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About Content in Context

Content in Context helps companies to define the market for their products and services, to identify customers and build the business pipeline, and to develop their content marketing strategies. By working with our clients to design, build and grow their business, our primary focus is to extract commercial value from unique assets, including knowledge, data, know-how, processes and transactional information.

What “wallet” it say about you?

Just as your e-mail domain name can say a lot about how/when you first got online, I have a theory that our choice of digital wallet will also reflect our blockchain, crypto and web3 profile. (Remember those early ISPs and e-mail services such as AOL, Lycos, Compuserve and Pacific Internet?)

Part of the challenge with early digital wallets was the UX/UI – before the advent of software, browser-based and hardware wallets, users relied on “paper wallets” to manage their private keys. The first software wallets needed to be set up very carefully, so that your seed phrase or private key was not stranded on an abandoned hard drive, and thus lost forever. I think the first BTC wallet I used was CoPay, which was an early multi-sig wallet, but which has largely been discontinued. The arrival of browser extensions such as MetaMask have made a difference when it comes to bridging between chains, and managing a wider range of assets.

Even though there is more interoperability between digital wallets (cross-chain, multi-asset), dedicated applications are still needed for BTC and other chains. Also, some use cases (iGaming, web3/DeFi) may demand more specific wallets to support particular functionality. But like many crypto users, I still maintain about 6 different applications, including exchange-based wallets.

I suppose the eventual user experience will be a seamless transition between crypto, web3, DeFi, TradFi, NFTs and RWAs. But until then, stay safe and make sure you know where your private keys are at all times!

Next week: Signing off for 2024….

 

 

“When I’m Sixty-Four”

Last week, I achieved the eponymous age of The Beatles’ song, “When I’m Sixty-Four”, as featured on their “Sgt. Pepper’s Lonely Hearts Club Band” album. Like many of the people who commented on YouTube, I was just a kid when I heard this song on its release; and I, too, could not imagine being that age.

For one thing, at that time, back in the late 1960s, my grandparents, great uncles and great aunts were all in their mid- to late-sixties; to me they were already so old, even ancient. God forbid that I should end up like that! Of course, given their life experiences, perhaps it was not surprising that they seemed so wizened (physically and metaphorically) before their time. Living through two world wars and a deep economic depression takes its toll. Also, in 1967, life expectancy was around 72 years; now it’s close to 82. And back then, the UK state pension age was 65. Consequently, people seemed “old” because that’s how they were expected to behave, and they were treated as such by government and society alike.

Now I have reached this milestone myself, I realise more than ever before that aging is also a mental construct, not just a biological process. Hence the notion of “subjective age”. If you think you are too old to do something, then you are probably limiting your options (and narrowing your outlook). Little wonder that articles about “life begins at 60” seem popular!

I know have had a very different life experience to my grandparents. For example, two of them never went abroad, three of them never drove a car, and one didn’t live past the age of 50. Unlike them, I don’t have children or grand children, I have lived outside my country of birth for more than half my life, and I have traveled to far more countries than they ever did.

On the other hand, unlike many of my parents’ generation, many of whom enjoyed jobs with life-long career expectations, I have had a more erratic and inconsistent work experience – similar to my grandparents. In their cases, they either had to create their own work (e.g., small business owner) or endure periods of patchy employment. In my own case, I went into corporate employment at a relatively late age, and exited at age 50 – hitting something of a grey ceiling. Mainly for that reason, I have endeavoured to remain curious, stay open-minded, be flexible and willing to adapt – which I believe has helped me to maintain a “younger” subjective age. I think it also helps to have non-work pursuits and interests, so you can remain active if (and when) your employment comes to an end. Plus, having social interactions with people who are not all the same age as you can help to develop more of an inter-generational perspective.

One last comment – I was very surprised to read recently that according to a global study, boomers like me may be living longer, but not healthier, than our parents and grandparents. Despite medical advances, our lifestyles and other factors may result in more chronic disease and illness. I’m not suggesting that this decline is due to psychological ageing, but I can’t help thinking that if you say you are old, old age (and all its ailments) will soon catch up with you.

Next week: What “wallet” it say about you?

 

 

Pudgy Penguins come to Melbourne

Last week, I got to chill out with some of the Pudgy Penguins crew, as they launched the Oceania chapter of their NFT community. In case you weren’t aware, Pudgy Penguins are one of the top NFT collections, and have built a loyal fan base for these digital characters.

I went to a major Pudgy Penguin “Pengu Fest” in Hong Kong last year, and got to see first hand how engaged their members are. I also gained some insights as to how this ecosystem enables their NFT holders to license the IP associated with their individual characters into royalty-based income. In short, a subset of the NFT characters are chosen to be turned into merchandise. (For example, Pudgy Penguin soft toys are available in major stores such as Walmart in the USA, and Big W in Australia.) Owners of the selected NFTs earn a percentage of the sales revenue (less tax and production costs etc.).

The most recent collection of Pudgy collectibles are the Igloo figurines, which include early online access to Pudgy World. As a proud owner of one of these plastic figures, I’m still not sure what I have let myself in for…

As well as local meetups, other ways in which the community can interact include a trading card game called Vibes, also launched via the Overpass IP licensing platform.

Igloo Inc, the parent company to Pudgy Penguins and Overpass, has also announced it is launching a Layer 2 blockchain on Ethereum, to be called Abstract, and is being positioned as a “the blockchain for consumer crypto”.

Whatever your views on crypto, NFTs, on-line worlds and collectibles, there is no doubt that Pudgy Penguins have set themselves up with the admirable goals of building a healthy and inclusive community, underpinned by the twin pillars of individual creativity and positive culture.

To crypto sceptics (and the merely crypto curious), the “community” and the enthusiasm of its members could resemble something of a cult. Someone did say during last week’s panel discussion that “I am my penguin, and my penguin is me”. But there are worse things for people to get involved with – and for younger people (I don’t regard myself as part of the Pudgy core demographic), I can see the appeal. For example, your Pudgy Penguin PFP can act as a protective avatar as you engage and explore online – allowing you to share only the personal information that you want to, while you build up trust with other community participants, and before you choose to meet IRL.

There was also a discussion about the difference between meme coins and NFTs – the short answer is that the former represent pure speculation, while the latter aim to create value for their holders. In fact, someone suggested that meme coin trading is not that different to punting on betting apps. But since most NFT collections are well down on their market highs of a couple of years ago, maybe NFT holders and communities like Pudgy Penguins are trying to convince themselves that they are still backing a winner?

Overall, however, I remain positive to the opportunities that NFTs represent – especially in the creative fields, and as a new model for IP licensing. Even if cute flightless birds from the southern hemisphere are not your thing, I don’t think you can dismiss or ignore the social, cultural and economic impact that NFTs will have.

Next week: “When I’m Sixty-Four”

 

 

“Megalopolis”? More like mega-flop it is!

Last week I went to see “Megalopolis”, the latest (and last?) film by Francis Ford Coppola. In the past, a Coppola production was usually something to relish, and I was looking forward to this addition to his canon of work. I purposely avoided reading any reviews beforehand; I was aware that this movie had endured a long gestation, and had experienced a number of challenges during production, so I did not want to arrive with any preconceived ideas. I wasn’t even aware of the plot or the cast.

Oh dear – what a disappointment. For something that was 40 years in development, and reportedly cost $120 million of the director’s own money, it was one of the worst films I have seen in a long while. No wonder it has attracted a very small audience, judging by the box office receipts. At the screening I attended, there were only 4 people in the entire cinema.

Despite the promising plot, the stellar cast, and the director’s own distinguished career, nothing can rescue this dog’s dinner of a film. It’s so bad on so many levels. First, the use of a voice-over to explain the plot is often a dodgy narrative device – especially as the narrator in this case is neither the main protagonist, nor an impartial observer. Second, the script and much of the acting is painfully bad – plodding, hackneyed, derisory, derivative and at times just plain over-wrought. Third, the set design looks cramped and feels claustrophobic. Many of the costumes are straight out of a Christmas pantomime, giving rise to an unintended comic effect. And as for the CGI images of the future city, it’s as if the design team simply gave Dall-E a few prompts and rendered the results on screen wholesale, without any editing or quality control.

At times, I wasn’t sure if I was supposed to be watching a Batman movie directed by Baz Luhrmann, or Christopher Nolan’s take on “Julius Caesar”.

I think part of the problem is that the characters and events that the film attempts to satirise are actually beyond parody. They are soft, obvious targets; and no matter how outrageous the story line, it can never out-do real life, or upstage current affairs. No doubt, the timing of its release is designed to raise questions about current social and political events, in the USA and elsewhere. Venal, vindictive, incompetent and impotent politicians; tech billionaires and media moguls who think they can determine election results; nepo babies who think they are talented just because of their family connections; social media influencers driven by a sense of their own entitlement and self-importance.

But it’s all been done before, and in many cases, far better.

Next week: Pudgy Penguins come to Melbourne