ChrisCoCreated pfp
ChrisCoCreated

@chriscocreated

Loved the š˜–š˜Æ š˜µš˜©š˜¦ š˜šš˜°š˜±š˜©š˜¢ call yesterday looking at how we make Sopha a great place for artists and writers. Here are the notes. Great to meet @eirrann.eth loved @naaate insight about uncozy corners. š—¦š—Øš— š— š—”š—„š—¬ The meeting centered on a deep discussion about the nature of online communities for creators, specifically within the context of the š—¦š—¼š—½š—µš—® platform on Farcaster. The conversation flowed from personal stories of artistic rediscovery and the failures of mainstream social media to the foundational principles needed to build a durable, meaningful space for artists and writers. Key themes included the search for depth over ephemeral engagement, the critical need for safety and anonymity, and the ongoing tension between creating intimate "cozy corners" and achieving sustainable distribution. š—£š—”š—„š—§š—œš—–š—œš—£š—”š—”š—§ š— š—¢š—§š—œš—©š—”š—§š—œš—¢š—”š—¦ š—”š—”š—— š—•š—”š—–š—žš—šš—„š—¢š—Øš—”š——š—¦ A diverse group of creators shared their journeys to the platform, united by a desire for a more substantive online environment. • One participant, after a two-decade hiatus enforced by military and corporate life, rediscovered a creative outlet through AI art, finding early validation in niche crypto-art communities. • Another described themselves as a "social media refugee," having watched platforms like Instagram and Twitter degrade from powerful distribution channels for their photography and writing into unusable spaces, leading them to seek refuge in Farcaster. • The founder of Sopha framed their motivation as that of a "philosopher builder" or "community artist," aiming to create infrastructure that facilitates genuine connection and creativity for themselves and others, inspired by the unique "scenius" of early Farcaster. • A fourth participant expressed interest in how on-chain tools and AI could enable new forms of collaborative, "multiplayer" creativity, drawing parallels to historical art movements that emerged from tight-knit scenes. š—–š—„š—œš—§š—œš—¤š—Øš—˜ š—¢š—™ š— š—”š—œš—”š—¦š—§š—„š—˜š—”š—  š—¦š—¢š—–š—œš—”š—Ÿ š— š—˜š——š—œš—” Existing platforms were analyzed and found wanting, primarily due to toxicity, impermanence, and algorithm-driven degradation. • š—§š˜„š—¶š˜š˜š—²š—æ (š—«) was characterized as increasingly toxic and capricious, with the real risk of being deplatformed and losing one's entire social graph and creative history, a firsthand experience for one participant. • š—œš—»š˜€š˜š—®š—“š—æš—®š—ŗ š—®š—»š—± š—Ÿš—¶š—»š—øš—²š—±š—œš—» were cited as examples of platforms that ruined their utility for creators by shifting algorithms to favor video or brand-safe content, destroying the distribution that artists and writers once relied upon. • The fundamental "job" of social networks was identified as providing users with the feeling of š—Æš—²š—¶š—»š—“ š˜€š—²š—²š—». When platforms fail at this, either through algorithmic obscurity or hostile environments, users become refugees in search of a new home. š—§š—›š—˜ š—©š—œš—§š—”š—Ÿ š—„š—¢š—Ÿš—˜ š—¢š—™ š—”š—”š—¢š—”š—¬š— š—œš—§š—¬ š—”š—”š—— š—¦š—”š—™š—˜š—§š—¬ For many professionals, the ability to create under a pseudonym is not a luxury but a necessity for true artistic freedom. • Compartmentalization between one's professional (IRL) identity and creative persona is essential for those in sensitive fields, such as individuals with security clearances or those who have faced credible professional threats due to public exposure. • Anonymity allows for exploration of taboo subjects, political discourse, and personal artistic themes without fear of real-world repercussions, enabling a form of expression that would otherwise be impossible. • Farcaster's protocol-level design, where one's social graph persists even if a specific client (app) bans them, was highlighted as a superior model for safety and durability compared to centrally controlled platforms. š—˜š—”š—©š—œš—¦š—œš—¢š—”š—œš—”š—š š—¦š—¢š—£š—›š—”'š—¦ š—£š—Øš—„š—£š—¢š—¦š—˜ š—”š—”š—— š— š—˜š—§š—”š—£š—›š—¢š—„ The group explored various conceptual models for what Sopha could become, emphasizing a space for depth and curation. • Core aspirations for Sopha include being a š—¹š—²š˜€š˜€ š—²š—½š—µš—²š—ŗš—²š—æš—®š—¹ š—µš—¼š—ŗš—² for work and a "š—°š—¼š˜‡š˜† š—°š—¼š—æš—»š—²š—æ" š—¼š—³ š˜š—µš—² š—¶š—»š˜š—²š—æš—»š—²š˜ where creators feel their work is deeply appreciated, not just scrolled past. • Architectural metaphors were debated: a š—°š—¼š—³š—³š—²š—² š˜€š—µš—¼š—½, š—¹š—¶š—Æš—æš—®š—æš˜†, š—¼š—æ š—“š—®š—¹š—¹š—²š—æš˜† with central gathering spaces and many side rooms; a š—°š—¼š—ŗš—ŗš˜‚š—»š—² with private houses and a shared common house; or a š—½š—²š—æš˜€š—¼š—»š—®š—¹ š—æš—²š˜€š—¶š—±š—²š—»š—°š—² with public courtyards, private parlors, and intimate bedrooms for trusted circles. • A key insight was the desire for an "š˜‚š—»š—°š—¼š˜‡š˜† š—°š—¼š—æš—»š—²š—æ"-a space safe enough to allow for uncomfortable, challenging feedback and creative risk-taking, supported by a foundation of trust and mutual understanding that such criticism won't break the relationship. š—§š—›š—˜ š—–š—˜š—”š—§š—„š—”š—Ÿ š—§š—˜š—”š—¦š—œš—¢š—”: š—œš—”š—§š—œš— š—”š—–š—¬ š—©š—¦. š——š—œš—¦š—§š—„š—œš—•š—Øš—§š—œš—¢š—” A significant portion of the debate focused on whether a small, dedicated community is sufficient or if built-in distribution mechanisms are essential. • The "š—°š—¼š˜‡š˜† š—°š—¼š—æš—»š—²š—æ" š—ŗš—¼š—±š—²š—¹ promises deep appreciation and connection but may top out at a small number of highly engaged participants, which can be nourishing but doesn't scale or provide monetary sustainability. • The š—±š—¶š˜€š˜š—æš—¶š—Æš˜‚š˜š—¶š—¼š—» š—ŗš—¼š—±š—²š—¹ recognizes that creators have limited time (a "return on attention" hurdle) and often need broader reach for validation and, potentially, income. • The concept of "š—ŗš˜‚š—¹š˜š—¶š—½š—¹š—®š˜†š—²š—æ" š—°š—æš—²š—®š˜š—¶š˜ƒš—¶š˜š˜† was proposed as a potential solution: small groups or collectives (a š˜“š˜¤š˜¦š˜Æš˜Ŗš˜¶š˜“) working together could create more impactful work that has a better chance of finding an audience, sharing both the creative burden and the potential rewards. š—•š—Øš—œš—Ÿš——š—œš—”š—š š——š—Øš—„š—”š—•š—Ÿš—˜, š—¢š—”-š—–š—›š—”š—œš—” š—œš—”š—™š—„š—”š—¦š—§š—„š—Øš—–š—§š—Øš—„š—˜ Technical discussions focused on how to make creative contributions and curation efforts last beyond the lifespan of any single application. • A major limitation of current platforms (evidenced by the shutdown of š—„š—¼š—±š—²š—¼) is the impermanence of both the platform and the social actions (likes, curation) that happen there. • The ideal vision is for all meaningful actions within Sopha (e.g., curating a cast into a collection) to be recorded š—¼š—»-š—°š—µš—®š—¶š—», making them persistent, permissionless, and portable. • Upcoming protocol developments like š—µš˜†š—½š—²š—æš˜€š—»š—®š—½ (an extended frames-like system) were mentioned as a potential path to enable richer, on-chain interactions (e.g., a "curate" reaction) that could form the backbone of a durable creative ecosystem. š—§š—›š—˜ š—•š—˜š—”š—„š—œš—¦š—› š—„š—˜š—”š—Ÿš—œš—§š—¬ š—¢š—™ š—Ŗš—˜š—•šŸÆ š—”š—„š—§ š—£š—Ÿš—”š—§š—™š—¢š—„š— š—¦ The recent shutdown of Rodeo served as a sobering case study on the challenges facing digital art platforms. • The closure underscored the š—²š˜…š—½š—²š—æš—¶š—ŗš—²š—»š˜š—®š—¹ š—®š—»š—± š—¼š—³š˜š—²š—» š˜š—²š—ŗš—½š—¼š—æš—®š—æš˜† š—»š—®š˜š˜‚š—æš—² of many Web3 projects still searching for product-market fit, despite users often perceiving them as permanent. • Participants mourned the loss of not just a marketplace, but a community space and a body of work (with one having minted over 150 pieces there), highlighting the fragility of digital contexts. • This reinforced the argument for š—¼š—»-š—°š—µš—®š—¶š—» š—±š˜‚š—æš—®š—Æš—¶š—¹š—¶š˜š˜† and raised questions about the sustainability of platforms that rely on continuous user engagement without a clear economic model. š—œš——š—˜š—”š—¦ š—™š—¢š—„ š—¦š—¢š—£š—›š—”'š—¦ š—˜š—©š—¢š—Ÿš—Øš—§š—œš—¢š—” š—”š—”š—— š—šš—„š—¢š—Ŗš—§š—› The conversation concluded with practical brainstorming for near-term development and community building. • š—–š˜‚š—æš—®š˜š—¶š—¼š—» š—®š˜€ š—® š—Ÿš—®š˜‚š—»š—°š—µš—½š—®š—±: Using š˜š—µš—²š—ŗš—²š—± š—°š—¼š—¹š—¹š—²š—°š˜š—¶š—¼š—»š˜€ curated within Sopha as shareable, high-quality "cultural artifacts" to attract attention from the broader Farcaster ecosystem, effectively "matching the hatch" of current community interests. • š—¦š˜š—æš˜‚š—°š˜š˜‚š—æš—²š—± š—¦š—¼š—°š—¶š—®š—¹ š—Ÿš—®š˜†š—²š—æš˜€: Implementing a system of š—æš—¼š—¹š—²š˜€ š—¼š—æ š—“š—®š˜š—²š˜€ that would allow creators to share work at different levels of privacy-from public broadcasts to semi-private spaces for trusted feedback, to fully intimate circles for vulnerable works-in-progress. • š—™š—¼š—°š˜‚š˜€ š—¼š—» š—–š—¼š—æš—² š—©š—®š—¹š˜‚š—²: The advice was to š—Æš˜‚š—¶š—¹š—± š—¹š—²š˜€š˜€ š—Æš˜‚š˜ š—½š—æš—¼š—ŗš—¼š˜š—² š—ŗš—¼š—æš—², focusing energy on demonstrating the unique value of the community (deep discussion, thoughtful pauses, curated content) rather than solely on feature development, in order to grow organically from the current small, dedicated user base.
3 replies
8 recasts
20 reactions