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.
Artists are increasingly using blockchain as a tool for trading digital artwork as non-fungible tokens (NFTs); however, some are also beginning to experiment with the blockchain as a medium for generative art, using it as a seed for a generative process or to continuously modify an evolving piece. This paper surveys, reviews, and classifies the state-of-the-art in blockchain-interactive NFTs and presents a liberal-arts critique of the opportunities and threats posed by this technology, whilst addressing existing criticism on the broader topic of art-related NFTs. The paper examines some of the most experimental pieces minted on the Hic et Nunc (HEN) and Teia NFT marketplaces, for which a purpose-built research tool was developed. The survey reveals some reliance on centralised infrastructure, namely blockchain indexers, placing undesired trust on third parties which undermines the potential longevity of the artwork. The paper concludes with recommendations for artists and NFT platform designers for developing more resilient and economically sustainable architectures.
This paper examines the concept that legitimate autographic identity may be granted to digital images created as a non-fungible token (NFT). The blockchain technology coded permanently into minted NFT’s keep track of the legitimacy of authorship and ownership, keeping them from being duplicated and removing them from the realm of allographic art. Questions arise of what ‘legitimacy’ and ‘ownership’ for a digital image—which are so easily reproduced and circulated—even look like. The main question that must be answered is whether the backend coding of a digital file is sufficient to alter its ontology into a token of one-of-a-kind autographic work, or if it only what is visible to the viewer of the image matters for its replicability and allographic ontological nature.
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.