The General Taxonomy for Cryptographic Assets

It’s not often I get to shamelessly plug a project I have been involved with – so please indulge me in the case of Brave New Coin’s recent publication, “The General Taxonomy for Cryptographic Assets”. It’s a significant piece of work, designed to bring some structure to the classification of this new asset class.

In particular, it aims to help market participants (traders, brokers, investors, fund managers, asset managers, portfolio managers, regulators etc.) make sense of the growing list of digital currencies, as not all tokens are the same. Each one has a specific use case that needs to be understood in the context of Blockchain applications, whether decentralized protocols, or trust-less payment solutions.

Currently capturing around 60 data points and metrics on around 700 tokens, in the coming months the underlying database will double in size, and constantly maintained thereafter to keep current with the most significant assets.

Useful for portfolio screening, construction and diversification, the Taxonomy methodology and underlying database, when combined with Brave New Coin’s aggregated market data and indices will provide a 360-degree view of each asset, combining key elements of a CUSIP or ISIN record, a company directory profile and a regulatory filing.

The significance of having access to robust market data and reference data tools cannot be underestimated, given the price volatility and emerging nature of this new asset class. The Taxonomy will be presented at various Blockchain and Crypto events over the coming weeks, but for further information, the authors can be contacted at:

Next week: APAC Blockchain Conference

Infographic Resumes: Form over Content?

I’m old enough to remember when the filofax personal organiser (think PDA for hipsters?) became the must-have accessory in the yuppy culture boom of the early ’80s. (I recall my housemate, a creative at a leading ad agency, dashing around in panic one morning when he couldn’t find his filofax before he left for work – “That’s got my whole life in it!”.)

About the same time, home computers and desktop publishing software came on the market, and everyone became their own graphic designer.

One (thankfully short-lived) outcome when these trends collided was the emergence of the desktop designed resume, that could be printed out and stored in a filofax, including some that folded out to reveal the candidate’s illustrated profile. (I kid you not – I received several of these “cutting edge” CV’s when hiring for graduate-entry roles.)

More recently, there appears to be a fascination for infographic resumes – with a number of online tools available to turn your illustrious career into a poster with apparent ADHD – such as Pinterest, Kinzaa,, and, among others.

I have no problem with using infographics to portray data and content in interesting and informative ways. But the problem with many of the resume designs I have seen is that they are either limited to portraying careers in a purely linear and/or statistical fashion; or they overcompensate by using “gimmicks” such as over-stylised graphics, irrelevant iconography and even multiple fonts. Much about these designs reveal a tendency for form over content.

While it’s important to be able to tell a good story, what employers often want to know is: what can you do for them and their clients, now and in the future?

Rory Manchee - Value Proposition - Sept 2014