June 28, 2004
The Gelhard-Prueitt Architecture
Discussion about the Safe Net and Virtual Museum System Franchises
Life and teachings of an artist
Acquiring technically correct digital encoding
The Safe
Net has a set of underlying technologies, those being:
1) Anticipatory
encoding of social discourse and anticipatory response mechanisms
that draw people into one or more virtual multiple user domains (MUDs) as part
of the experience of an anticipatory commerce system.
a)
anticipatory mechanisms are being realized from string theory
and quantum mechanical philosophy into the Orb technology. These mechanisms model the characteristics
of emergence, with a focus on predicting the completion of patterns of
incomplete information. An example is
the prediction of the intellectual interests of an individual from just a few
sentence typed into a chat room.
b) a deeper
re-examination, of the nature of economic and social transactions centered
around the fine art markets, is being made based on insights that come from the
appreciation that purchases are sometimes as investments, but more often
purchases are due to individual search for belonging and experiences
c)
both Internet web sites and virtual private networks are
prototypes. These systems are to be
established in ways that are consistent with the BCNGroup Foundation’s notion
of a Safe Net.
2) One of the
prototypes is a Visual chat system within a MUD software system with
voice to text, text to voice and video streaming, plus second channel voice
(and background sounds) that allows remote presence.
a)
Remote presence allows many new types of personal
experiences, such as the ability to see what the Taos valley looks like any
time one wishes even though one lives in Virginia or in Europe.
b) Remote
presence allows a location to be experienced from a distance
c)
This software system is derived from an existing system that
has a long history and evolution (see Palace history).
3) Business to
business process mapping designed to eliminate inventory requirements
and reduce the costs of middle persons in between the production and
distribution of product.
a)
The Business-to-Business Anticipatory Web
of information associated with the Safe Net maps out the paths of least effort
while preserving standards of quality and reinforcing the market’s comfort
b) The
Anticipatory Web reduces costs and increases choice in economic markets and in
social systems
The Virtual
Museum System ™ is a part of the Safe Net ™.
The Virtual Museum System ™ licenses the following:
1) Production
knowledge about how to set up ordering capability for just-in-time
variable-size open edition fine art reproduction
2) The Safe
Net ™ software, either as a download from the Internet or from CD.
3) Rights to
do business with the Virtual Museum System ™
There are
two types of licenses
1) There is
only one supply side license.
Individual artists will license to have an Artist Virtual Museum
a.
The cost will be negotiated, but on principle this will be
low cost. Example: A museum for 40
images and ordering plus reproduction services might have a base fee of $50 per
month, plus a royalty of 20% of the gross revenues. The production, and delivery, costs might be an additional 35%,
and would be paid to dcimage Inc.
b.
The principles include the principle that the creative energy
of each artist can be presented separately from any other artist, and the
experience kept separate by the artist.
Or a group of artist might link individual artist VMSs together using a
pull down menu. But in each case, these
individual artists VMS licenses will be directly with Safe Net ™
2) A demand
side license helps third party vendors sell wholesale. This supply side license provides a discount
to frame shops of other commercial distributors. The discount is likely to be only 25%.
This
licensing structure allows a profit of 45% if sold directly to consumer without
a supply side license, and 20% if sold by a retailer.
It is
possible to establish the following overhead revenues that will go directly to
the Safe Net, and then to the Virtual Museum System.
·
20% of gross plus $50 per month basis charge for server
services.
·
25% of all direct sales that are not wholesale
This leaves
precisely 20% of gross that goes to the artist. The artist does pay the $50 per month.
The cost of
obtaining the digital images is an issue that is left unresolved at this
point. One might assign this
responsibility to the artist, but initially this cost is likely to come from an
investor in the Safe Net, as a means to grow the system.
At this
point, the 20% seems too small for the artist.
But we can talk about this. The
issues might be as follows:
·
The artist is free to sell original paintings within or
outside of the Virtual Museum System
·
A virtual market has potential upsides and downsides to an
artist
The nature
of the expression of creative energy often is in opposition to the rules that
galleries and the art markets want to impose on the creative artist.
A case in
point is the life and teachings of an artist.
Many admire
authenticity. Pure creativity and deep
philosophical principles are revealed in each of many thousands of original oil
painting, in poetry, drawings and sculpture.
This authenticity is reflected in the way in which he has lived. Bringing the story of a single man’s
presence to a single place is the purpose of the Virtual Museum.
The story
and the visual representation of the life and work of an artist has a set of
unique characteristics that are known and identified in the plan for the
Virtual Museum.
One of
these characteristics has been the degree to which rules have been made up by
the artist. The commercial art markets
have a set of rules that the artist has not been comfortable with. The purity of the authenticity has been such
that the two sets of rules created a separation between the artist and the art
markets. There are a number of
consequences.
The Virtual
Museum develops an understanding of these consequences as a means to organize
the images of original paintings.
Drawing forward these original painting into this organization requires
our finding the image and producing a high resolution, technically specific
digital encoding.
The
generalization of the social science related to issues raised by the artist’s
life and work are addressed in scholarship that is posted in the Virtual Museum
™.
Fine art
reproduction is a way of sharing the images of original art work at an
affordable price.
Beyond the
price issue is the issue of appreciation.
One can appreciate the image of a painting, select the image that one
likes the most out of a collection; and express one’s individuality in that
selection.
Culture is
created in both the acts involved in creating that original artwork and in the
individual selection and collecting of those images.
The
creation of culture occurs in the acts involved in creating the art and in
appreciating the art. The rules that
are most natural to these acts are not the rules of economic transaction and
membership in art circles.
The rules
of the fine art reproduction economic system led to specific marketing and
production practices in the distribution of images of fine art. In the past decades, these rules lead to
expensive and large collections of unsold limited editions of these
images.
To produce a
limited edition was expensive when compared to the actual costs of the
materials used in the production of one image.
So one had to produce 500 images or 10,000 images at one time. Once these where produced, one had to store
and manage these many copies until a single buyer could be found for each one
of the images.
The new
digital technologies created a different set of drivers for outcomes that are
less burdensome on everyone involved, the artists, the art circles, galleries,
frame shops, interior decorators, and the individual whose appreciation leads
to a desire to have one copy of a specific image of a specific artist.
The key steps
involved are:
1) locating
the physical presence of an original painting, water color or sketch
2) bringing
together the original and a professional digital photographer
3) producing a
technically correct digital image of the original
4) having the digital
reproduction technology and using the technically correct digital image to
produce one image of the original
5) authenticating
the reproduction as being a specific number in an “open edition” duplication
process
6) shipping
the single fine art reproduction to the individual who is appreciating that
specific image
7) framing or
other wise preparing the single fine art reproduction for permanent display
Each of
these seven steps have rules that govern both economic and social/personal
aspects of culture.
Each of
these seven steps has similarities and differences between the fine art
reproduction processes that existed in the later part of the twentieth century.
There are
two other steps.
8) the
creative process that produces the original
9) creating
the communication of the existence of the original images many individual
people, and so establishing the capability of any of these individuals to
appreciate the image.
A proper
understanding of these nine steps leads to the set rules for production and
distribution of fine art images.