This week I discuss SpaceX, and its Dragon rocket carrying American astronauts to the International Space Station for the first time in 9 years. The 20 year old company is a testament to the incredible iron will and absolute insanity of the most visionary capitalist alive -- Elon Musk. We walk through various attributes of the company and recent launch to derive lessons for the financial industry and the entrepreneurs rebuilding it.
This week, we look at:
The spectacular price increase in crypto assets, hitting new records for Bitcoin, as well as the comparable statistical situation around Covid cases
An explanation of the $1.5 trilion income effect in 2020, and how it has led to both capital acumulation and inequity (thanks NY Times!)
A discussion of all-time-highs and all-time-lows, why we need them, and their connections to the macro-economy, computer code, music, and the universe itself
One wonderful takeaway from Watts, which of course is not his, but beautifully plagiarized into the English language, is the duality of experience. The need for polar opposites, in a clock-like cycle. To have black, you must have white. To have the top of the wave, you need the bottom of the wave. To have a melody, you need equally the presence of the notes, and their absence in silence. To breathe in, you need to breath out. It is meaningless to have a data point without the context in which it exists.
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.
What we know intuitively, and what the software shows, is that the pixelated image can be expanded into a cone of multiple probable outcomes. The same pixelated face can yield millions of various, uncanny permutations. These mathematical permutations of our human flesh exit in an area which is called “latent space”. The way to pick one out of the many is called “gradient descent”.
Imagine you are standing in an open field, and see many beautiful hills nearby. Or alternately, imagine you are standing on a hill, looking across the rolling valleys. You decide to pick one of these valleys, based on how popular or how close it is. This is gradient descent, and the valley is the generated face. Which way would you go?
This week, we look at:
Square acquiring Tidal and its 1-2 million of subscribers for $297 million, and the logic for what a payment processors has in common with the creative industry
How celebrities and creators like Mark Cuban, Gary Vaynerchuk, Grimes, 3LAU and others are generating millions in NFT sales
The impact on the economic model of the music industry, including a look at royalty structures, revenue pools, and financial vehicles when tokenized
The philosophical divide growing between a feudal platformed commons (e.g., YouTube) and a collectivist anarchist capitalism
This week, we consider the impact of financial infrastructure collapse and who really gets hurt through the lens of Wirecard, Enron, and Lehman Brothers. Yes, there are investors in the entity that will lose value. But there are also clients and counterparties of Wirecard, like Curve, Revolut, and Crypto.com. In the case of Lehman, there was a $40 trillion derivatives notional amount that took twenty years to wind down. We also consider the most recent $500,000 hacking in DeFi of an automated market maker to see if there are common threads to be drawn between the two worlds.
We anchor our writing around the World Economic Forum 223 page report on CBDCs and stablecoins. The analysis highlights the key conclusions across several white papers in the report. We then add a layer of meta analysis around the language in the report, and question what it is trying to accomplish, and whether that will work with the Web3 revolution. This leads us to think about the tension between populism, as represented by crypto, and institutionalism, as represented by banking structures. We discuss theories of cultural and national DNA, and the rise of populism, as difficult problems to solve for any global alignment.
I look at how spending $8 billion can either buy you $3 billion of revenue from Ingenico, or the private valuation of Robinhood and/or Revolut. Would you rather have a massive cash-flow machine, or a venture bet on a Millennial investing meme? To articulate this question in more detail, we walk through the impact behavioral finance has had on economic rational actor theories, and why quantitative financial modeling often similarly fails to capture the underlying tectonic plates of industry. It may not be wrong to bet on Millennials. We talk about what identity economics (ala identity politics) means for market value and how to think about generational change.
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.
