Australia’s Blockchain Roadmap

The Australian Government recently published its National Blockchain Roadmap – less than 12 months after announcing this initiative. While it’s an admirable development (and generally, to be encouraged), it feels largely aspirational and tends towards the more theoretical rather than the practical or concrete.

First, it references the US Department of Homeland Security, to define the use case for Blockchain. According to these criteria, if a project or application displays three of the four following requirements, then Blockchain technology may offer a suitable solution:

  • data redundancy
  • information transparency
  • data immutability
  • a consensus mechanism

In a recent podcast for The Crypto Conversation, Bram Cohen, the inventor of the BitTorrent peer-to-peer file sharing protocol, defined the primary use case for Blockchain as a “secure decentralized/distributed database”. On the one hand, he describes this as a “total oxymoron; on the other, he acknowledges that Blockchain provides a solution to the twin problems of having to have trusted third parties to verify transactions, and preventing double-spend on the network. This solution lies in having to have consensus on the state of the database.

Second, the Roadmap speaks of adopting a “principles based but technology-neutral” approach when it comes to policy, regulation and standards. Experience tells us that striking a balance between encouraging innovation and regulating a new technology is never easy. Take the example of VOIP: at the time, this new technology (itself built on the newish technology of the internet) was threatened by incumbent telephone companies and existing communications legislation. If the monopolistic telcos had managed to get their way, maybe the Post Office would then have wanted to start charging us for sending e-mails?

With social media (another internet-enabled technology), we continue to see considerable tension as to how such platforms should be regulated in relation to news, broadcasting, publishing, political advertising, copyright, financial services and privacy. In the music and film industries, content owners have attempted to own and control the means of production, manufacture and distribution, not just the content – hence the format wars of the past in videotape, compact discs and digital file protocols. (A recurring theme within  Blockchain commentary is the need for cross-chain interoperability.)

Third, the Roadmap mentions the Government support for Standards Australia in leading the ISO’s Technical Committee 307 on Blockchain and DLT Standards. While such support is to be welcomed, the technology is outpacing both regulation and standards. TC 307 only published its First Technical Report on Smart Contracts in September 2019 – three years after its creation. In other areas, regulation is still trying to catch up with the technology that enables Initial Coin Offerings, Security Token Offerings and Decentralized Autonomous Organizations.

If the ICO phenomenon of 2016-18 demonstrated anything, it revealed that within traditional corporate and market structures, companies no longer have a monopoly on financial capital (issuance was largely subscribed via crowdfunding and informal syndication); human capital (ICO teams were largely self-forming, self-sufficient and self-directed); or networks and markets (decentralized, peer-to-peer and trustless became catch words of the ICO movement). Extend this to DAOs, and the very existence of, and need for traditional boards and shareholders gets called into question.

Fourth, the Roadmap makes reference to some existing government-related projects and initiatives in the area of Blockchain and cryptocurrencies. One is the Digital Transformation Agency’s “Trusted Digital Identity Framework”; another is AUSTRAC’s “Digital Currency Exchange” regulation and registration framework. With the former, a more universal commercial and government solution lies in self-sovereign identity – for example, if I have achieved a 100 point identity check with Bank A, then surely I should be able to “passport” that same ID verification to Bank B, without having to go through a whole new 100 point process? And with the latter, as far as I have been able to ascertain, AUSTRAC does not publish a list of those digital currency exchanges that have registered, and exchanges are not required to publish their registration number on their websites.

Fifth, the need for relevant training is evident from the Roadmap. However, as we know from computer coding and software engineering courses, students often end up learning “yesterday’s language”, rather than acquiring flexible and adaptable coding skills and core building blocks in software development. It’s equally evident that many of today’s developers are increasingly self-taught, especially in Blockchain and related technologies – largely because it is a new and rapidly-evolving landscape.

Finally, the Roadmap has identified three “showcase” examples of where Blockchain can deliver significant outcomes. One is in agricultural supply chains (to track the provenance of wine exports), one is in education and training (to enable trusted credentialing), and one is in financial services (to streamline KYC checks). I think that while each of these is of interest, they are probably just scratching the surface of what is possible.

Next week: Brexit Blues (Part II)

 

Haring vs Basquiat

Following last week’s “compare & contrast” entry, another similar exercise this week, between artists Keith Haring and Jean-Michel Basquiat, the subject of the NGV’s summer blockbuster exhibition.

Keith Haring, Jean-Michel Basquiat, Other artists: “Untitled (Symphony No. 1)” c. 1980-83 [image sourced from NGV website]

Given their friendship, collaborations and mutual connections to the New York scene of the 1980s, it was only natural that the NGV went for this double-header retrospective. Since they both gained early recognition for their street art and graffiti-based work, and their images crossed over into the worlds of music, fashion and clubbing, they had a lot in common. They were as likely to be featured in style magazines such as The Face as they were to be found in the arts section (or society pages) of the New York Times.

Both died relatively young, and it’s as if they somehow knew they each had limited time, such is the intense pace at which they worked, as evidenced by their prolific output. If there is one element that really links them is their inner drive – they had to produce art, there was no choice for them, and they threw everything into it.

They each developed their own distinctive visual styles, much imitated and appropriated throughout popular culture, graphic design, video and advertising. Haring is known for his dog motif and cartoon-like figures, Basquiat for his iconic crown and text-based work. They also placed great emphasis on issues of identity, gender, sexuality and broader sociopolitical themes.

Where they perhaps differ is that Haring relied on more simplistic imagery (albeit loaded with meaning and context), using mainly primary colours, flat perspective (no shading or depth), and strong repetition. On the other hand, Basquiat’s paintings reveal confident mark-making, bold colour choices (not always successful), and an implied love of semiotics (even more so than Haring’s almost ubiquitous iconography).

Of course, we’ll never know how their respective work would have developed over the past 30 years – maybe what we now see is all there was ever going to be? As a consequence, there is perhaps a sense that they plowed a relatively narrow field, that they did not develop artistically once they became gallery artists. I’m not suggesting their work is shallow or one-dimensional (even though it can simply be viewed and appreciated “on the surface”), but it would have been interesting to see where their work took them.

Finally, we are still very close to the era in which they were active, and in that regard their true legacy will be in the influence they cast on late 20th century art and beyond.

Next week: Hicks vs Papapetrou

 

Blipverts vs the Attention Economy

There’s a scene in Nicolas Roeg’s 1976 film, “The Man Who Fell To Earth”, where David Bowie’s character sits watching a bank of TV screens, each tuned to a different station. At the same time he is channel surfing – either because his alien powers allow him to absorb multiple, simultaneous inputs, or because his experience of ennui on Earth leads him to seek more and more stimulus. Obviously a metaphor for the attention economy, long before such a term existed.

Watching the alien watching us… Image sourced from Flicker

At the time in the UK, we only had three TV channels to choose from, so the notion of 12 or more seemed exotic, even other worldly. And of those three channels, only one carried advertising. Much the same situation existed in British radio, with only one or two commercial networks, alongside the dominant BBC. So we had relatively little exposure to adverts, brand sponsorship or paid content in our broadcast media. (Mind you, this was still the era when tobacco companies could plaster their logos all over sporting events…)

For all its limitations, there were several virtues to this model. First, advertising airtime was at a premium (thanks to the broadcast content ratios), and ad spend was concentrated – so adverts really had to grab your attention. (Is it any wonder that so many successful film directors cut their teeth on commercials?) Second, this built-in monopoly often meant bigger TV production budgets, more variety of content and better quality programming on free-to-air networks than we typically see today with the over-reliance on so-called reality TV. Third, with less viewing choice, there was a greater shared experience among audiences – and more communal connection because we could talk about similar things.

Then along came cable and satellite networks, bringing more choice (and more advertising), but not necessarily better quality content. In fact, with TV advertising budgets spread more thinly, it’s not surprising that programming suffered. Networks had to compete for our attention, and they funded this by bombarding us with more ads and more paid content. (And this is before we even get to the internet age and time-shift, streaming and multicast platforms…)

Despite the increased viewing choices, broadcasting became narrow-casting – smaller and more fractured viewership, with programming appealing to niche audiences. Meanwhile, in the mid-80s (and soon after the launch of MTV), “Max Headroom” is credited with coining the term “blipvert”, meaning a very, very short (almost subliminal) television commercial. Although designed as a narrative device in the Max Headroom story, the blipvert can be seen as either a test of creativity (how to get your message across in minimal time); or a subversive propaganda technique (nefarious elements trying to sabotage your thinking through subtle suggestion and infiltration).

Which is essentially where we are in the attention economy. Audiences are increasingly disparate, and the battle for eyeballs (and minds) is being fought out across multiple devices, multiple screens, and multiple formats. In our search for more stimulation, and unless we are willing to pay for premium services and/or an ad-free experience, we are having to endure more ads that pop-up during our YouTube viewing, Spotify streaming or internet browsing. As a result, brands are trying to grab our attention, at increasing frequency, and for shorter, yet more rapid and intensive periods. (Even Words With Friends is offering in-game tokens in return for watching sponsored content.)

Some consumers are responding with ad-blockers, or by dropping their use of social media altogether; or they want payment for their valuable time. I think we are generally over the notion of giving away our personal data in return for some “free” services – the price in terms of intrusions upon our privacy is no longer worth paying. So, brands are having to try harder to capture our attention, and they need to personalize their message to make it seem relevant and worthy of our time – provided we are willing to let them know enough about our preferences, location, demographics, etc. so that they can serve up relevant and engaging content to each and every “audience of one”. And brands also want proof that the ads they have paid for have been seen by the people they intended to reach.

This delicate trade-off (between privacy, personalisation and payment) is one reason why the attention economy is seen as a prime use case for Blockchain and cryptocurrency: consumers can retain anonymity, while still sharing selected personal information (which they own and control) with whom they wish, when they wish, for as long as they wish, and they can even get paid to access relevant content; brands can receive confirmation that the personalised content they have paid for has been consumed by the people they intended to see it; and distributed ledgers can maintain a record of account and send/receive payments via smart contracts and digital wallets when and where the relevant transactions have taken place.

Next week: Jump-cut videos vs Slow TV

 

 

 

 

Intersekt Festival 2018

This year’s Intersekt Festival, held in Melbourne last month, was put together in quite challenging circumstances, given some of the recent events within key industry body FinTech Australia, the primary event host. It was a credit to all involved.

Not surprisingly, given some of the regulatory and industry changes underway in Australia, the key themes included: Open Banking and access to data: Trust in the banking and financial services sector (thanks to the Royal Commission, and the APRA report on the CBA); Data Privacy; Payments and the NPP; Comprehensive Credit Reporting and predatory lending practices; and Equity Crowdfunding. And of course, a little bit about Blockchain, Cryptocurrencies and Security Tokens.

There was a lot of discussion on “Trust”, especially in the age of Uber and Airbnb – how have these marketplaces managed to earn so much public and consumer trust in such a relatively short time? Yet as consumers, we obsess about Open Banking vs Data Privacy,  while banks themselves appear to be more infatuated with their Net Promoter Score…. whereas “Trust” is clearly a huge issue. In the case of the banks and the fall out from the Royal Commission, there was a discussion about whether our key financial institutions have come close to losing their social license to operate.

Meanwhile, with the prospect of self-sovereign digital identity becoming a practical reality (fuelled by blockchain, decentralisation and trust-less protocols and standards), there is a demand for cross-functional  (and cross-border) solutions for KYC/AML processing and identity management. But a lack of mutual regulatory recognition or harmonization (as opposed to “mere” industry standards) plus a diversity of business models confounds regulatory harmony, often within a single jurisdiction, let alone across multiple markets.

When it comes to payments and the NPP, it’s clear that regulation lags technology. For example, despite the existence of a (complex and somewhat uncertain) licensing regime for purchased payment facilities, APRA has only licensed one such PPF – PayPal. As former ASIC Chairman, Greg Medcraft once observed, by the time the NPP is fully operational, Blockchain will have gotten there long beforehand. And given the preponderance of stored value cards, digital wallets, peer-to-peer crypto exchanges, and multiple overseas and cross-border mobile payment apps, the respective regulatory roles of RBA, APRA, AUSTRAC, ATO and ASIC need to be clearly defined and set out.

On the topic of data protection and “big data”, there was a lot of discussion about getting the balance right between privacy and innovation. One the one hand, industry incumbents should not be allowed to use their market dominance to resist open banking and stifle the emergence of neo-banks; but on the other, there is a need to shelter the forthcoming consumer data right (CDR) from potential abuse like predatory lending (e.g., not simply define the CDR standards by reference to existing banking products and services) – mainly because the CDR is designed to empower consumers (not embolden the industry), and it is designed to be sector neutral (i.e., equally applicable to utilities, ISPs, telcos, insurance firms).

Other topics included SME lending, where new, tech-driven providers are not only originating new loans, but also refinancing existing businesses as the big 4 banks are seen to withdraw from this market; home loans (where technology is driving new loan origination, funding and distribution models); social impact (“FinTech for good”); equity crowdfunding (and the role of STOs); insurance (creating a decentralised market place) and Superannuation (which prompted perhaps the most contentious panel discussion – more on that to come!).

If there were any criticisms of the conference, based on local and overseas delegates I spoke to, they related to the length (was there enough content to sustain nearly 3 days?); the need for clearer roles and participation by the major and regional banks; the absence of investors (despite a speed-dating matching event….); and a desire to see a broader range of speakers and panelists (too many of the “usual suspects”?).

Next week: The Future of Super