VEDANTA 2.0 v2.2.0 — Creative Incompleteness as a Hypothesized Structural PrincipleThe 99/1 Dynamics of Non-Closure, Movement and Novelty वेदांत 2.0 v2.2.0 — रचनात्मक अपूर्णता एक परिकल्पित संरचनात्मक सिद्धांत के रूप में This is a hypothesis-generating framework, not a claim of established fact. Formalization≠Validation. CANONICAL CORE (Frozen): 99 = वर्तमान / प्राप्त अवस्था (current/attained state) 1 = irreducible remainder — not a numerical constant, but a symbol for residual openness 99+1 = open, non-final state — पूर्णता नहीं, आगे बनने की संभावना Chain: incompleteness → remainder → possibility → movement → differentiation → diversity → novelty → creation CANONICAL THESIS (Frozen): Creative Incompleteness proposes that the persistence of an irreducible remainder prevents absolute closure and thereby preserves the possibility of continued change, differentiation, novelty, and emergence. Hindi: रचनात्मक अपूर्णता प्रस्तावित करती है कि अवशिष्ट अपूर्णता की निरंतरता पूर्ण बंद को रोकती है और निरंतर परिवर्तन, विभेदन, नवीनता और उद्भव की संभावना बनाए रखती है। RESEARCH QUESTION (Frozen): If existence never attains absolute closure, how does the remaining openness generate the possibility of movement, change and novelty? Hindi: यदि अस्तित्व कभी पूर्णतः बंद नहीं होता, तो उस शेष खुलेपन से गति, परिवर्तन और नवीनता की संभावना कैसे उत्पन्न होती है? FOUR PROPOSITIONS:P1 Non-Closure: No modeled state is assumed to constitute absolute and final closure. / किसी मॉडलित अवस्था को पूर्ण अंतिम बंद नहीं माना जाता।P2 Remainder: A non-zero remainder preserves the possibility of change.P3 Becoming: Change permits differentiation, novelty and emergence.P4 Symbolic 1%: The "1%" is symbolic representation of irreducible remainder, not a universal physical constant. Separate hypothesis: Polarity transition — as system approaches limiting state of complete closure, model hypothesizes transition/inversion may occur before absolute closure. Hypothesized, not deduced. METHODOLOGICAL DISCIPLINE (Frozen): remainder → movement is not said to "cause" movement. Language: "provides a condition for / preserves the possibility of / is hypothesized to enable" 99.99...% notation removed (if infinite 9s, mathematically =100%). Corrected: "As a system approaches a limiting state of complete closure, the model hypothesizes that a transition may occur before absolute closure is attained." ∀x¬(x=100% closed) replaced by Principle of Non-Closure — structural principle, not formal theorem Gödel, Heisenberg, Thermodynamics treated as analogical / structurally suggestive parallels, not direct proofs. Analogy ≠ Proof. "Three Proofs" → "Three Lines of Support and Analogy" "Law" → "Hypothesized Structural Principle" in title to align with epistemic standard D_t = ⟨ΔA,ΔS,ΔK⟩ defined model-internally: absolute closure defined as D_t=0, therefore D_t≠0 → non-closed modeled state Maya/Lila labeled as Vedanta 2.0 interpretive terms, not direct physics consequences 0, consciousness, Brahma removed from core of Paper 2 — Paper 2 independent TETRALOGY:01 Integrated / Practical — कैसे जीना है?02 0-99 Foundation — केंद्र और अभिव्यक्ति (0→99)03 99/1 Dynamics — अपूर्णता से गति और नवीनता (this paper) (99→remainder→movement)04 Formal Appendix — Formal Arguments, Mathematical Formulations, Physical Analogies, Epistemic Limits NEXT — Theory नहीं, Tracks:Track A Formal: closure, remainder, D_t, S_n<1 ∀ finite n, lim S_n=1, axiomsTrack B Physical: operationalization in real systems as testable correspondence, not proofTrack C Philosophical: incompleteness, becoming, novelty, knowledge-limits STATUS: Architecture frozen. Hypothesis open. Research begins. License CC BY 4.0 | ORCID 0009-0000-8083-0685
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.
Based on the graphic novel Dalí's Mustache and Other Colors, published by Polirom in 2020, the article Dalí's Mustache between Color, Word, Image, Non-Fungible Token, and... Sound proposes a reevaluation of the concept of musicological research from a contemporary interdisciplinary perspective, as an authentic act of culture. The 16 paintings imagined by visual artist Felix Aftene, perfectly suited to the equally impressive literary chapters written by Lucian Dan Teodorovici, follow a path marked by metamorphosis, with stops that generate new meanings and senses (video artist Andrei Cozlac, Blockchain consultant Gabi Dumitru), with the final destination being the concert stage in the orchestral suite composed by the young musician Paul Pintilie and premiered at the Classix Festival in 2023 on the stage of the “Vasile Alecsandri” National Theater in Iași, performed by the National Youth Orchestra of Moldova and the “Sonos Alumni” Chamber Orchestra of the Iași University of Arts. The article is conceived along parallel lines/arts, but continuously linked by a common thread: Dalí's moustache, a surrealist universe in which the conventional-unconventional dualism fits perfectly.
This paper presents an analysis of five years (2021 - 2025) of conference discourse across six digital art conferences, aiming to trace thematic shifts associated with the rapid development of emerging technologies, namely artificial intelligence (AI), immersive technologies (including XR and the metaverse), and blockchain technologies and non-fungible tokens (NFTs). The results indicate a marked increase in AI-related contributions, while immersive technologies maintain a relatively stable share of the discourse, and blockchain- and NFT-based works remain marginal. Overall, whereas immersive technologies and blockchain-related topics exhibit relative stability, AI shows a significant rise after 2022, emerging as a dominant theme within digital art conference discourse.
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.
El presente artículo aborda la realidad digital reciente y el contexto contemporáneo, con el objetivo de comprender la casuística de los NFT en Europa a través de dos casos de expansión comparativos: el español y el lituano. Metodológicamente, el estudio adopta un enfoque híbrido, combinando la revisión teórica de los Non-Fungible Tokens con técnicas empíricas de recolección de datos, como entrevistas en profundidad y encuestas. De manera preliminar, se realizó un análisis bibliométrico utilizando la base de datos Scopus, lo que permitió identificar y seleccionar los artículos más influyentes publicados en revistas de alto impacto. Esta fase inicial facilitó la delimitación de los ejes temáticos y subtemáticos que sostienen el desarrollo del trabajo. Los resultados indican que la mayoría de los estudios revisados emplean metodologías cualitativas y aportan marcos conceptuales para la aplicación práctica de los NFT, validando su relevancia en campos como la publicidad, la comunicación y las artes. El análisis de contenido identifica seis líneas principales: características, expansión, aplicaciones, repercusiones, percepciones del mercado y marco jurídico. Además, el estudio evidencia el potencial de los NFT para la diversificación y conectividad de la industria cultural, así como su creciente relevancia en entornos de realidad virtual y aumentada, destacando su papel como herramienta innovadora en la transformación digital del arte y la comunicación.
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.
The article discusses certain aspects of blockchain-based art, including the ecology and economy of non-fungible tokens (NFTs), applying projects curated by Ruangrupa for documenta 15, such as Jalar, Dayra, Cheesecoin, and BeeCoin, created within the lumbung Economy. In light of earlier investigations into the ecology of NFTs, the main areas of concern now are the ways in which information about the environmental effects of NFTs presents itself, the monopolization of particular technological mechanisms, the perpetuation of cultural biases, and, from this angle, the belief of artists in the potential for change brought about by the new technology. Given the economic and ecological implications arising from the blockchain projects discussed in this article, I propose to use the notion of ecosophy defined by Félix Guattari as an approach for lumbung Economy interpretation.
Protocol art has recently proliferated through blockchain-based smart contracts, building on a century-long lineage of conceptual, participatory, interactive, systematic, algorithmic, and generative art practices. Few studies have examined the characteristics and appreciation of this emerging art form. To address this gap, this paper presents an annotated portfolio analysis of protocol artworks by Pak, a pioneering and influential pseudonymous artist who treats smart contracts as medium and collective participation through protocol as message. Tracing the evolution from early open-edition releases of The Fungible (2021) and the dynamic mechanics of Merge (2021) to the soul-bound messaging of Censored (2022) and the reflective absence of Not Found (2023), we examine how Pak choreographs distributed agency across collectors and autonomous code, demonstrating how programmable protocols become a social fabric in artistic meaning-making. Through thematic analysis of Pak's works, we identify seven core characteristics distinguishing protocol art from other art forms: (1) system-centric rather than object-centric composition, (2) autonomous governance enabling open-ended control, (3) distributed agency and communal authorship, (4) temporal dynamism and lifecycle aesthetics, (5) economy-driven engagement, (6) poetic message embedded in interaction rituals, and (7) interoperability enabling composability for emergent complexity. We then discuss how these features set protocol art apart from adjacent movements such as conceptual, generative, participatory, interactive, and performance art. By analyzing principles grounded in Pak's practice, we contribute to the emerging literature on protocol art (or "protocolism") and offer design implications for future artists exploring this evolving form.
This research aims to deeply explore the origin of the metaverse and its impact on the development of corporate strategy, especially in the field of non-fungible token (NFT) artwork design. Through the analysis of the current development status of NFT artworks, an artificial intelligence-based enterprise development strategy and a metaverse NFT artwork design method are proposed. In addition, the generation logic, technical attributes, and technical and legal risks of metaverse NFT artworks under different design methods are also studied. It is expected that this research will provide strong theoretical support and practical guidance for the legal protection of metaverse NFT artwork design.
This dissertation examines the evolving landscape of non-fungible token (NFT) markets, primarily in the arts, focusing on the experiences of artists and the role of intermediaries in shaping market dynamics. Through three interconnected research papers, it challenges the techno-utopian narratives of decentralization and democratization associated with blockchain technology. The first paper presents an analysis of how NFT marketplaces have become decisive arbiters of value, particularly in royalty enforcement, which reveals the paradoxical coexistence of technological decentralization and organizational recentralization. The second paper presents a novel typology that demonstrates how NFT marketplaces actively construct value and shape participant behaviour through governance mechanisms and curatorial strategies. The third paper foregrounds artists’ lived experiences and unveils how the digital nature of NFT markets intensifies competitive pressure and necessitates constant “visibility labour” on social media platforms. Collectively, the findings unveil how NFT markets, despite the decentralization rhetoric, often reproduce and amplify traditional art market hierarchies while introducing the challenges of cryptocurrency volatility, algorithmic visibility, limited legal and social protections and other forms of digital vulnerability. This dissertation highlights the complexities of an evolving ecosystem in which technological innovation intersects with established power structures and market practices and thereby contributes to the Information Systems literature. It also offers critical insights into the intricate interplay between technological innovation, market configurations, and creative labour in the digital age, which not only advance our understanding of NFT markets but also provide a framework for analysing future developments in digital creative economies.
The recent advent of non-fungible tokens (NFTs) has profoundly disrupted the contemporary art market, but their status remains contested. While advocates tout the democratising potential of NFTs, critics dismiss them as a speculative bubble. This study elucidates the position of NFT art within mainstream art market discourse through an interdisciplinary analysis synthesising critical discourse analysis, corpus linguistics, and the political economy of art. Examining three key 2023 art market reports furnishes empirical insights into how influential institutions frame and valorise NFT art. Linguistic patterns reveal NFTs’ increasingly solid yet variable positioning across art market segments. NFT art appears well-integrated into mainstream discourse but remains emergent at the high end. The analysis reveals a complex picture, with the data showing both positive institutional framing and valorisation of NFT art, as well as the identification of ethical tensions and concerns around issues of accessibility, diversity, and sustainability within the NFT art market discourse. We find NFT art simultaneously amplifies and challenges existing hierarchies, creating new opportunities counterposed by risks.
Young Soon Jeong, Ji Eun Jeong, Chae Hyun Lee, Jong Woo Park
Purpose: Non-Fungible Token (NFT) ART, based on NFT technology, represents a novel form of art that has recently garnered significant attention in the art market. NFT technology enables the assertion of ownership over digital data, introducing the concept of ownership into the digital realm. As digital data gains ownership, NFT ART is anticipated to be positively viewed as an investment and expected to become more active due to the characteristics of this new technology. Therefore, this study aims to verify the influence of NFT ART characteristics on perceived value. This study contributes to extracting the distinctive characteristics of NFT ART compared to other forms of art and to understanding the perceived value of NFT ART among consumers with purchasing experience.Methods: This study applied structural equation modeling to explore the relationships among the variables using SPSS 26.0 and R program version 4.2.3. A total of 320 questionnaires were retrieved, all of which were adopted as valid analytical samples without missing values.Results: The findings indicate that the decentralization, transparency, and scarcity of NFT ART positively influence the perceived usefulness and enjoyment among consumers, while security does not have a significant impact. This suggests that higher levels of decentralization, transparency, and scarcity in NFT ART enhance perceived usefulness and enjoyment for consumers, significantly influencing the perceived value. Furthermore, it was confirmed that these characteristics are considered important values and perceptions from the consumer’s perspective.Conclusion: The research presents positive factors for the activating of purchases among consumers considering buying NFT ART. It emphasizes the necessity of benefits for all participants to activate the art market. Additionally, the perceived value provides crucial insights for inducing active purchasing behavior in the NFT ART market and serves as a foundational study for further research.
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
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.
The development of crypto has resulted in NFT (non-fungible token) derivation. Artists began to explore the NFT market with its potential. NFT artists have different ways to get engagement and establish themselves in the world of NFT, whether in terms of artwork substance or in the social field. This study aims to deconstruct the actors behind NFT artists to elucidate the visual style and the social engagement of artists in the world of NFT. The method used in this study is a qualitative approach with data validation from interviews and NFT artwork samples. The data was subsequently processed using actor-network theory (ANT) to analyze and trace the actors behind the NFT artists. Two Indonesian artists, namely Angga Tantama and Mufti Prianka, became the study cases in this research. The result of this study shows heterogeneous actors who support the artists in their work's substance and social engagement. In the case of Mufti Prianka, NFTs influenced him to explore the possibilities of creating digital artworks, whereas for Angga, NFT platforms became one of his well-established channels to publish artworks. Based on their networks, the two Indonesian artists studied have different approaches and motivations in creating and engaging with NFTs.Proses kreatif dua seniman NFT Indonesia dalam perspektif teori jaringan aktorPerkembangan kripto telah menghasilkan derivasi NFT (non-fungible token). Para seniman mulai menjajaki pasar NFT dengan potensinya. Seniman NFT memiliki cara yang berbeda untuk mendapatkan keterlibatan dan memantapkan diri di dunia NFT baik dari segi substansi karya seni maupun dalam bidang sosial. Gaya visual dalam kategori ini bervariasi dengan seniman yang berbeda yang merupakan pencipta di belakangnya. Penelitian ini bertujuan untuk mendekonstruksi aktor di balik seniman NFT untuk menjelaskan gaya visual dan keterlibatan sosial seorang seniman di dunia NFT. Metode yang digunakan dalam penelitian ini adalah pendekatan kualitatif dengan validasi data dari wawancara dan sampel karya seni NFT. Data tersebut selanjutnya diolah menggunakan teori jaringan aktor (ANT) untuk menganalisis dan menelusuri aktor di balik seniman NFT. Dua seniman Indonesia menjadi studi kasus dalam penelitian ini, yaitu Angga Tantama dan Mufti Prianka. Hasil penelitian ini menunjukkan aktor heterogen yang mendukung seniman dalam substansi karya dan keterlibatan sosialnya. Dalam kasus Mufti Prianka, NFT memengaruhinya untuk mengeksplorasi kemungkinan dalam menciptakan karya seni digital, sedangkan pada Angga, platform NFT menjadi salah satu salurannya yang mapan untuk mempublikasikan karya seni. Berdasarkan jaringan mereka, dua seniman Indonesia yang diteliti memiliki pendekatan dan motivasi yang berbeda dalam menciptakan dan terlibat dengan NFT.
Non-fungible tokens (NFTs) are digital assets that provide unique ownership and authenticity of digital media such as art, music, and collectibles.NFT Marketplace is a blockchain-based platform that enables the creation, trading, and collecting of NFTs.The platform leverages blockchain technology to ensure the authenticity and ownership of NFTs, providing a secure and transparent way to transact digital assets.In this major project report, we explore the NFT Marketplace and its underlying blockchain technology.We provide an overview of the platform's features, including the ability to tokenize any digital asset, create customizable smart contracts, and sell NFTs with low fees and instant trades.We also discuss the advantages and disadvantages of the platform, including its ease of use, potential for fraud, and scalability challenges.The Non-Fungible Tokens (NFTs) have revolutionized the digital realm, redefining the concept of ownership and trade of unique digital assets.NFTs represent one-of-a-kind tokens, each verifiably and indelibly linked to a specific digital or physical asset, encompassing diverse forms of content, including video, audio, and images.These unique tokens have paved the way for creators to monetize their digital creations while providing collectors with an innovative means to invest, trade, and showcase their multimedia NFT collections.Central to the NFT ecosystem are NFT marketplaces, digital platforms designed to facilitate the creation, sale, and management of NFTs in various multimedia formats.These marketplaces have proliferated, providing creators with the means to mint NFTs, buyers with the opportunity to acquire them, and collectors with platforms to curate and trade their diverse NFT portfolios.We explore the multifaceted world of NFT marketplaces, focusing on their pivotal role in the creation, sale, and management of video, audio, and image NFTs.We analyze the economic implications, including pricing strategies and royalties, while addressing environmental sustainability concerns associated with NFTs.Challenges and opportunities encountered within this dynamic ecosystem are critically examined, including scalability, intellectual property rights, and the emergence of decentralized NFT marketplaces.Through in-depth case studies, we offer insights into the unique features and innovative approaches adopted by leading NFT marketplaces, shedding light on the transformative potential of this digital metaverse.This report serves as a valuable resource for those seeking a comprehensive understanding of NFT marketplaces catering to video, audio, and image NFTs, emphasizing the profound impact these tokens have on the creation, trade, and experience of digital content across various media formats.Navigating this dynamic digital frontier necessitates a nuanced perspective, and our survey aims to provide a holistic view of this rapidly evolving landscape.
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.
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.