Digital Glazing™ is an authorial digital fine art technique created by Inga Stawińska and held as proprietary intellectual property of Home Made Game. Inspired by Renaissance glazing and sfumato, it translates the gradual construction of colour, luminosity and tonal depth into a manual vector-based process using thousands of individually shaped, overlapping elements with controlled colour and transparency. First systematically applied in PoloLegacy and subsequently developed across White Pants BTC Club, Digital Glazing™ combines fine-art principles with vector-native SVG construction and Bitcoin-native preservation. This record documents the technique’s definition, technical specification, authorship and provenance, accompanied by a reference SVG artwork.
The VR cycle built an operational mathematics — arithmetic, numbers,sets, forms, topology, a continuum on Brouwer's path — and onlyafterwards wrote out the logic it had been standing on: ZTL, Zero-TrustLogic (concept DOI 10.5281/zenodo.21318981). This preprint carries outthe programme "raise VR onto ZTL" and verifies, rather than declares,the thesis that VR always stood on ZTL. Three steps, every claim eitherMEASURED (machine enumeration, reproducible by the ZTL repository'stest stands) or kernel-checked in Lean 4 with the axiom footprintprinted per object. (a) Witnessed identity is a ZTL atom discipline: verdicts are packagedwith their certificates; the alive inference rules are witnessconstructors; identity on finite operational sets and on the vonNeumann register is totally earnable; groundedness of a set isorthogonal to earnability of its identity; a fully earned register isclassical. The entire verdict layer sits on the empty axiom list. Step(a) also returned a correction to ZTL itself: the verdict-warranty is atwo-grade ladder (sound — never lies; hereditary — never revoked),published same-day as ZTL v1.1 (DOI 10.5281/zenodo.21323552). (b) Choice sequences are the lazy register: the lawless stage court ofa growing sequence coincides with ZTL's global supervaluation totally(a law is knowledge: it narrows the worlds); Kripke persistence isnative to the lazy register; warranted greedy verdicts are exactly theBrouwer-assertable ones; the fallen law of identity p→p is redeemed bythe stage court — a law of logic, not of data. (c) The survival ledger: a proof survives the move onto ZTL iff itstands below the classical floor. The cycle's four-tier axiom ledgerwas therefore the ZTL-survival audit all along; sweeping 405live-audited objects plus flagship anchors shows that everything VRcalls operational moves, and what stays is exactly what the cycle hadalready flagged as classical by design, by substrate, or by borrowedplumbing. No operational theorem died in the move. The preprint also measures the delta against intuitionism: ZTL and IPCare incomparable as law-sets (p→p falls in ZTL, Jankov's weak excludedmiddle holds), agree 14/14 on premised classical rules, and part wayson every structural signature (finite matrix, disjunction property,double negation, the status of an unproved sentence). A thirdfoundations posture, not a relabelling of the second. AI disclosure: prepared with the assistance of Claude (Anthropic),Variant A architecture (human curator directing the model as architectand implementer); all mathematical content and decisions are due to thehuman author. This work was developed with Claude Fable 5. Reliabilitydoes not depend on trusting the AI: every claim is reproducible by therepositories' regressions and the Lean 4 kernel.
Editorial: Governance as a Problem of Collective DecisionBy Prof. Dr. Rodrigo Cid, The PhilosopherGovernance, in its essence, is the art of answering an unavoidable question: how do we decide together? From tribal councils to modern corporations, from cooperatives to DAOs and artistic communities, the challenge repeats itself. And at the heart of this question lies a mechanism that is deceptively simple yet philosophically treacherous: the vote. Which voting system is the fairest? Arrow’s impossibility theorem taught us that there is no universal answer. Every context — its size, its urgency, its level of trust among participants — demands a specific institutional design. This dossier does not offer ready‑made formulas. Instead, it maps how different agents and sectors are confronting this problem. VAN Ameneyro, in their conversation with One Love DAO, shows us how governance becomes a “necessary evil” in the world of digital art. The promise of horizontality runs up against concrete questions: who gets a seat at the table? Who is still left out? The answer, for VAN, lies in transparency, real participation, and the construction of institutional memory — something fragile in the volatile environment of Web3 platforms. Fer Caggiano delivers an incisive diagnosis: power has not disappeared with decentralisation. It has merely moved — from institutions and curators to wallets and tokens. Community curation, in practice, often reproduces plutocracy. Their article forces us to ask: before voting, who defines what can be voted on? Governance begins with visibility. Steve Coulter (aka 45renegade) offers an unexpected interpretative key: punk as an operating system. Before lean startup, before bootstrapping, before the creator economy, punk already practised independent production, direct distribution, and community building as survival strategies. His text reminds us that governance is not only about formal rules and votes. It is also about ethics, refusal, and the courage to build without asking for permission. Vessy Mink appears twice in this issue, each time with a different governance experiment. In Governing the Sound, she presents Optimus Goddess, a licensing model where the artist retains full publishing rights and curation is replaced by equitable partnerships — an attempt to rewrite the rules of a historically extractive industry. In Music Train S9 E1‑6, co‑created with BK Han, she documents a live, collaborative song‑minting project. The audience does not merely listen; it participates in real‑time creation, turning musical production into a participatory governance performance. Here, the very act of making music becomes a collective decision process. Vitor Emanuel Gripp, writing from inside Token Nation, shows how a technology event can become a living laboratory for governance. By bringing together academics such as Maria Goreti (Fiocruz), Carlos Frederico (UFOP/KryptoLab) and Rodrigo Cid (UFOP/GIFLABS), Token Nation does not merely discuss decentralisation — it practises it, in the curation of its stages, the selection of its projects, and the constant negotiation between efficiency and participation. His account, grounded in his own journey from exhibiting artist to community manager, reminds us that governance is not an abstract protocol but a daily, messy, collective achievement. Rodrigo Cid, in Voting or Governing, returns to the philosophical bedrock of the problem. He reminds us that Arrow’s theorem is not a mathematical curiosity but a structural warning: no voting system is neutral. By applying this lesson to blockchain, his article demonstrates that digital governance does not escape the aporias of collective choice — it merely translates them into code. He also develops the problem of many hands and the fragility of institutional memory in decentralised systems, connecting directly with the questions raised by VAN Ameneyro and Fer Caggiano. Felipe Farinha, from the University of Saint Joseph in Macau, brings a comparative perspective. In Direct Democracy in the Age of the Extended Mind, he examines how different jurisdictions and cultural contexts shape the possibility of legitimate digital governance. His reflection on personal exocortices — AI assistants that extend a citizen’s cognitive capacity — asks whether direct democracy might finally become feasible at scale, provided we solve the problems of authenticity, manipulation, privacy, and civic deskilling. The exocortex, for Farinha, is not a substitute for democratic agency but a prosthesis for it. Daniel Gomides, from the Federal University of Ouro Preto, revisits Rousseau’s First Discourse in Scientific Progress and Moral Progress. He argues that technical sophistication does not guarantee ethical advancement. His analysis of AI, hunger, and climate agreements shows that the gap between what we can do and what we should do remains as wide as ever — a sobering reminder that governance cannot be reduced to algorithmic efficiency. Rousseau’s warning, written in 1750, still echoes today: science may teach us how to build better tools, but it does not teach us how to be better humans. Rafaela Ferrari Kley, from Degenerados Club, takes a complementary path in The Logic of Irrationality. Diagnosing a civilisation that has never been so technologically advanced yet remains emotionally manipulable, she recalls that Aristotle’s logic was a civilising attempt to contain collective hysteria. Today’s algorithms, however, are optimised for engagement, not truth. Her reflection forces us to ask whether governance can ever be purely rational, or whether it must always wrestle with the irrational architectures of attention, fear, and belonging. The question she leaves us with is disarmingly simple and profoundly uncomfortable: are we seeking to understand reality, or merely constructing emotionally bearable versions of it? Finally, this issue closes with a special launch. Rodrigo Cid’s The Philosophy of Artificial Intelligence (co‑authored with Pedro Luiz Caetano Filho) is not merely reviewed here; it is treated as a governance artifact. Its systematic collaboration with AI systems, its transparent use of the CRediT‑IA framework, and its rigorous discussion of Arrow’s theorem, opacity, bias, and responsibility provide a conceptual toolkit for exactly the questions this magazine raises. The book is available for free download (DOI: 10.5281/zenodo.20143966), and we invite our readers to read it alongside the articles in this issue. At the end of this volume, we hope that the reader will not find definitive answers. Instead, find a richer repertoire of questions. About who votes, about who decides what is put to a vote, about how we move from paper to action. About whether code can ever fully replace trust, and whether we would want it to. About what the classroom, the punk venue, the music studio, the DAO, the tokenised event, and the blockchain have in common: all are arenas where the same question echoes, again and again — how shall we decide together? Enjoy the reading. Prof. Dr. Rodrigo CidThe Philosopher(GIFLABS / Universidade Federal de Ouro Preto)
Non-Fungible Tokens (NFTs) are unique digital assets stored on a blockchain that certify ownership of an item, giving rise to NFT art, where digital creations are tokenized to provide verifiable scarcity and provenance. To clarify the polarized debate surrounding this phenomenon, this paper conducts a systematic literature review of 18 academic articles (2020–2025) to synthesize the current state of research on its aesthetics. The review first maps the field’s methodological and typological landscape, and then presents three core thematic findings: the reconfiguration of value from intrinsic visual merit to social factors like community and identity; the evolution of the artist’s role from creator to system designer and community manager; and the adaptation of traditional art world frameworks. The study’s primary contribution is the articulation of a new theoretical framework, “decentralized aesthetics,” which posits that the value of NFT art is derived from the holistic, participatory experience it generates across perceptual, cognitive, emotional, and socio-cultural dimensions, rather than from its isolated visual properties. Finally, the paper identifies critical research gaps, such as a lack of longitudinal and cross-cultural studies, and proposes an agenda for future inquiry into digital creativity and ownership.
Distributed by Grasshopper Film, 12 East 32nd St., 4th Floor, New York, NY 10016Produced by Nicholas Bruckman, Shawn Hazelett, and Rahilla ZafarDirected by Nicholas Bruckman2024, Streaming, 77 mins Minted: The Rise (And Fall?) of the NFT, directed by Nicholas Bruckman, focuses on the explosive growth of the NFT (non-fungible token) digital art market in the late 2010s and early 2020s. Bruckman introduces how NFTs are situated within broader conversations about creativity, ownership, and value in digital environments. Using interviews with artists, collectors, technologists, and cultural critics, the viewer is asked to consider how NFTs are not simply a speculative trend, but rather a disruption, a way to represent artwork as a token for transactions that bypass traditional intermediaries in the art world (like galleries and museums). The strength of the film is Bruckman’s highlighting of the experiences of artists with new opportunities for visibility and economic independence through their NFTs. Notably, the documentary amplifies the perspectives of some female and BIPOC creators, framing NFTs as a space that seems to offer alternatives to the exclusionary and gatekeeping structures of the traditional art market. While the film highlights these voices, it stops short of fully examining whether the NFT ecosystem dismantled or merely reproduced the existing inequities within the art world. Minted is a timely film for conversations about digital literacy, information ethics, and the economics of creative labor. While the documentary does not offer a comprehensive critique of blockchain systems, it is successful as a snapshot of a significant cultural moment and a useful prompt for viewers to question the intersections of art, technology, and society. Awards:SXSW, Audience Award; Next Generation Indie Film Awards, Best Documentary Feature; Cordillera International Film Festival, Grand Jury Award for Best Documentary
In today's fast-paced business environment, art has experienced a dramatic and quick transition. These days, artists are not only artists; they are also artrepreneurs who combine their artistic and business acumen. Digital and social media are essential components of the significant development of artistic self-employment. Social media sites like YouTube and Instagram are now critical for establishing a strong online presence, interacting with a global audience, and bypassing intermediaries.Art Education is the procedural approach of teaching and learning artistic skills, aiming to foster creativity, critical thinking, and a deeper understanding of the world. Creative methods, aesthetic questions, and individual artistic expressions are the main topics of contemporary art education. However, they hardly ever give art students the technological, entrepreneurial, and self-management abilities needed to create and maintain financial rewards from artistic endeavours. Since many artists work for themselves or as freelancers, entrepreneurship is a vital part of arts education and is critical for career success in the arts. The lines between digital technologies, art, and commerce are becoming increasingly hazy. Furthermore, there is a pressing need to reconsider the function of art education in light of the emergence of Web3. Without addressing these linkages, art pedagogy runs the risk of leaving students unprepared to deal with both creative agency and financial independence in the digital age. The skill gap is widened when such competencies are not included, making it more difficult for graduates to turn their artistic expertise into long-term professions. Recent research on arts entrepreneurship education reiterates this worry and shows how the abilities offered in art schools continue to diverge from those needed in the creative sectors. Despite being highly skilled and productive when they leave school, graduates lack the necessary skills in related fields like marketing, finance, and entrepreneurship. A hybrid curriculum that strikes a balance between art education and business training is necessary to connect creativity with entrepreneurial education. Project-based collaborations, internships, and real-world simulations are examples of experimental techniques that are seen to be particularly effective in equipping students with both business and creative skills (Ávila & Davel, 2023). There is an urgent need to reconsider the significance of art pedagogy and develop a groundbreaking educational framework that logically integrates various fields. To close this gap, the art curriculum must be completely changed to incorporate digital technologies and entrepreneurship. The goal of modern pedagogy is to provide art students with the necessary tools for a sustainable career, visibility, smart use of digital technology, market adaptation, and financial independence-not to dilute the content. The S.M.A.R.T Curriculum Loop, a revolutionary framework that tackles issues regarding the merging of art with business and digital skills, has been proposed in this study as a solution to this important necessity in art academia. Such a drastic change would equip art students to pursue jobs that are both financially feasible and creatively satisfying.The S.M.A.R.T Curriculum Loop provides a clear framework for introducing students to international art by combining social media-driven art education into conventional art courses. This methodology helps students fulfil the needs of the digital economy by integrating multidisciplinary elements into art instruction. Universities can equip artists who lack the requisite technological abilities and help them develop resilience in the digital age in this way. This Opinion Article posits that the modern education of art needs to immediately shift out of a studio-based, skills-oriented model to begin digitally empowered artrepreneurial education. Whereas conventional methods focus on mastering the arts, they do not equip graduates with a creative economy that is influenced by the dynamics of social media, the governance of platforms, and the creation of visibility through algorithms. This paper will argue that the S.M.A.R.T Curriculum Loop as a futureoriented solution to the challenge of digital literacy, entrepreneurial ability, and creative practice is viable because it integrates all three into a pedagogical framework.The limitations outlined above necessitate a re-examination of how existing scholarship conceptualises creativity, entrepreneurship, and digital fluency in art education. The following section synthesises prior studies that inform the development of the S.M.A.R.T Curriculum Loop.Promoting creativity in art discipline higher education is often an unexplored area that needs attention at the institutional level, as creativity is no longer seen as a luxury but a necessity in the current economic world post-COVID-19 outbreak and quarantines. Systematic integration of creativity in universities is imperative rather than treating art as a separate domain. The four correlating factors for fostering creativity-conversation, scholarly relations, liminal spaces and leadership-must be included in the present-day art curriculum. This framework criticises traditional pedagogies and addresses creativity as a perpetual, relational and formal mechanism crucial for learning, leadership and innovation (Rae, 2023).Due to the ever-evolving nature of the art economy, entrepreneurial skills have become an integral aspect of art education. Traditional art education is often expertise-centric, relying solely on artistic mastery. Today's Artists must be selfsufficient and capable of dealing with complex market dynamics, navigating digital platforms and building personal brand image. This can be attained only by integrating entrepreneurial training into the art curriculum, which can lead to fostering innovation and adaptability (Zhang & Wang, 2022).Despite the increasing acceptance of entrepreneurship education in higher education, it is often overlooked in the field of the arts. There is a scarcity of existing research to comprehend arts entrepreneurship, which hinders its integration into the arts curriculum. Artrepreneurship education is valuable in enhancing the entrepreneurial competencies of artists. However, there is a need to address the gap between skills acquired through art education and skills actually required for their viable careers (Wong & Chan, 2024).A novel pedagogy must equip artists with skills not only for fostering artistic persona but also autonomy, resilience and digital fluency-enabling a generation of artrepreneurs capable of steering Web3 platforms, building and learning viable habits and practices and reclaiming rights over their original creations (Bridgstock, 2013).Artificial Intelligence (AI) and Web3 technologies now serve as core components of art production, distribution and monetisation in the present-day world. These technologies include Blockchain, NFTs (Non-Fungible Tokens) and DAOs (Decentralised Autonomous Organisations). Generative AI models like Midjourney and DALL•E allow artists to create complex visual concepts from simple text prompts, fundamentally changing the creative process and the definition of a 'tool' in art. AI functions not only as a catalyst for artistic innovation but also as a source of ethical challenges, particularly through the use of generative models such as GANs and diffusion models that reshape creative processes while raising concerns of authorship, originality, and artistic integrity(Amini, 2025).Art education must strategically include these technologies in its art pedagogy, as these are no longer just peripheral tools but fundamental in the rapidly evolving creative economy. NFTs have transformed the conventional perception of ownership and creatorship, introducing students to the idea of digital origination, providing access to global art dissemination through a decentralised system of networks. Smart contracts, a novel term, allow the generation of digital royalties, thereby reimagining the importance of entrepreneurial agency and financial independence for a creator. Web3, NFTs and DAOs are revolutionising art education, transitioning traditional university models into a 'metaversity' concept.NFTs help in keeping a secure record of students' data, DAOs provide decentralised learning centres, while Web3 facilitates customised open learning. The metaverse provides interactive virtual environments for engaging, synchronous, and asynchronous education (Sutikno & Aisyahrani, 2023).Previous research supports critiques of traditional art education, indicating the scarcity of existing research in arts entrepreneurship and a gap between skills acquired through art education and skills actually required for their viable careers (Wong & Chan, 2024). Conventional arts education relies on studio setup and knowledge dissemination, which deals with developing creative, sophisticated, disciplinary, and technical skills. These theoretical or conceptual disseminations of knowledge, which are monotonous, neglect adequate skill development, fail to include critical thinking, and often lack real-world relevance. This is particularly alarming given that most creative, performing and literary artists are self-employed or work on a freelance basis, making entrepreneurial skills critical for career sustainability and success. Art educators are often facing a dilemma in identifying and defining the skill sets required for artrepreneurial pedagogy (Bridgstock, 2013).The older, outdated framework is hindered by faculty hesitance to accept art education as a new frontier due to their narrow perception of entrepreneurial education as merely a "vocation", which conflicts with the age-old romanticisation of art as distinct from a source of revenue. Lack of consensus by art school managers on a curriculum that suits present needs by adopting successful business schools' models is another issue (Beckman, 2007). The available curriculum doesn't equip artists with the necessary Web3 skills, which are essential for navigating their careers. Students generate strong academic portfolios but are appraised with limited digital presence or tool proficiency, building a gap between their talents and tangible opportunities. Most programs also neglect the critical rise of technologies like AI, NFTs and Smart contracts. This overlooks recent technologies, leaving the students unprepared for navigating digital art markets. There is a pressing need for the formation of a formal instructional framework with strategic entrepreneurial and digital competencies.As an example, a recent graduate surveys conducted of design and fine arts courses in Asia and Europe have shown that students graduate with good portfolios, but they lack a digital presence, a fact that has a direct impact on employability on algorithmdriven creative markets. Most of these institutions still focus on studio production as they provide very scarce training on online visibility, digital rights, and monetisation strategies. Conversely, those programs with experience of implementing hybrid creative-entrepreneurship courses (e.g., digital portfolio markets, social-media-based exhibition projects) claim to find substantially better graduate interaction with international audiences. These instances point to the fact that disconnect is not a hypothetical notion but it can be seen in actual educational outcomes. They may organise interactive exhibitions in a virtual space, allowing a global audience to access, interact with, and buy their artwork in real-time. Digital fluency and the commercial skills needed in art markets are expanded and disseminated through such encounters.These tools allow art students to move beyond traditional studio-based instruction because of their transformative ability to develop new models for creativity and collaboration. Students can gain practical experience that prepares them for jobs as artrepreneurs by interacting directly with these (Sutikno & Aisyahrani, 2023).The implementation of this kind of technologies in art education goes NFT-based assignments make evaluation more transparent through verifiable ownership records and metadata trails. DAO-led collaborative projects allow instructors to assess participation, governance decisions, and community contribution as part of the creative output.The S.M.A.R.T Curriculum Loop may immediately address all of the drawbacks of traditional art education, which leave students unprepared to succeed in professional marketplaces. This framework fills the gap in the demands of the digital world by incorporating multidisciplinary elements into art instruction. It works as a cycle that allows for skill improvement and iterative participation over a number of semesters. The creative framework addresses the demands of today's art students by combining social media and entrepreneurial abilities. The authors disclose that there are no commercial or financial relationships that could potentially create a conflict of interest regarding this research.The research received no support of funding.The referencing style used in the study is APA formatting style.
Dec 23, 2025·Proceedings of the ... Annual Hawaii International Conference on System Sciences/Proceedings of the Annual Hawaii International Conference on System Sciences
Tejas Kotha, Kushagra Bhatnagar, Leona Chandra Kruse, Matti Rossi
NFTs (non-fungible tokens) promised the interaction of artists/creators directly with their collectors without the need for any intermediaries, but the realisation was quick that such a technology, instead of getting rid of intermediaries, reintroduced new intermediaries in the form of NFT marketplaces. These marketplaces exhibit diverse features and cater to different user groups. A wide array of governance strategies, such as curation and gatekeeping, are used to steer creativity and interactions in the marketplace, informed by the marketplace's strategy. We examined this diversity by identifying the 'ideal types' of marketplaces based on these strategies alongside the motivations of the creators to make sense of the growing NFT market and constructed a typology that distinguishes four kinds of NFT marketplaces: Avant-garde, Canonical, Mass Culture, and Coterie. The article also offers practical implications for creators and collectors looking to make informed choices when deciding to participate in a particular marketplace.
The contemporary art world is undergoing a foundational shift, driven by the emergence of blockchain technology and its most culturally salient application: Non-Fungible Tokens (NFTs). This transition marks a move from the physical, gatekept spaces of the "White Cube" gallery to the distributed, code-governed networks of the blockchain ledger. This article argues that this is not merely a change in the medium of art's financialization, but a profound process of decentralization reshaping the core pillars of the art ecosystem-curation, valuation, ownership, and access. We analyze how blockchain disrupts traditional, centralized art market models by enabling peer-to-peer transactions, immutable provenance tracking, and fractional ownership through smart contracts. Crucially, we examine the rise of algorithmic and community-driven curation, where platforms like SuperRare or DAOs (Decentralized Autonomous Organizations) challenge the authority of the traditional curator-institution. A conceptual framework (Figure 1) maps this new ecosystem, while a comparative table (Table 1) delineates the paradigm shifts across key domains. Through case studies of NFT platforms, crypto-art movements, and artist collectives, we demonstrate both the emancipatory potential and the critical tensions within this decentralization. We conclude that while blockchain introduces new forms of transparency, accessibility, and artist empowerment, it simultaneously engenders novel hierarchies, environmental concerns, and questions about the nature of cultural value in a digitally native era. The future of visual culture will be negotiated in the space between the aesthetic aura and the verifiable hash.
Tesserart is a pioneering portal offering a tool-based web3 infrastructure designed to evolve with rapid technological advancements in the digital art space. Its goal is to simplify the processes of creation, curation, and collection of digital art and events, providing community-driven tools and innovations. Committed to enhancing accessibility and versatility, we aim to be the Swiss Army knife of the digital art ecosystem. Tesserart facilitates the digitalization and accessibility of digital artworks through blockchain technology, extending global reach and opening new revenue streams. It provides comprehensive tools for digital and physical event experiences, including live artwork minting and selling, ticketing, curation, and the use of community tokens for engagement and rewards. Our business model capitalizes on transaction fees and royalties from art sales, along with partnerships with digital art marketplaces and cultural organizations. Tesserart aims to redefine digital art engagement and collectability, making it more accessible, innovative, and experience-based
La notorietà degli NFT (non-fungible tokens) sta vivendo nell’ultimo tempo una inflessione negativa, non solo tra il pubblico specializzato ma anche fra i meno esperti, che hanno sentito parlare di queste strane “opere d’arte digitali crittografate” nel 2020, quando questo fenomeno era nella sua fase di massima ascesa. L’applicazione di questa tecnologia, resa celebre dalla diffusione (questa sì, in evidente ripresa) delle criptovalute, al mondo dell’arte digitale e del mercato che intorno a questa si è generato, risente ora delle conseguenze di questa diffusa sfiducia verso l’“arte su blockchain”. Insomma, i celebri cripto-gattini non sembrano essersela mai passata così male come ora. È forse giunto dunque il momento di una valutazione del fenomeno NFT che guardi oltre ai sensazionalismi del mercato come anche alle repentine disillusioni. In questo, gli strumenti dell’Estetica ci sembrano i più adatti a uno scopo certo pretenzioso ma necessario, considerando soprattutto che gli NFT hanno generato, che lo si voglia riconoscere o meno, una piccola rivoluzione nel mercato dell’arte. Di questo parliamo nel nostro contributo “NFT: tra esperienza estetica e nuovi mercati dell’arte”, recentemente apparso sul volume della Milano University Press a cura di Allegra Canepa Il mercato dei non fungible tokens tra arte, moda e gamification. Il contributo raccoglie prospettive diverse – appunto estetiche, ma anche sociologiche, economiche, tecnologiche, etc. – sul mondo cripto.
This paper presents a study of new digital art technologies, as digital NFT (Non-Fungible Tokens), and generative Artificial Intelligence, through the practice of two contemporary artists, namely Damien Hirst (1965 -) and Lev Manovich (1960 -).We will discuss some aspects of Hirst's "The Currency" (2016-2022) and Manovich's "Soviet Land" (2022) to understand how artists are incorporating these new technologies into their practices and how they revolutionize contemporary artistic expression.
Los NFT (Non Fungible Token) tienen la capacidad de convertir algo reemplazable en algo único a través de un certificado digital de autenticidad. De esta forma, los objetos virtuales, principalmente obras de arte, se crean, exponen, compran y venden de forma digital, no sin abrir un sinfín de críticas y debates. En el corazón de esta transformación se encuentra la técnica moderna, llevada adelante por su último eslabón: Internet. En este marco se cruzan de forma novedosa arte y técnica, pero también se ponen en tensión los polos físico/virtual, ya que los NFT pueden servir como prueba de propiedad de cualquier artículo, independiente de a qué polo pertenezca. Los límites se vuelven borrosos y nos encontramos ante otra prueba de la digitalización de la vida moderna. Y de haber sido un proceso impertinente, no hubiese generado acalorados debates en redes sociales. Este ensayo busca atravesar la reactualización del problema de la técnica moderna que acarrean los NFT y la cristalización de este proceso y conversación a través de memes. Algunas preguntas que aparecen son: ¿cómo impacta y atraviesa al arte los NFT? ¿Se puede hablar del criptoarte como vanguardia artística? ¿Qué implicaciones tiene una nueva forma de reproductibilidad técnica? ¿Cuáles son las tensiones que producen los NFT que generan conversación? ¿Cómo se puede reconstruir este debate a través de memes y cómo estos encapsulan un metálogo?Para responderlas, se buscará por un lado recorrer y sistematizar el presente técnico del arte teniendo en cuenta cómo los NFT transformaron su realidad, y por el otro, se detectarán los ejes problemáticos de dicho presente para luego ver cómo estos están representados en memes de forma simplificada y accesible. Para realizar dicho recorrido, se hará uso del análisis de contenido y la sociosemiótico para rearmar el debate alrededor de los NFT a través de conceptos como el sentido social y las huellas discursivas presentes en la teoría de Eliseo Verón. Será necesaria también la definición de metálogo de Bateson, el concepto de presente técnico indeterminado de Anderson y el de técnica presente en Bookchin, Mumford y Castoriadis, la definición de arte y de vanguardia de autores como Huyssen y Badiou, la reproductibilidad técnica y el aura del arte de Benjamin.
On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each “package,” included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella’s innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella’s foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms.
<p><strong><a href="https://sites.google.com/99cryptowallet.com/boredapeyachtclubnft/">Bored Ape Yacht Club</a></strong> (BAYC) is the collection of 10,000 NFTs (non-fungible tokens) on the Ethereum (ETH) blockchain. These non-fungible tokens are graphical portrayals of cartoon-like apes that are unique by the metadata, which includes the clothes, backgrounds, earrings, eyes, and fur of the character. Metadata for NFTs is data about an illustration of the token that an NFT creator supplies. Introduced in 2021, the is similar to the artwork sold physically. But these artworks exist only virtually and are one of a kind as they remain on the blockchain.</p>
Dijital sanat, yeni medya teknolojilerinin gelişmesiyle birlikte hayatımızın her alanında karşımıza çıkan bir kavram olmuştur. Görsel sanatlar, kavramsal sanatın yeni bakış açılarıyla yeniden şekillenmeye başlamıştır. NFT (Non-Fungible Token) ve Blokzincir teknolojisi gibi sanat hayatına giren kavramlar, kripto grafik tasarım anlayışını doğurmuştur. Kripto grafik tasarımlar ve NFT'ler, kriptografik olarak kayıtlı ve sınırlı sayıda olan dijital sanat eserleridir. Bu eserlerin mülkiyet hakları, blokzincir teknolojisi altyapısıyla güvence altına alınmış ve alıcılarla satıcılar arasında doğrudan ticareti mümkün kılmıştır. NFT'ler, dijital eserlerin orijinalliğini, şeffaflığını ve değiştirilemezliğini kanıtlayan bir göstergedir. Sanatçılar ve dijital eser üreticileri, NFT'ler sayesinde eserlerini galeri veya müzayede gibi aracılara ihtiyaç duymadan sanatseverlere doğrudan ulaştırabilmektedir. Bu çalışma, kripto grafik tasarımı, NFT, blokzincir teknolojisini ve metaverse konularını açıklayıcı bir nitel araştırma olarak tasarlanmıştır. Çalışma, betimsel tarama yöntemi ve anket çalışması ile yürütülmüştür. Kripto grafik tasarımı, blokzincir teknolojisi metaverse ve NFT kavramları aralarındaki ilişki bütüncül bir şekilde incelenmiştir. Bu çalışmanın soyut çerçevesi için kapsamlı bir literatür incelemesi yapılmıştır. Araştırma, kripto sanatının ortaya çıkmasından günümüze kadar olan gelişim sürecini anlatırken bu bağlamda en popüler NFT çalışmalarına yer vermiştir. Çalışma sonucunda grafik tasarım ile ilgilenen hedef kitleye, NFT ve kripto grafik tasarım anlayışının neler olduğu, blokzincir, NFT ve jetonlar gibi iktisadi kavramlar hakkında bilgiler sunulmuş ve hedef kitlenin konuyla ilgili algı düzeyleri ölçülmüştür. Eğitim kurumlarında özellikle üniversitelerde konuyla ilgili eğitim ve seminerlerin verilmesiyle bu yeni sanat anlayışının daha da geliştirilebileceği önerilmiştir.
The blistering development of the digital technologies has changed the modern art and design landscape greatly, changing the way creative works are developed, expressed, and interacted with the audience. In this paper, the author examines the introduction of new technologies into the modern art scene: artificial intelligence (AI), virtual reality (VR), augmented reality (AR), blockchain, and generative algorithms. These technological progressions have not only widened the horizon of creativity, but have democratized the process of producing and distributing art thereby allowing artists to tap into audiences all over the world without having to go through the traditional go-between. The research examines the impact of digital tools and platforms on artistic processes, aesthetics and conceptualization. It puts the emphasis on the transformation of passive to active and participatory experiences, in which the audiences become actively involved in creating and understanding the works of art. Also, the paper analyses how data-driven design, computational creativity and machine learning are used to create new forms of art that defy the conventional concept of authorship and originality. Moreover, this study examines socio-cultural effects of technology-based art, such as concerns with intellectual property, authenticity, as well as problems of ethics of AI-generated art. Non-Fungible Tokens (NFTs) have brought about novel economics and artists can earn revenue on digital art at the cost of sustainability and financial instability. The research approach will include the mixed-method one that will include the qualitative analysis of case studies with the help of quantitative surveys of artists and designers. The results indicate that technology boosts both effective creativity and cross-disciplinary teamwork and allows new expressions of creativity. Digital dependence, accessibility obstacles and ethical dilemmas are among the problems that have remained. The paper then wraps up by restating the necessity of a moderated adoption of technology and human imaginative in such a way that the technological equipment becomes facilitators of the artistic expression and not substitutes. The research directions in the future are to find a sustainable way of engaging in digital art and creating a framework of the ethical use of AI in the creative field.
My thesis examines crypto art from several different vantage points. This is a budding artistic phenomenon which, can be broadly defined as art that takes place on the blockchain (also called a distributed digital ledger). Investigating this movement can aid in illuminating alternative forms of contemporary artistic practice, the direction of the blockchain, and a better understanding of cryptocurrency. Crypto art facilitates an efficient form of economic value creation for both artists and collectors, enabled by the blockchain’s capacities around tracing provenance and authenticity as well as implementing mechanisms to ensure artists receive compensation at the point of sale and resale. These outcomes would not have been possible in a pre-blockchain world. However, many of the approaches and philosophies are shared between the makers and functions of crypto art and conceptual art. Several aspects of blockchain technology are “new,” but the problems and questions that crypto art addresses, including its association with larger financial forces, have tremendous art historical precedent. Much of the modern art system is even built upon these connections, and paralleling this movement to conceptual art can help expose these affiliations. Looking at blockchain through the legacy of conceptual art also demonstrates the need for this technology and its capabilities, most notably, the built-in payment structure for artists. With this in mind, the central questions in my thesis are: how has crypto art challenged the relationship to authorship, ownership, dematerialization and distribution that were fundamental to conceptual art? And what relevance does this have for blockchain technology today? In attempting to address these questions, this paper will argue that crypto art reveals and critiques the framework of the art market. I will focus on Rare Pepes (2016-present) for my primary case study but will also survey other crypto art works to support my argument. The majority of my research engages directly with crypto art. For supplementary material, I have relied upon the work of Jason Bailey and Hito Steyerl as well as Oliver Roeder. I will also employ the writings of Lucy Lippard, Benjamin Buchloh and Joseph Kosuth to think through the theoretical side of conceptual art.
We present a proof of concept implementation of an integration strategy for connecting CAD with Blockchain. We explain the components of most blockchains and the value they bring to the built environment ecosystem, the potential impact a complete integration might have and we demonstrate the first two of four levels of integration we have identified between CAD and blockchain technologies. For the purposes of the paper we use Rhino / Grasshopper and Ethereum as the two components of integration.
B. Balamurugan, T. Poongodi, M. R. Manu, S. Karthikeyan · 5 authors
The moving image archive of the US Agency for International Development (USAID) includes a copy of the film The Double Day (1975), cataloged in the series Moving Images Relating to International Development Programs and Activities, 1979–1991, a collection of more than eight hundred titles “created to provide information on assistance programs supported by the Agency for International Development (AID).”1 Yet, The Double Day does not, in fact, directly depict or engage with any specific development or aid initiative. Instead, the film—directed by US-based Brazilian filmmaker Helena Solberg as part of the International Women’s Film Project collective and described as “the first Latin American feminist documentary”—examines the gendered dynamics of paid and unpaid labor through the testimonies of women from Argentina, Bolivia, Venezuela, and Mexico.2 Its presence in the USAID archive is likely a consequence of its funding history, having received support from the Inter-American Foundation, a USAID-affiliated entity; the development agencies of Denmark, Norway, and Sweden; the United Nations Development Program; and US philanthropist Calvin Cafritz.3These transnational funding structures not only enabled the film’s production but also determined its archival destination, which renders legible its place within the history of international development.4 The Double Day’s institutional trajectory reflects the shifting configurations of aid, gender, and media during a historic moment when women were being repositioned at the center of what Arturo Escobar has described as development’s “regimes of visuality.”5 Especially relevant to The Double Day’s production and exhibition was the international institutional framework of Women in Development (WID). Emerging in the early 1970s and culminating in United Nations’ proclamation of 1975 as International Women’s Year, WID emphasized women’s participation in the global economy as both an index and mechanism of development. Indeed, The Double Day premiered at the World Conference of the International Women’s Year, held in Mexico City.6 Within this context, the film forms part of a broader trajectory of media use by international organizations that intensified during the 1970s—as best exemplified by Media Habitat, a collection of 236 documentary films commissioned by the United Nations to represent urban and rural development initiatives for the 1976 Habitat Conference on Human Settlements in Vancouver. As a policy-shaping initiative, Media Habitat primarily featured films from the Global South intended not only to illustrate but also to help codify standardized audiovisual markers of “underdevelopment” that determined access to the emerging global economic order and to international aid.7Framed in relation to these international institutions and their operations, The Double Day could similarly be considered “development media”—exemplifying the type of nonfiction media produced and distributed outside of the commercial film circuits whose aspects and subcategories have been variously described in scholarship as nontheatrical, useful, sponsored, institutional, industrial, educational, or nonprofessional/amateur.8 Scholars working in this area have emphasized the institutional contexts of such media’s production and exhibition infrastructures as shaping its instrumentalized effects. From a feminist perspective, such an approach is crucial to grappling with the broader question of how “gender impacts [these works’] shape, content, and trajectories.”9 Yet we also argue that, taken in isolation, the institutional and infrastructural contexts are insufficient to account for the complex relationship between media and development, potentially not only limiting our understanding of the reach and impact of development but also distorting our interpretive conclusions. For example, to categorize The Double Day as “development media” is to overlook the film’s place within Solberg’s directorial oeuvre, as well as within the histories of both transnational women’s filmmaking and radical Latin American documentary cinema to which it simultaneously belongs. Such exclusive framing is especially limiting given that women globally were disproportionately engaged in nonfiction production throughout the twentieth century—sometimes by political choice but more often due to structural exclusions from fiction filmmaking. Even in nonfiction historiography, however, institutional media has remained particularly marginal, reinforcing hierarchies that separate such works from the aesthetic and authorial frameworks through which film history has been constructed.10 This marginalization not only tends to erase women’s contributions but also presumes a “weak” or derivative authorship, rendering these films unworthy of the interpretive attention needed to apprehend their aesthetic and political complexity.11 The same dynamic is likely to structure assumptions about “development media” as well.Categorizing The Double Day exclusively within this category would further prompt us to assume top-down institutional analyses that have been characteristic of both institutional media methodologies and the scholarship on development at large. This, in turn, would risk obscuring this film’s radical Marxist approach to women’s labor as well as its concrete contribution to activism and its attendant grassroot structures. In Mexico City, The Double Day became a catalyst for feminist solidarity in practice when one of the film’s protagonists, Bolivian activist and trade unionist Domitila Barrios de Chungara, was invited to participate in the Tribune of Non-Governmental Organizations held alongside the official UN conference.12 There, Barrios de Chungara challenged Western feminist priorities by reframing the debate around labor, class, and imperialism, helping to articulate a shared Third World feminist agenda that significantly departed from the developmentalist vision of the United Nations and USAID.13 Seen through the lens of activist media, The Double Day helped forge transnational solidarity networks by enabling information exchange across the diverse voices that shaped its making—from the women featured in the film to the activists who circulated it—revealing a considerably more dynamic interplay between institutional and grassroots or contingent media practices.Moreover, the film’s Latin American context—reflected in Solberg’s formation in Brazil as the only woman in Cinema Novo, its focus on women from across the region, and its premiere and key reception in Mexico City—requires grappling with the regional specificities of the very notion of development in its multiple iterations.14 Far from being an epistemological and political framework imposed solely by the Global North, both the practices of development and the theoretical foundations of developmentalism (understood as a broad and polysemic set of discourses) were shaped through the active participation of Latin American economists.15 Within this iteration, underdevelopment, as a constitutive notion of developmentalism, became central to a distinctly critical strand, which by the late 1960s became known as the dependency theory.16 This same approach is reflected in some of the best-known Latin American radical film manifestos of the time, arising precisely from the same milieus to which Solberg belonged.17These various considerations of the film’s history illustrate the methodological challenges confronting feminist scholars seeking to assess the impact of development on media projects, theories, and practices. To disregard the developmentalist context of such works by emphasizing their political aesthetics and affects risks reproducing a romanticized narrative of heroic resistance (albeit from a feminist perspective). Yet to engage exclusively with their institutional and material infrastructures risks naturalizing developmentalism’s political and epistemological foundations at the expense of the goals and beliefs of the many women who participated in these projects. The contradictions and ambivalences that animate such histories call for feminist frameworks capable of holding both institutional complicity and radical possibility in view.This challenge resonates with ongoing debates about the politics of the archive and what Allyson Field has termed “the practice of informed speculation.”18 As she reminds us, feminist, queer, and decolonial methodologies have long taught us to “press at the limits” of the archive to “inoculate our scholarship against our evidence’s afflictions.”19 The concern that the evidence we draw on in our analysis reproduces the very structures and blind spots of the dominant ideology and therefore shapes and delimits our interpretation becomes particularly urgent when engaging the developmentalist media corpus. Informed speculation offers an alternative by inviting the experimental, creative, and speculative rewriting of history, mobilizing the archive “in a project that runs counter to the original purpose, or the imperative to preserve, or the conditions that led to erasure.”20 Yet, as Field cautions, such speculative gestures must remain grounded in a deep and “intimate familiarity with the archive” that we are working with and against. Building on this imperative, we suggest that the developmentalist archive, in particular, demands expansion and critical reconsideration in ways that unsettle the very disciplinary frameworks through which it has been studied as well as the larger institutional contexts for such knowledge production.Our focus on The Double Day in the opening of this introduction thus foregrounds the entanglements of institutional and grassroots forces, local and international contexts, structural and interpersonal relations, and creative and economic factors that have shaped not only this film but the broader ecosystem of development media projects—and their preservation—over time. Addressing such a constellation involves transgressing methodologically entrenched divisions between political economy and aesthetics, between material infrastructures and affective regimes; reckoning with divergent periodizations across film history and world economics; and situating these within the local specificities of women’s movements and international institutional programs. It also demands attentiveness to the coexistence of multiple, and sometimes competing, understandings of development—each historically, geographically, and ideologically situated.We imagine this special issue as an opening toward a critical dialogue, not only about how such an approach might be enacted in practice but also about the far-reaching ways development paradigms have shaped both our objects of study and the contours of the field itself. The decision to center institutionally sponsored films across all the essays in this issue is deliberate and enables us to highlight institutional critique as a vital methodological imperative within our analytical framework. Created within the frameworks of international organizations, state agencies, or NGOs, these films’ histories make legible the institutional logics that underwrite their production. Yet our critique does not stop at these specific entities. Rather, we argue for a broader interrogation of the political conditions and institutional infrastructures that shape media and knowledge production more generally. This includes contemporary corporations embedded in the digital platform economy, from streaming services to the rapid expansion of AI. Equally critical is a reflexive examination of academia itself, where departments of economics, political science, and centers for development have played a formative role in producing and legitimizing developmentalist theories and policy frameworks. While the humanities and arts have at times offered critical alternatives, they have also frequently mirrored and reinforced many of the same developmentalist assumptions. A feminist analysis of the nexus between development and media must therefore unsettle not only dominant archives but also the institutional and disciplinary foundations of our own scholarly practices.As scholars, we share the complex position of navigating the same tensions between institutional complicity and emancipatory aspiration as many of the media-makers whose work we study. Mirroring our subjects is also the transnational, collective mode of this special issue’s own production as it emerges from an ongoing informal working group we have sustained over several years. While relying on institutional and disciplinary affordances—such as university funding for conferences or access to academic publishing platforms—we have been working toward creating a community that exceeds, and often resists, the prevailing logics of our academic institutions. Our aim has been to create a space for shared inquiry and mutual support that pushes back against disciplinary siloing and technocratic neoliberal assessment modes of both labor and knowledge production—and this certainly extends to our experience collaborating with the journal editors throughout the publication process. Our goal has been to examine both the persistence and variability of developmentalism, understood as what Gustavo Esteva calls a “powerful but fragile semantic constellation,” as a conceptual formation that has historically inspired, legitimized, and mobilized media projects across Asia, Africa, and Latin America.21 And gendered biopolitics, from population control to gender mainstreaming, have remained integral to development policies and media practices, recurring across formats from institutional newsreels to film festivals.We share the conviction that, far beyond the history of nonfiction institutional media, development (as both a broad ideological project and a network of material and institutional practices) and developmentalism (as a set of discourses and theoretical models associated with development) have exerted a far-reaching influence on film and media cultures at large. As such, they must be treated as a major force in shaping global film and media systems and also the many ongoing assumptions behind their critical discourses. The discipline of communication studies was founded on modernization theory governed by Cold War goals of dissemination of Western liberal democracy around the world, while “an area studies framework allowed compartmentalizing Western and non-Western outcomes of technologies that were always claimed to be universal.”22 Despite critique from postcolonial and critical race studies, many of these frameworks have remained foundational for media theory.23 In historical scholarship, as we increasingly move beyond “modernity” as a dominant conceptual anchor, engaging with practices and discourses of development opens more precise analytical pathways. These film and media’s entanglements with the logics of and economic and the associated with as well as their conceptual underdevelopment, and impact in as diverse as and of media aesthetic and paradigms in film and film and funding are developmentalist assumptions to the they to underwrite the narrative and logics of and global media from the structure of the film to the cultures of argue that a examination of the historical entanglements between film and developmentalist aesthetics, modes of as well as infrastructures and critical the and that our contemporary media is a of the historical contours of development as a field of inquiry embedded within a of some of the methodologies by the featured in this special a of this complex history, to the larger at in media, development, and gender all its development a it as an of be with practices as divergent as and in In as we work on this the of the of the USAID the ideological that have the history of international the and of this on the global its a from development as a global practice and as an institutional and which over the has as a with its own media Yet or does not erase the historical impact of these the contradictions they have reflected and over the as the of development several crucial to the economic theories of development initiatives to and through the of the development an international policy framework at from the Global to the of the Global the by the political role of and the of the International the on was challenged by dependency theory and at development as global structural the neoliberal of the the Programs by the and World imposed and as conditions for and forms of assistance became known as the major markers for international development development has moving beyond economic to such as the Human Development and the Development and from international organizations such as the United Nations to a broader network of These frameworks increasingly of and liberal of and with what in many ways to various while the of the to development’s epistemological more scholarship has toward a of its and material the field has to a of and critical by and scholars, which development as a dynamic of conceptual and political to these the studies in this special issue call for sustained analysis in place of In we draw from a of and that in of of gender and to this special issue engage that and from Mexico to contemporary specific local historical of global distinctly feminist methodologies as well as attention to studies that this issue a in the global history of development on and documentary work in Mexico how early women infrastructures as of while US films an early of state and transnational on a outside the Global as the of developmentalist both the and markers of development media, its to the and Latin central grounded in archival also women’s in transnational and the methodological of archives on study of the series to a a digital media not by but by women not as but as subjects and within circuits of neoliberal and the aesthetics and of how development’s has models of to contemporary neoliberal paradigms of and analysis how digital and gender and practices, discourses on and their of these essays the of some of the historical of developmentalist as the question of the role of the state within such on a notion of economic as a and the dominant of development that the state as the for and through infrastructural projects. This understanding of development was shared across both of the as well as in the Third The United and the increasingly mobilized international in the of the modes of international at the postcolonial of policy and ideological These programs were at the expansion of their and of while with the and decolonial of The conceptual between modernization and development that the Cold in of and hierarchies of that long and As an of postcolonial their role as of international aid concern about the of Western development projects. In alternative across the Global South that to structural between and through policies of and In many they were further the global structures. In Latin for example, this approach was through organizations such as the United Nations for Latin and the both developmentalist projects and their have taken many forms historically, and they have and they have been to a of projects, and postcolonial and development has been and in ways and with frequently political While many of these alternative frameworks the embedded in dominant Western they often technocratic and assumptions. gender and gender as for the of to be shaped by This becomes particularly in the media that of development where women frequently a crucial associated with and women were as both the subjects and of their participation in the and labor often as the index of In this study of from the 1970s how women were as of this as these about women’s urban and recurring and of a within the own of and critique that official examination of archives and enables a feminist interrogation of their mobilizing a of the in the of contribution to this issue similarly the of a dynamic within as well as across ideological the of women’s and the media of the and as active in labor and as integral to the technocratic women became of as their labor remained a of and analysis and archival with attention to the specific of and It also transnational that as a and affective a nexus of and practices through which gender, media, and developmentalism one film not as a but as part of the of alongside and work a broader concern of this special media as a of developmentalist projects. The debates the World and which international such as the United Nations and a critical historical for such primarily by postcolonial and of the for the of media and communication infrastructures in as to counter Western The a between and economic how systems of media and reinforced global hierarchies of and in an agenda that supported and alternative media infrastructures across postcolonial contexts, the framework gender as an analytical This “gender in the 1970s by of the Women in Development in relation to The Double its political critique of with its broader to center women in development policy through and This was also in of media, which was shaped by its international reach and audiovisual production and and and Yet, as WID institutional it also to the and of the women’s development programs often by in These were by a of studies, and on and the to of women’s presence and through the of their economic and In this on the filmmaker this history directly by the and of for women by the WID framework during the with and agencies the of and against Women in at the of the neoliberal turn, when institutional media often the only to access and support to projects. The an by this dynamic as of the from the Global South are to engage with the developmentalist assumptions funding models that their similarly the as a in developmentalist media history by the of and centers on the Film a between of and the attention toward the and labor by and work was foundational the of and the of audiovisual aid, as both a of development projects and a critical for their the in this issue argue for a with media, gender, and developmentalism as an field of that is and shaped by feminist and methodologies and that challenge the entanglements between academic knowledge production and and technocratic development And while methodological these dynamics at the structural the of feminist in media and cinema by this the very a