We are rebranding LTL Maps as Shaka Places. In Hawaii, everyone uses the shaka to express friendship, gratitude, goodwill, encouragement and unity. A little wave of the hand spreads a lot of aloha. For us the "Like" button is a core feature, as its a sign of trust, it only adds weight to the reputation of a place if it's a like given  by your friends of friends. In the current UI the ❤️  will be replaced as we develop our very own custom branded version of the like button. The Shaka is born.

The Shaka expresses all those friendly messages.

“Hang loose,” “Right on,” “Thank you,” “Things are great,” “Take it easy” – in Hawaii, the shaka sign expresses all those friendly messages and more. To make the shaka, you curl your three middle fingers while extending your thumb and baby finger. For emphasis, quickly turn your hand back and forth with your knuckles facing outward. The shaka comes in all shapes and sizes. But where did it come from, and more importantly, how do you throw yours?

"There is context to everything", Kelly Slater

Through personalization, Netflix serves up “what to watch,” Amazon “what to buy,” and Spotify “what to listen to”, so what if our long-term value prop is knowing your favorite places well enough to offer “what to do, where to go and who to do it with?” Shaka Places will be the first privacy-first location-based dapp to share magic places and reward content, code & design.

Our position-dependent app can prove that a customer has arrived at your restaurant or hotel so that the smart contract can trigger a reward.

An International Sign for Positivity

A privacy-first location-based dapp to share magic places and reward content, code & design. A mobile dapp owned and governed by the contributors and users. A dapp, to publish, explore, and share places to Live The Life. We change the user experience by unlocking places your friends love, based on your current location.

We want to allow users to get rewarded for visiting real-world locations, as they can earn tokens through a process called geo-mining. This model allows businesses to attract potential customers to their locations, get their attention or even get them to perform storytelling challenges. Businesses pay only for people that visit their place which make calculation of Return of Investment easy.

When is Shaka Places launching? 😆

I can't wait for the day that we can unlock the world again. In the pre C19 era I often used TripAdvisor & Instagram to find new places to LiveTheLife, over the past decade that ended up in a collection of hotels & restaurants I would want to try myself. But when I actually visited one of these destinations I had no clue which places I wanted to try. Google Maps, TA, Insta, ... they all failed on me to do one thing: see all the nearby places that I and the people I have been following had bookmarked, simply show me these places based on my geolocation and let me call the restaurant to reserve a table. I assumed there must be a way to avoid building an app to do this, so I downloaded a couple of 100 apps to verify if there was already a solution out there, in short, nope, none, so we started building one.

We have more content creators than ever, and content creating is on average likely as poorly rewarded as it has ever been. Facebook, Google, and the eventually successful startup (along with their investors) are doing fine — creators and the content market as a whole are not. Which models have risen as alternatives?

With simple payment-for-access, a price is set, some people able to afford it will pay, but others will pay zero (and maybe go seek the content elsewhere). That’s why Netflix and Medium went all in subscriptions, selling bundles that best adjust between (A) what creators want to get paid for and (B) what consumers can pay for.

With the right tools and timing, though, we may be able to correct some sins of the past. More importantly, stumble on models for value creation and capture that are completely novel, along the way. Crypto assets may mark the shift towards models that are neither purely consumer-paid nor funded, but that are “redistributive”, including audiences in the value equation and providing economic reason to pay attention (or a couple bucks). Among properties that facilitate this shift are those of fractional ownership, liquidity and programmability of crypto-assets.

There has been a ton of experimentation here, but most of it comes down to enabling consumers to share earnings of given systems or content owners. Below, we outline a few models being researched:

  • Tip-to-share-earnings: picture a 4-episode web series. As its creator, I ask people to tip U$1 (in ether, say) after they watch episode 1, if they like it. In episode 2, I do the same — but now 50% of what I get go to addresses that tipped the first episode (if twice the amount of people tip in the same quantity, every early tipper gets the money back. Four times more people means doubling the money). In the third episode, 50% of what I get are shared among 1st and 2nd episode tippers. And so on. This way, both incentives for paying and for sharing are intertwined, and serial content can come to have a life of its own.
  • Dynamic pricing with bonding curves: one must pay an access token to watch each video of a given creator. Let’s say we’re talking a magician. He’s been performing tricks in an open channel, and selling their explanations (separate, private videos) for fans who hold and spend these tokens. Their price grows and decreases according to a bonding curve imposed by a market maker contract— the more tokens outstanding, the more expensive they are. $$ spent to buy tokens is transferred from this contract to the content creator, while a part of the revenue can be kept in a pool that buy back tokens from the market. Surfing on the popularity of artists becomes a way to earn money for watchers.
  • Common content pools: think a curated registry for high-quality, properly attributed, licensable stock footage (e.g. one that only holds unused footage from Hollywood movies). Film production studios with idle, unused “film rolls” on their archive can bootstrap a common pool for licensing such material to documentarists, amateur filmmakers or any kind of creators worldwide. Two or three studios gather, issue a token, and let anyone else add content to their pool by paying an application fee (to be redistributed to token holders) and becoming subject to a distributed curation game. Participants of the common pool earn payment instalments as licensing revenue kicks in, early supporters also see their assets appreciate as more content owners join the pool.

None of these models have established interfaces or have been deployed in scale. At this point, they are no more than speculative bets. Worth noting, the two latter examples above feature tokens, but the first does not.

Programming “money flows” is what enables more distributive value exchange frameworks, not tokens themselves.

Extrapolating the definition of a “redistributive” monetisation model, one realises the potential of self-sustainable content communities as a business model. Despite alternatives for “having stakes on content”, and for more “distributive value exchanges”, we are still far from having autonomous media apps.