like minded intellect and fine arts background like mine at Pratt with hers at Sotherby’s Fine Art school along with Oxford.
Here is what I found to peek my interest: Founder at shEOS // Founder & Trustee Foundation for Art and Blockchain // Co-founder at Codex Protocol // Forbes 30 Under 30 2019. … thesis on the use of blockchain technology in the art ecosystem, I co-founded Codex Protocol, a decentralized registry for valuable collectibles and …
That is what brings us to the movement. Unlike many of the other platforms now crowding the digital arts arena from the outset Codex Protocol was “aimed at empowering both men and women all over the world who have been let down and disenfranchised by our current system“. Facebook the owner of instagram now has a platform as owners of Instagram so people can but their photo’s or art on the blockchain and buy and sell them. Unlike Codex however no outside artists where invited or joined in the development of the platform so you can bet just plain and simple it will be a huge cash cow for Facebook with a select group of inner circle creatives leading the way for the masses.
I guess that is supposed to be OK because Facebook’s foundation donates some of that money that they make to those that they have let down and disenfranchised Lol ?.
On the other hand that brings Ikohaus in on our long term project working with the disenfranchised. Remember as I stated earlier we had support from an I-Corps grant from the National Science Foundation administered by East Carolina University and Greenville SEED @ ECU and had formed an experimental Telecom streaming LLC to be also the financial arm of the artists Ikohaus, thereby allowing us to do what we wanted unencumbered by Governmental NGO or ORG obligations as long as we paid our taxes we were good.
That experimental Telecom company operates on the Facebook platform of all places because there we were able to create Facebook’s first MCN, Multi Channel Network CPirateNetwork. To date we have channels in California with an music artist of Ghanaian descent, one in Baltimore Maryland and an underground channel in Uganda under a dictatorial repressive regime of Yoweri Museveni. Our Head End Headquarters is in Greenville, NC US.
All of this is now poised and ready to descend in support of Blockchain Week in NYC for the Digital Art Movements RareArtFest2 at the Bushwick Generator in Brooklyn this upcoming May 18th, 2019. My work as Romero is not scheduled to be shown at this event, but rather our purpose is to now bring our Telecom streaming experience into the Digital Art Movement and stream the event over our exclusive CPNStream #Supporter Network worldwide. NYC my old hometown will of course be ‘Blacked Out’ as we are artists, creatives and innovators trying to make a living and the Facebook business model of give it away free so we can steal your data is no longer viable. You can actually become a CPNStream supporter of our Network through Facebook for $4.99USD/mo and see all of our exclusive content like the sample above and more as work moving forward in the future.
Hope to see you at RareArtFest2, come over and chat with me or check us out on our LiveStreams out of NYC. We will be using our State of The Art GoogleFi platform over US Cellular, Sprint & Team Mobile as a Multi Channel Network [Lol where do you think we got the idea to build a multi-channel network on Facebook from? Salute to GoogleFi].