31/10/2022 This week in the metaverse: Save your NFTs from disappearing, Microsoft squanders an early advantage, and Meta is hemorrhaging money

Club NFT team
ClubNFT CEO Jason Bailey.
MATTHEW J. LEE—THE BOSTON GLOBE/GETTY IMAGES

Welcome to “This week in the metaverse,” where Fortune rounds up the most interesting news in the world of NFTs, culture, and the metaverse. Email[email protected]with tips.

Carlos Topo Maseda was at a friend’s wedding in Puerto Escondido, Mexico, last November when he began to panic.

A flurry of tweets claimed thatHic Et Nunc, the NFT marketplace where he had spent much of the past year creating and buying non-fungible tokens, had suddenly shut down. The project’s websitereturned an error, itsTwitteraccount had been discontinued, and Topo Maseda couldn’t access any of his NFTs.

“​​From one day to another, they disappeared,” he said.

Topo Maseda eventually recovered his NFTs from a clone website that copied Hic Et Nunc’sopen source code, but not everyone may be so fortunate, especially as other NFT marketplaces shut down or are acquired during the crypto bear market, according to Jason Bailey, CEO of ClubNFT, a platform that backs up NFTs.

Although many collectors believe their NFTs will be safe forever because they exist on a blockchain, this isn’t necessarily true, Bailey toldFortune. Although some elements of an NFT exist on a blockchain, only around 10% of them are fully on-chain because of how expensive it is to do so, Bailey claims. Instead, about 40% of all NFTs are hosted on private servers, which means they could be lost at any time.

“People are confused because they hear these stories about blockchain and how things exist forever and last forever,” Bailey continued. “What they don’t realize is the art and the metadata that they’re actually looking at when they go to the marketplace, the thing they fall in love with, isn’t almost ever on the blockchain.”

Carlos Topo MasedaCarlos Topo Maseda nearly lost all his NFTs last November when the marketplace Hic Et Nunc suddenly shut down.
COURTESY OF CARLOS TOPO MASEDA

An NFT usually has three to seven components, Bailey said, which could include the main image, any metadata that defines rarity traits, or the artist’s name. But these elements are often stored on private servers that could be shut down on a whim, similar to what happened with Hic Et Nunc. This could leave a collector with a shell of an NFT that points to a long-gone image, ultimately making it worthless.

To solve this problem, some NFT marketplaces have turned to IPFS, or InterPlanetary File System, which is universally compatible and uses a unique hash to guarantee that the elements of an NFT can be retrieved as long as they still exist somewhere online or are available to you.

Metaplex Studios CEO Stephen Hess toldFortunethat his company offers IPFS to its users because it’s one of the best systems for securing an immutable NFT.

“We see collectors looking for permanence,”Hesssaid. “They want to know that they’re buying this piece of art and it will be around for generations to come.”

But IPFS means nothing if a marketplace shuts down and stops paying for “pinning,” which is what almost happened with Hic Et Nunc. Pinning is essentially a recurring fee for hosting the NFT. It’s similar to paying to store your files on a cloud storage service like DropBox.

To avoid the pitfalls of a marketplace storing your NFT on private servers or stopping payments that would make IPFS useless, ClubNFT allows collectors to download a free local backup of their NFTs and their elements. Even if the marketplace where you bought your NFT shuts down and stops paying for pinning, you can use the local backup to restore it using IPFS, and then start paying for pinning yourself.

After Topo Maseda’s experience with Hic Et Nunc, the first thing he did was back up the NFTs he was able to recover, which he now keeps on two separate hard drives.

“For me,” he said, “that was the moment where I understood what it meant to own your data.”

Arts

https://fortune.com/crypto/2022/10/28/this-week-in-the-metaverse-save-your-nfts-microsoft-squanders-early-advantage-meta-hemorrhaging-money/

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Tametomo and the inhabitants of Onoshima Island
Katsushika Hokusai (1760-1849) Tametomo and the inhabitants of Onoshima Island 1811 - Japan
taNNa
conceptual art. drawing and digitally processed.
CryptoPunk #2066
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Gold Googly cottoncandy gerbil
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The idea for this piece was borne out of a tweet of mine that caused a bit of a stir. I’d posted a link to a blog article I’d written a number of months previous titled ‘Who is the Creator’ discussing various types of creative collaborations and why I hire people to work on my animations. It generated a lot of debate around creation and attribution with the community split on whether it’s right or wrong for an artist to hire other professionals to help them realize their art projects. I decided to push the boundaries even further and see how the cryptoart community responded. What if I quite literally had nothing to do with the physical or digital elements of the work other than coming up with the concept and coordinating it? I decided there was one artist in the space who could add huge value to this idea on levels that none other could and so I gathered my courage and contacted the great JosĂ© Delbo to ask him if he’d be interested in a very unique collaboration. I explained to him that to make this piece ‘work’ he couldn't have any say in what I produced and moreover, he wouldn’t even be allowed to see the animation until it was dropped on MakersPlace. To my surprise, Mr Delbo agreed to my proposal. The animation tells the story of the creative process, which includes my roles as writer, director, and producer working with a team and making edits and changes ‘in real time’. The dialogue between myself and my ‘hired guns’ plays out in front of the viewer. The music written for the piece adds to the nostalgia of the comic book superhero theme but other elements such as the snapping and kicking of the pencil and the signing of my signature at the bottom incorporates further layers and challenges the viewer to ask important questions, such as, is the ‘Art’ the final animation (the creation) or is the ‘Art’ the concept/credit for the creation itself?