Decentralized finance is formulating new mechanisms to correct for the pitfalls of liquidity mining, yield farming, and other early token distribution approaches. This is happening both at the level of individual projects like Alchemix or Fei, and at the level of industry wide consolidation through Olympus DAO and Tokemak. We explore where this evolution is going, and potential outcomes. In this first part of the analysis, we look closely at Olympus DAO, the concept of Protocol Owned Liquidity, and whether the economics make sense.
In this conversation, we chat with Sandeep Nailwal – The Co-Founder & COO at Polygon (previously Matic Network). Sandeep is a long time developer who’s been dabbling in the space since way back in his college days. Originally known as the Matic Network, Polygon rebranded with the aim to reach a global audience and they’ve certainly done just that.
More specifically, we touch on Sandeep’s intriguing entrepreneurial journey, developing a blockchain startup in India, DApps, Scalability & Interoperability of Layer1 and Layer2 blockchain solutions, Zero-knowledge Rollups, NFTs & Gaming, and so much more!
In this conversation, Cris Sheridan, who is the Senior Editor of Financial Sense and Host of FS Insider, leads the conversation around the basics to understand the exciting new digital universe, more commonly known as The Metaverse.
More specifically, we discuss all things VR & AR including social media’s proliferation into the sector, Millenial vs GenZ behavioural approaches to the metaverse, the creator economy, NFTs, Axie Infinity, Mr Beast, Computational Blockchains, Decentralized Autonomous Organizations (DAOs), ConsenSys, MetaMask, and Ethereum vs Institutional Finance (Schwab).
However, mastery is not immune to automation. As a profession, portraiture melted away with the invention of the Camera, which in turn became commoditized and eventually digitized. The value-add from painting had to shift to things the camera did *not* do. As a result, many artists shifted from chasing realism to capturing emotion (e.g., Impressionism), or to the fantastical (e.g., Surrealism), or to non-representative abstraction (e.g., Expressionism) of the 20th century. The use of the replacement technology, the camera, also became artistic -- take for example the emotional range of Fashion or Celebrity photography (e.g., Madonna as the Mona Lisa). The skill of manipulating the camera into making art, rather than mere illustration, became a rare craft as well -- see the great work of Annie Leibovitz.
This week we continue the discussion of the shape of DeFi 2.0. We highlight Tokemak, a protocol that aims to aggregate and consolidate liquity across existing projects. Instead of having many different market makers and pools across the ecosystem, Tokemak could provide a clear meta-machine that optimizes rewards and rates across protocol emissions. This has interesting implications for overall industry structure, which we explore and compare to equities and asset management examples.
Luxury and fashion markets are structurally different from finance or commodity markets in that they seek to limit supply in order to generate value. This increases price and social status. We can analogize these brand dynamics to what is happening in NFT digital object markets and better understand their function as a result.
We’re not cool. That’s why we’re in finance.
But people want to be cool. As highly social and intelligent animals, we want and need to belong, differentiate against each other, and negotiate for status. We create signals and hierarchies to create pockets of relational capital, which we then cash in for real world benefits.
Such mammalian realities are contrary to the economic rendering of the homo economicus, the abstracted rational agent making choices in financial models. In 2021, our financial models are waking up and instantiating themselves, becoming Decentralized Autonomous Organizations (DAOs), spun up by DeFi and NFT industry insiders, and implemented into commercial actions onchain.
In this conversation, we talk with Beatriz Helena Ramos – artist, entrepreneur, film director, producer and illustrator – the mind behind DADA.art. DADA is “a space where everything is about cooperation and solidarity, which are amazing ways to allow self-expression, as well as constant inspiration. Additionally, we provide simple tools to encourage creativity, and erase intimidation.”
More specifically, we discuss Beatriz’s journey to creating DADA, decentralized power structures, community-inspired creative collaboration, assymetric rewards in NFT markets driving new value distribution methodologies, DADA’s latest project called “The Invisible Economy”, and technology-inspired and centric approaches to empower artists in the future.
In this conversation, we chat with Nicholas – an NFT developer and a contributor to Juicebox, which is an awesome DAO enablement software, as well as SharkDAO and PartyDAO. He is very active in the ecosystems, got a solidity podcast called Solidity Galaxy Brain, a collaborator with multiple NFT artists, but I could go on and on. Let me welcome Nicholas to the podcast.
More specifically, we touch on the philosophy behind programming and coding, what a decentralized autonomous organization (DAO) truly is and what it is comprised of, various successful examples of DAOs that Nicholas has been involved in, the concept of community and the value that DAOs serve in this respect, how DAOs leverage tools to achieve their purpose, and so so much more!
This week, I grapple with the concepts of financial centralization and decentralization, anchoring around custody, staking, and DeFi examples. On the centralized side, we look at BitGo's acquisition of Lumina, Coinbase Custody and its similarity to Schwab and Betterment Institutional. On the decentralized side, we examine the recent $500 million increase in value within the Compound protocol, as well as the recursive loops that could pose a broader financial risk to the ecosystem.
Feelings and emotions at industry events matter. The narrative at the more traditional conferences is that Fintech innovation is just incremental improvement, and that blockchain has struggled to bring production-level quality software and stand up new networks. This isn't strictly true -- see komgo, SIX, or any of the public chains themselves -- but the overall observation does stand. Much of Fintech has been channeled into corporate venture arms, and much of blockchain has been trapped in the proof-of-concept stage, disallowed from causing economic damage to existing business.










