Domain Registration Quotes

All of a sudden (in 1938 I think), in order to extend its autarchy to the domain of cinema, Italy decreed an embargo on American films. It wasn’t a question of censorship: as usual the censors granted or denied permission to individual films, and nobody saw the ones that didn’t get it and that was it. In spite of the awkward anti-Hollywood propaganda campaign that accompanied the measure (right around that time the regime began to conform to Hitler’s racism), the true reason for the embargo was supposed to be commercial protectionism, in order to make room in the market for Italian (and German) productions. For this reason the four largest American production and distribution companies—Metro, Fox, Paramount, Warner—(I’m still relying on memory, trusting the accuracy of the registration of my trauma), whereas films by other American companies like RKO, Columbia, Universal, United Artists (which had also been distributed before then by Italian companies) continued to arrive until 1941, that is until Italy found itself at war with the United States. I was still granted some sporadic satisfaction (in fact, one of the greatest: Stagecoach [John Ford, 1939]) but my collector’s voracity suffered a fatal blow. Compared to all of the prohibitions and obligations that fascism had imposed on us, and to the even more severe ones that it continued to enforce in those years before and then during the war, the veto on American films was certainly a minor or small loss, and I wasn’t foolish enough not to know it. Yet it was the first to affect me directly, and I hadn’t known any years other than those of fascism nor had I felt any needs other than those that the environment in which I lived could suggest and satisfy. It was the first time a right I enjoyed had been taken from me: more than a right, a dimension, a world, a space in my mind; and I felt this loss as cruel oppression which embodied all the forms of oppression that I’d heard about or seen other people suffer. If I can still talk about it today like a lost privilege it’s because something disappeared like that from my life, never to return again. So many things had changed after the war was over: I’d changed, cinema had become something else, something different in itself and in relation to me. My biography as a spectator resumed, but it was that of another spectator who wasn’t just a spectator anymore.

We can now see how the expansion of blockspace is on track to give us a cryptographically verifiable macrohistory, or cryptohistory for short. This is the log of everything that billions of people choose to make public: every decentralized tweet, every public donation, every birth and death certificate, every marriage and citizenship record, every crypto domain registration, every merger and acquisition of an on-chain entity, every financial statement, every public record — all digitally signed, timestamped, and hashed in freely available public ledgers.26 The thing is, essentially all of human behavior has a digital component now. Every purchase and communication, every ride in an Uber, every swipe of a keycard, and every step with a Fitbit — all of that produces digital artifacts. So, in theory you could eventually download the public blockchain of a network state to replay the entire cryptographically verified history of a community.25 That’s the future of public records, a concept that is to the paper-based system of the legacy state what paper records were to oral records.

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The domain namespace is chaotic—every top-level domain and registry seems to have its own rules for things like minimum character lengths for domains, whether or not you can register at the top level (foo.nr vs. foo.com.nr for example)—and I didn’t want to go compile all these nuances by hand. So I used Mechanical Turk to gather things like the min-char lengths for each top-level domain, top-level registration possibilities, and all the second-level domains they may or may not use (Brazil is the craziest).

completed in the first half of 2011. When the domain name manger approval is given by the ICANN and final domain registr

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To fulfill this vision, the VERSES Foundation is proposing a set of universal standards and open protocols for Web 3.0 designed specifically to enable standards for defining and enforcing digital property ownership, data privacy and portability rights, user and location-based permissions, cross-device and content interoperability, and ecosystem marketplaces by enabling the registration and trustworthy authentication of users, digital and physical assets, and spaces using new standardized open formats, and shared asset indices secured by spatial domains, in which rights can be managed by a spatial programming language, viewed through spatial browsers, and connected via a spatial protocol.