The theme for 2023 is Abolition
Since 1789,
the aristocracy of birth and the aristocracy of religion has been destroyed by revolutionary France.
Since 1803,
the aristocracy of skin has been abolished by revolutionary Haiti.
Since 2008,
the aristocracy of money has been obliterated by Satoshi Nakamoto.
NOW,
it takes some time for the fullness of things to be realized, as clearly in some respects all of these aristocracies persist in weakened form.
BUT,
we can also see that the regenerative spark of some historical moments can never be reversed and will not be contained until made 100% manifest.
2023,
a crucial juncture that introduces opportunity for another great clearance in the forest of abuses.
We will find that it’s not the banks that need overthrowing, but tyranny itself.
TYRANNY,
the same enemy we have defeated many times before. He is a defeated foe.
When the aristocracy of money has fully concluded, we will look back and know that what was referred to as e-money, DigiCash, digital gold, cryptocurrency, crypto assets, etc… was never any of those things.
What began with the publication of the Bitcoin Whitepaper was simply:
the introduction of a new form of Specific Object.
IT would one day lead to the fulfillment of a vision shared by the great Old Testament Prophet Isaiah:
Ho, every one that thirsteth, come ye to the waters, and he that hath no money; come ye, buy, and eat; yea, come, buy wine and milk without money and without price. ~ Isaiah 55:1 (KJV)
The reference here by analogy is taken from the 1965 Essay “Specific Objects” by Donald Judd pertaining to a new understanding of art as distinct from its then traditionally exhibited forms as mere “painting” or “sculpture”:
“The new three-dimensional work doesn't constitute a movement, school or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities.
The similarities are selected from the work; they aren't a movement's first principles or delimiting rules. Three-dimensionality is not as near being simply a container as painting and sculpture have seemed to be, but it tends to that. But now painting and sculpture are less neutral, less containers, more defined, not undeniable and unavoidable. They are particular forms circumscribed after all, producing fairly definite qualities.
Much of the motivation in the new work is to get clear of these forms. The use of three dimensions is an obvious alternative. It opens to anything. Many of the reasons for this use are negative, points against painting and sculpture, and since both are common sources, the negative reasons are those nearest commonage. ‘The motive to change is always some uneasiness: nothing setting us upon the change of state, or upon any new action, but some uneasiness.’ The positive reasons are more particular.”