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June 28, 2004

 

Anticipatory Web (AW) Design Document

 

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

 

 

 

Discussion about the Safe Net and Virtual Museum System Franchises

 

 

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. 

 

Life and teachings of an 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 ™.

 

Acquiring technically correct digital encoding

 

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.