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.
[ES] Este Trabajo de Fin de Grado trata de cómo el arte ha pasado a un formato digital en forma de NFT (non-fungible tokens). De este modo, el formato de compra se ha trasladado a las criptomonedas, como por ejemplo Ether. Se mostrará por tanto el valor del Ether a lo largo del trabajo, ya que esta varía cada día, y se comparará su valor con el de otras criptomonedas muy conocidas. También se crearán algunos NFTs de ejemplo, mostrando el resultado final, al igual que el proceso de aprendizaje de estos, ya que hay de diferentes tipos. En concreto en este Trabajo se tratará de crear NFTs de figuras, como por ejemplo colecciones de alguna figura geométrica. Para este caso, se emplearán algunas librerías de tratamiento de imágenes para Python existentes relacionadas con NFTs. Además, se realizará alguna colección de dibujos en 2D. Por último, se mostrará cómo publicar los NFTs en el mercado OpenSea, además de indicar los diferentes tipos de NFTs que existen en ese mercado.
Abstract Modern and contemporary art have redefined the relationship between information and matter. Whether in the readymade's scrambling of the categories of art and commodity or Conceptual art's translation of matter into information, the artwork is embedded in a dynamic multi-media discourse. The NFT, or non-fungible-token, reverses this long genealogy of contemporary art by hijacking the category of art as nothing more than a tool for designing a new asset class, ripe for exuberant speculation. In short, the readymade—whose purpose was to demonstrate the fungibility of artworks when shifted from one discursive category to another—has been reversed.
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