Yesterday, I published the Jompiy White Paper video (above), outlining the case for Jompiy being the Bitcoin of Art. The version of the White Paper in our Stomach Turner Prize Zine includes some info on art’s Ethereum, Slumpu, but for simplicity I made the YouTube version using only the original text. The distribution of free Jompiy has moved from London’s buses and tubes, to Camden Market, to outside London’s Tate Galleries, as documented by passers by here.

The footage for the white paper video was also shot yesterday at Black Ivory Printmaking & Audio Club in Muswell Hill, London (aka my home studio).

Slumpu was created by Ron Throop, who gave a presentation to the State University of New York including the following about Jompiy:

The full video referred to in Throops presentation:

Jompiy is the Bitcoin of Art. Here’s its White Paper:

Jompiy is the Bitcoin of art. jompiy.com is its blockchain. All Jompiy are divided into series by letter. Within each series, each work is numbered, signed, front and back photographed, recorded and that ledger kept public at jompiy.com for all to see and independently store. No duplication, no opportunity for fakes. Early acquirers of Jompiy are rewarded with a relatively low number compared to latecomers. Some Jompiy paintings are given away for free at Camden Market (series G and series J) and others air dropped on London buses and tubes (series G) in political protest against our social decline.

Jompiy solves Bitcoins problems. If you buy Bitcoin and then the price drops, you lose. Like with stocks, cash, precious metals, or whatever. Every bitcoin, ounce of gold or £20 note is worth the same as any other, so early investors only win if the price goes up after they buy it and they exchange it at such a point. In Jompiy, the numbers only go up. The time to get Jompiy is always now, as numbers get higher with time, and get passively lower relative to the full edition as more are made. In Jompiy, continually increasing supply continually rewards the existing Jompiy owner. With other assets, higher quantity means less value for all. Early acquirers of Jompiy paintings are rewarded by having a low edition number.

When’s continual supply better than capped? When you do it otherwise like a limited edition and you’re holding a low number. How to make sure the early birds win? Publish them in numerical order and don’t ask them to invest anything.

It’s Jompiy’s political belief that a lack of quality original art on display in people’s homes and workplaces is contributing to a social decline.

It’s Jompiy’s political belief that taking control of art from the big galleries and super-rich and giving it directly to the people better serves society in the same way Bitcoin takes control of our money from banks and governments and gives it directly to the people too. What Bitcoin does for money, Jompiy does for art.

To my future millionaires.

Jompiy