Oceans of Wisdom

from my 2021 initial prez

this should be the goal

- can i contribute my artist proceeds of a meme cards to buy art for "all of us" -> yup seems easy - do I think others might do this? yup, seems plausible - ok i will give $100K to this museum. ok, I like this - will anyone else do it? I am not sure yet. the proposition needs refinement. giving $100K or $10M or $100M to the Met has a lot of built up cultural and social value. we are not the met, we cannot catch up to the met so it needs to be done differently

it has just been my logical progression

anyway this does not need to be solved now

easy

i actually think there is an answer to the question but it is not super eary

why should someone (Bob) spend their money to build cultural value for a network collection that @[RegularDad] is a 'stakeholder' in but did not put any money

yes, you did misunderstand it. I raised $7M for the Goose. at some point I will need to sell the Goose. Unlike the Tulip that I do not need to sell because the Tulip I did with my money. And I am asking the question out loud is there a model that I could go to a group of people and say "let's buy it from the current owners but this time send this to this SAFE that will never sell it" and it will be collectively owned by the 6529 Network, not by 6529 Museum LLC, not by me, not by 6529 Fund 1 but buy an onchain network so it is an interesting and hard question. it is interesting and hard because it is voluntary

it is a different question

and this is not a substitute for the meme cards

I am asking the question of "how do we do $100M"

we are doing a few million a year

I am credible on this topic

I have without any doubt whatsoever raised more money to put into NFTs than anyone in the world, starting with mine but also others

and the question I am asking myself is "what would it take to get other people to put money real amounts of money to lock NFTs up forever"

and let you guys pick what to buy with the money

i committed 2 weeks ago to putting $100K of money into the network museum

dude nobody is going to need to buy anything from anyone

or "artists with no secondary market"

it is also why the museum if you look at it, collects more well it is the wrong word but whatever "emerging artists"

i have always been clear which one is which

the fund is a SEC-regulated fund and that one has the word FUND it in on opensea, here etc

what is different here

almost all museums were privately founded by a group of individuals

why is it not a museum?

that one I control - i own >70% of, I have all the control rights, the investors are all my friends

no, that is not a fund

but i realized it was part of a broader concept

the meme card to network museum pipeline is absolutely going to work

and now I want to fine tune the mechanics

and so all of this is very good in principle

and then the bats thing happened and I said I will put in $100K but not for the 6529 museum; I have plenty of NFTs but for the network collection

so this was a few weeks ago

we collectively own 1/1s but in a permanent museum-like structure where we are explicitly not selling them, we collectively decide what collections it will have via funding meme cards, we collectively pick what is in the collection and then we the mints get an interactive edition-like version of the collection which is anyway CC0

at this level it is imho an absolutely fantastic idea

and then the meme card would be some interactive version of what was collected in that collection

but not "us" but the network

for the network collection

we will use that money and buy other art

but we don't want the artist money for the meme card

is that @[6529er] and I are going to drop a meme card

the idea please read above @[arsonic] so you can be an Active Participant in class

this was my pre-shower version yesterday

6529 Museum Meme Card Accession Program Keys and gates: photographs of access, control, and exit Overview This inaugural photography accession program builds a focused subcollection about the mechanics of freedom - who gets access, who is excluded, what is permissioned, what is open, what is surveilled, what can be carried across a border, what can be said without reprisal, and what it means to leave. The program draws a straight line between the physical and the digital. Doors, turnstiles, checkpoints, queues, fences, paywalls, cameras, badges, backrooms, server rooms, screens, and the ordinary frictions that decide who can participate. The subject is sovereignty as lived experience: custody, autonomy, and the right to exit. Curatorial frame “Decentralization” is often discussed as infrastructure. This program treats it as a human condition. We are looking for photographs that make control visible and that show the costs of control, the workarounds people build, and the spaces where agency survives. The strongest works will stand on their own as photographs and also hold together as a coherent set that can be read as an argument. What the collection intends to acquire A tight group of works that establishes the collection’s standards from day one. Scope includes, but is not limited to: • Thresholds and gates: entrances, exits, locks, keys, barriers, checkpoints, borderlands • Civic and state systems: border control, visas and residency, permits and licensing, courts and waiting rooms, police lines and barricades, administrative queues, public benefits offices, state archives, civic surveillance in public space • Permissioning and membership: badges, IDs, wristbands, ticketing, queues, access rosters, invitation-only spaces, corporate lobbies, compliance checkpoints • Markets and capital gatekeeping: trading floors and exchanges, clearing and settlement infrastructure, bank branches and compliance desks, underwriting and credit scoring, “accredited” access, terminals and back offices, paywalls and walled gardens in finance • Surveillance and compliance: cameras, lighting, patrols, signage, monitoring rooms, security theater, audit trails and inspections rendered as space and behavior • Informal autonomy: side doors, parallel routes, mutual aid, shadow logistics, repair culture, off-grid edges, self-organized systems that bypass official chokepoints • The right to exit: departure, refusal, evasion, shelter, chosen invisibility, the quiet act of leaving • Self-custody and self-sovereignty as lived practice: personal control of movement, identity, information, and value in environments designed to intermediate them What does not fit this round: • Tourism aesthetics without a control or access story • Studio portraiture without a clear relationship to the premise • Format: 1/1 photographic works to be minted on the collections common contract The goal is a legible accession list that reads like a museum’s first photography subcollection, not a market sweep. Rights and access CC0 only. People in the frame Photography of public space often includes people. That is acceptable here, with a standard that matches CC0 practices. • Works with people in public space are welcome. • Works with clearly identifiable individuals require documented consent suitable for a CC0 release. • Submissions featuring identifiable minors will not be considered. • Submissions that expose sensitive personal data, doxxing vectors, or vulnerable situations will not be considered. The collection is building a permanent record. The ethical bar needs to match the permanence. Eligibility • The work must be an original photograph made by the submitting artist. • The artist must be able to release the work under CC0 and warrant that release. • The work is minted for the first time on-chain during this process on a 6529 Collection common contract Submission package Each submission should include: • The proposed photograph • Title, year, and location (or “withheld”) • 75–150 word caption describing the “threshold” or control dynamic in the image • Technical note (process, camera or workflow, any material manipulation) • CC0 declaration • If identifiable individuals appear: confirmation that consent documentation exists and can be provided on request Limit: up to three works per artist. (like The Memes) Program period and decision process • Open call period: 60 days • Final day: TDH vote, in the same format used for The Memes • Process: Submissions are compiled into a single program Wave, just like The Memes Selection standards Works are evaluated on: • Photographic strength and craft • Clarity of the control, access, or exit theme • Distinct voice and point of view • Long-horizon relevance as document and as image • Completeness and quality of documentation Number and Price • Purchase price: 0.5 ETH each • Quantity: Determined by the number of Meme Cards minted Accessioning and publication Each acquired work will be accessioned with a consistent record and published as part of the subcollection. Publication outputs: • A subcollection page with a concise curatorial text • Individual object pages for each accession, with standardized metadata and captions • A checklist view of the final accessions • A compact, downloadable catalogue The Meme Card The Meme Card functions as a benefit work that endows this acquisition round. • During the open call, it presents the program title, premise, and schedule. • After acquisitions are complete, it becomes a presentation object that cycles through the accessioned works and anchors the subcollection’s interpretive frame. First Time • This mint is the first attempt of the Meme Card accession program • We can expect some adjustments to the above as we run it in practice

The 6529 Collection • Purpose The 6529 Collection is a collection of NFT art, established for long-term stewardship, research, and public interpretation, that is governed by the 6529 network. Its goal is to be the world’s most impactful decentralized art museum, open to all on a global basis • Governance The 6529 Collection will be governed by the TDH metric of the 6529 Network. TDH is the core governance metric of the 6529 and is a metric derived from the holdings of 6529 NFTs. It is expected that major decisions will be decided by a plurality of TDH vote. Day-to-day operational activities may be delegated to individuals and groups based on a TDH vote. • Permanent Holding / Not Investment Vehicle The collection will serve the same role for the 6529 network state that public art museums (e.g. the Louvre) serve for nation-states. The works in the 6529 Collection should be considered to be held in a form of perpetual trust on behalf of the network. The collection is not an investment vehicle and no party, including members of the 6529 network, will receive investment returns from the 6529 Collection. We can look to public art museums to understand the concept – the Louvre is in some abstract way “owned” by the French people, but no individual French person has an individual ownership stake in the collection or receives dividends or capital distributions from the Louvre. • Custody The collection is held for the benefit of the network. Initial custody will be maintained through a multisignature SAFE located at collection.6529.eth. The signing policy will progressively decentralize as follows: • Initial signing policy: punk6529, 6529er, itsjpower plus 2 members voted by the network with a signing quorum of 3/5. We want to maintain a group that we have high confidence will vote to transfer to the TDH model when the time comes • Future signing policy: plurality of TDH (once technically feasible) • Collections policy Works accessioned into the collection are intended to be held in perpetuity as part of a permanent collection holding. The collection operates as a one-way accessioning model, consistent with public-museum practice. The collection is not managed as an investment vehicle and does not pursue sales for financial return or distribution. In rare circumstances, the collection may authorize exchanges, transfers, or other actions solely to advance the collection’s curatorial mission (for example, to strengthen coherence, improve preservation, or expand public access). In any case, no such action will be allowed during the Initial Signing Policy period. • Acquisitions and donations The collection will grow through multiple pathways: o Donations: The collection will accept gifts of NFTs and other digital assets, including ETH and tokens, in support of collection development and ongoing stewardship. o Meme Card Funded Acquisitions Programs: This is a structured acquisitions program that anyone can participate in. A Meme Card can be submitted with a proposed acquisitions theme. If the Meme Card is voted to be minted, the artist share of the Meme Card is used to acquire new primary CC0 works that will be minted on a 6529 Collection contract. More details about the Meme Card program at the end of this document. o Other Network-Funded Acquisitions Programs: Other acquisitions programs funded by the network with goals and methods as determined by the network. o Individual-Funded Acquisition Programs: Individuals (or groups) can support/fund acquisition programs that will take advantage of the network’s curation. Each program is defined by a curatorial premise and a dedicated acquisitions allocation, and it culminates in a documented set of accessions. An example of this approach is the punk6529 $100,000 2026 acquisition program inspired by the BSY acquisition program. • Interpretation and documentation Each subcollection will be published with museum-grade documentation that supports study and public understanding. This includes a curatorial statement, individual work records, and artist information, along with provenance notes and relevant context. The goal is not simply to assemble works, but to establish meaning, lineages, and interpretive frameworks that persist. • Primary vs Secondary In the beginning, the collection should prioritize primary acquisitions from artists. The collection can consider secondary acquisitions at a later stage. • Naming o There is an existing naming overlap with “6529 Museum,” which is not currently owned by the network and predates this structure. o Given this, “the 6529 Collection” is the name of the network collection. o The question of “museum” nomenclature can be revisited later. • The Meme Card as a benefit work o Meme Card Themed Acquisitions Programs The general concept is that a Meme Card will fund acquisition of work. In its initial form, the card will describe the goals of the proposed acquisition program. After the program concludes, the card will change and show the actual acquired works, becoming an interpretive object in its own right. o Scalable and Decentralized If this model proves effective, it offers a scalable, decentralized way to grow the collection. TDH would determine both  which acquisition program is funded next via a successful Meme Card mint  which works are acquired within each program, using the same voting mechanics that govern The Memes. o Alignment:  Meme Card minters (program funders): receive an edition that represents the subcollection and demonstrated on-chain provenance of their support through the mint  The Collection / the network: acquires the underlying 1/1 works into the permanent collection  Artists: place work into an increasingly significant collection at transparent, fixed terms  The public commons: gains additional CC0 cultural work and a curated, documented subcollection

this is what I had written earlier before I decided we should change the name

dude did you miss the whole we are making a museum via meme cards?

i want to go more radical

i do not want it to be another fund or etf or DAT