The goal was to develop a concept for the useful application of tokens in the learning platform of the Blockchain Academy Mittweida (BCAM). Thereby, imparted knowledge about the blockchain should become tangible for users. Based on the research of existing concepts, different ideas were developed and their use was tested. In the process, the specifics of the e-learning sector as well as those of blockchain technology are considered. Combining tokenization, e-learning, and gamification, a token model was finally developed, which is technically based on a smart contract of the Ethereum Blockchain. The model includes tokens that users can collect and exchange for badges. The badges are in turn represented as NFTs.
Technology is playing a very important role in transforming the industry. Currently, the advancement has been to Web3 technology, where we are using mutual interaction online in order to communicate with each other, or to organize the meetings or any social gathering with the help of internet. In the evolution of technology from radio to internet, metaverse is the current and upcoming technology supporting web3. Metaverse is expanding exponentially, the implementation of new technology is necessary for the progression to deliver the best experience using AR (augmented reality), VR (virtual reality), XR (extended reality). This chapter discusses the incredible potentials in which one can achieve outstanding results for implementing Metaverse technology, or to establish connection and connect with people in more live manner (in virtual spaces) and to achieve real-time experience.
Son yıllarda bilgisayar, yazılım ve internet teknolojisinde hızlı bir dönüşüm yaşanmaktadır. Kuşkusuzki bu dönüşüm birçok alanda farklı yansımalara ve yeni kavramların kullanılmasına neden olmaktadır.Nesnelerin interneti, blok zincir, büyük veri, yapay zeka, kripto para, arttırılmış sanal gerçeklik,değiştirilemeyen dijital varlık (NFT-Non Fungible Token), merkezi olmayan finans (Defi), endüstri 4.0gibi kavramlar bunlardan birkaçı olarak ifade edilebilir. Dijitalleşmenin hız kazanmasıyla meslekler debu değişimden etkilenmekte olup, bazı meslekler bütünüyle yok olmakta, bazı meslekler ise değişimve dönüşüm geçirerek yeni meslek alanlarının ortaya çıkmasına sebebiyet vermektedir. Bu durumgelecekte muhasebe bilim alanın ve muhasebe eğitimlerinin dijitalleşme sürecinden etkileneceğinigöstermektedir. Dijitalleşmenin bir sonucu olarak yeni para birimlerinin ortaya çıkması, muhasebepolitikalarının gözden geçirilmesi, muhasebe meslek mensuplarının farklı bilgi ve becerilere sahipolması beklentisi, gelecekte yaşanacak değişimin habercisi olarak kabul edilebilir. Bu çalışmadametaverse kavramı ele alınmış olup, metaverse’nin muhasebe bilim alanına yansımaları incelenmiştir
Mario Sergio Schlichting, Simone Keller Füchter, Marcio Sergio Schlichting, Karen Alexander
More and more, our daily lives are entwined with technology. Our interactions with other people increasingly take place in virtual encounters. Many different concepts have appeared to describe the various virtual experiences that we might have. Recently the idea of the Metaverse has become prominent as a way to describe the digital realm in which we interact with objects, environments, and other people. But there is disagreement and confusion about what the Metaverse actually is. This review aims to bring different concepts and meanings to technologies that sometimes work in a complementary way to enable the Metaverse. Virtual Reality, Augmented Reality, and Mixed Reality, the Web or the Internet, and Blockchain or Distributed Ledger Technology are some concepts discussed and compared in this paper. After a clarification of their differences and similarities, this study also presents the concept of the Metaverse, a complex virtual world where many activities, including commerce, can take place and where avatars may be used to facilitate social experiences and make them feel more like real interactions. The methodology used in this study was a mix of Literature Review and Critical Review and the results presented show characteristics and particularities that allow a better understanding of virtual technologies and the Metaverse.
I’m going to talk from an artist’s perspective about “Art and NFTs—Past and Future.” There are a lot of surprising details in the short history of non-fungible tokens (NFTs) and some pretty interesting ideas that are ready to unfold in the future. As an artist, the work I’ve done has always been media-based, including video, software, and related forms. Not so long ago, I was making video artworks, akin to short, experimental, independent films. Along with my partner, Jennifer McCoy, I have produced “net art”—art made for viewing and audience participation on the Internet. Since all of the work that I—along with my friends and other artists in the community—made was digital and intangible, there was very little way to participate in the art market. There were no tangible works that could be made and sold. A digital media-based artwork could circulate in non-commercial contexts such as art or film festivals or museum curations, but rarely could it participate in the traditional art market like a painting could. For example, in 2001, the Whitney Museum of American Art acquired a JavaScript-based project of ours called 201—A Text Algorithm. A code-based piece can enter the museum, but it is usually through donations and commissions rather than sales. That was the experience for my friends and me for a long time. Working with an intangible form are always on the sidelines of the greater visual arts community. As a result, I—along with many other artists—adopted a strategy of physicalization: you make your work sculptural and turn your media ideas into objects. We made physical media sculptures that were met with success. In 2001, the Metropolitan Museum of Art purchased an early work of ours Every Shot, Every Episode, which was recently part of the exhibition Pictures Revisited. Although Every Shot, Every Episode is a media art piece, it is exhibited sculpturally in the form of a small, wall-mounted suitcase. In other projects, we created sculptures that included video and kinetics, such as miniature film sets made with small cameras. One of these is in the Museum of Modern Art (MoMA) collection and another was purchased by the Grand Duke Jean Museum of Modern Art (MUDAM) in Luxembourg. Although the projects contain software and media, their embodiment as physical objects allows them to be displayed and collected in traditional ways. This was the course of my practice in the early 2000s. To be sure, I used the transition from digital to physical not only as a way to participate in the art market but also for artistic and aesthetic reasons. This choice certainly allowed my works to be collected and, as a result, a broader conversation about who was buying and supporting new media art began. It was an exciting time. But there lingered a real question about how one might make and sell work that is natively digital.
In this essay, we innovatively put forward the idea of “NFT-ing the NFT.” A standard on “divisible NFTs” will allow hundreds of millions of future metaverse inhabitants to share ownership and collectively be the user and creator of metaverse items. The first idea of “NFT-ing the NFT” is to NFT non-fungible tokens with a single, consistent representation. These NFTs include music, movies, virtual real estate, club membership, and so on. For example, a song’s NFT can be divided into 25 NFTs, allowing 25 buyers to own the piece jointly. For an NFT representing virtual real estate, separating a 100 sqm NFT land into ten 10 sqm of NFT lands enables more residents to own a piece of land. It promotes land transfers, which are conducive to the overall metaverse economy.
Florian M. Arnold, Gordon Lemme, M Hess, S Witt · 5 authors
Abstract The effort for checking and correcting the spatial movement accuracy of a processing machine with 5 axes is very high. Calibration and recalibration must be carried out directly on the machine by the machine supplier or a company specializing in this. This is associated with high personnel and long machine downtimes. These constraints can be improved by using modern methods. A consistent approach of an AR-supported measurement procedure for the preparation and execution of a required measurement run and the execution of the calibration itself as a digital service is presented. This enables rapid execution by the machine operator himself using a DoubleBallBar measurement system without the need of the presence of the machine manufacturer. The determination of the calibration parameters on the basis of the measurement data is then carried out by the machine manufacturer and provided as a service. The basis for such a secure and auditable service is a digital service platform. This serves as an intermediary between the user and the machine manufacturer and uses distributed ledger technology. The approach presented is the subject of current development work.
NFT can help art creators to easily register their works for sale using a smart contract system where if the ownership of the work changes hands, the work will become the property of the new owner with proof of a digital certificate. With the steps of making the work so that it can be published in the NFT marketplace media platform and NFT offline gallery. In addition, NFT also has advantages and disadvantages. With that, NFT might be a solution for copyright of a work in the future. However, there are still many questions because NFT is still relatively new and not everyone knows this technology.
The creation of artworks in the metaverse as unique files that exist on a blockchain world of the non-fungible tokens (NFTs) have revitalized discussions over the uniqueness of a work of art. Similar to the art world market in Second Life, this has presented a novel way to collect imported or natively digital art. This raises the following questions: What are the processes that artwork undergoes in the web 3.0 or metaverse? What constitutes the reproduction/recreation of a work of art? Which tools can be exploited to create more content for this universe? How does this new approach affect ownership, scarcity and authenticity? Unlike art productions that find a place in museums or galleries, Daragaç Art Collective independently uses the streets both as their location, and as their canvas. This creates the need to store the artworks as fully as possible in any form available. With this aim, a team of architects, designers and software engineers designed, implemented and tested a mobile application to represent and recreate the experience of the artworks in the digital environment. The artworks of independent artists were collected virtually and compiled in a relational database over the years, and are displayed in their geographical coordinates, and represented in the 3D world. After discussion on how to represent the artworks, it was decided that some only exist in videos and photographs, therefore, we decided to use the archaeology of digital data and present them in 3D space, to ensure their continued existence once they had been performed or exhibited. Illustrated by the case of our augmented application, this paper discusses the reproduction of ownership and scarcity of artworks in terms of preserving a cultural heritage in the metaverse.
Blok zinciri teknolojisinin ilk olarak kripto para birimi Bitcoin ile popüler hale gelmesi aslında büyümeye başlayan bir kartopunun ilk hareketi olarak görülmesi gerekir. Öncelikle finans sektörüne etki eden bu teknolojinin zaman ilerledikçe birçok sektörü etkisi altına aldığı görülürken turizm sektörünün yolunun da bu teknoloji ile kesişmeye başladığı yadsınamaz bir gerçektir. Bu nedenle hem akademisyenler hem araştırmacılar hem de çeşitli sektörler tarafından üzerinde yoğun bir şekilde çalışılan bir konu haline gelmiştir. Bu çalışmada bir blok zinciri uygulaması olan NFT (Non-fungible Token, Değiştirilemez Jeton) teknolojisi ele alınıp turizm sektörü açısından sunabileceği yenilikler ele alınmıştır.
Lik‐Hang Lee, Tristan Braud, Pengyuan Zhou, Lin Wang · 9 authors
Since the popularisation of the Internet in the 1990s, the cyberspace has kept evolving. We have created various computer-mediated virtual environments including social networks, video conferencing, virtual 3D worlds (e.g., VR Chat), augmented reality applications (e.g., Pokemon Go), and Non-Fungible Token Games (e.g., Upland). Such virtual environments, albeit non-perpetual and unconnected, have bought us various degrees of digital transformation. The term `metaverse' has been coined to further facilitate the digital transformation in every aspect of our physical lives. At the core of the metaverse stands the vision of an immersive Internet as a gigantic, unified, persistent, and shared realm. While the metaverse may seem futuristic, catalysed by emerging technologies such as Extended Reality, 5G, and Artificial Intelligence, the digital `big bang' of our cyberspace is not far away. This survey paper presents the first effort to offer a comprehensive framework that examines the latest metaverse development under the dimensions of state-of-the-art technologies and metaverse ecosystems, and illustrates the possibility of the digital `big bang'. First, technologies are the enablers that drive the transition from the current Internet to the metaverse. We thus examine eight enabling technologies rigorously - Extended Reality, User Interactivity (Human-Computer Interaction), Artificial Intelligence, Blockchain, Computer Vision, Edge and Cloud computing, and Future Mobile Networks. In terms of applications, the metaverse ecosystem allows human users to live and play within a self-sustaining, persistent, and shared realm. Therefore, we discuss six user-centric factors -- Avatar, Content Creation, Virtual Economy, Social Acceptability, Security and Privacy, and Trust and Accountability. Finally, we propose a concrete research agenda for the development of the metaverse.
Lik‐Hang Lee, Tristan Braud, Pengyuan Zhou, Lin Wang · 9 authors
Since the popularisation of the Internet in the 1990s, the cyberspace has kept evolving. We have created various computer-mediated virtual environments, including social networks, video conferencing, virtual 3D worlds (e.g., VR Chat), augmented reality applications (e.g., Pokémon Go), and Non-Fungible Token Games (e.g., Upland). Such virtual environments, albeit non-perpetual and unconnected, have brought us various degrees of digital transformation. The term “metaverse” has been coined to facilitate further digital transformation in every aspect of our physical lives. At the core of the metaverse stands the vision of an immersive Internet as a gigantic, unified, persistent, and shared realm. While the metaverse may seem futuristic, catalyzed by emerging technologies such as Extended Reality, 5G, and Artificial Intelligence, the digital “big bang” of our cyberspace is not far away. This survey presents the first effort to offer a comprehensive framework that examines the latest metaverse development under the dimensions of state-of-the-art technologies and metaverse ecosystems and illustrates the possibility of the digital “big bang”. It is essential to highlight that the metaverse encompasses diverse technologies and ecosystems, calling it an interdisciplinary and emerging field. Its primary objective is to provide users with satisfactory and interactive experiences. First, technologies are the enablers that drive the transition from the current Internet to the metaverse. We thus examine eight enabling technologies rigorously – Extended Reality, User Interactivity (Human-Computer Interaction), Artificial Intelligence, Blockchain, Computer Vision, IoT and Robotics, Edge and Cloud computing, and Future Mobile Networks. In terms of applications, the metaverse ecosystem allows human users to live and play within a self-sustaining, persistent, and shared realm. Therefore, we discuss six user-centric factors – Avatar, Content Creation, Virtual Economy, Social Acceptability, Security and Privacy, and Trust and Accountability. Finally, we propose a concrete research agenda for developing the metaverse.
Non-fungible tokens are one of the newest use-cases of blockchain technology. Ethereum Virtual Machine (EVM)-based blockchains such as Ethereum, Binance Smart Chain (BSC), or Polygon/Matic have standardized this type of tokens using interfaces such as ERC721 and ERC1155. This development fostered a connection between blockchain and Mixed Reality technologies, which can now coexist in cohesive applications. In this paper, we present the opportunities and challenges resulting from using Augmented Reality NFTs, with a particular focus on the preservation of property, whether it is physical or purely digital. We present a methodology that can ensure the protection of privacy and the preservation of intellectual property when transitioning assets from the virtual to the physical world.
NFT-based art is at the forefront of a new wave of digital ownership that enables creators to retain control of their work and create and sell ownership rights for their digital media. But digital art is just the tip of the iceberg: this same technology can unlock access to any unique physical or digital resource, including products, services, and event access. We call these NFTs - used to access and determine ownership of resources off the blockchain - ‘Smart Collectibles.’ Smart Collectibles have applications that range from digital gaming and media to finance and property. They are also a key enabler of Web 3.0 and the Metaverse, an always-on shared digital universe where people can work, play, and hang out. By creating this document, we aim to inspire and encourage creators, communities, and businesses to continue to innovate in this space. With Smart Collectibles, businesses and artists can enable access to value in a way that is traceable and highly secure and even stack access to multiple forms of value onto the primary non-fungible tokens themselves.
Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. Painting frees itself from the function of reflecting objective reality and seeks new means of expression and meaning. In the early 20th century, new trends in the avant-garde art seek to depict intangible things away from visible reality such as the inner world of the artist, emotions, symbols, music, time and more. One of the brightest trends - Cubism is a typical example. It seeks a way to show objects rationally from several sides simultaneously - three-dimensional, but unfortunately it is limited by the means of expression - the two-dimensional surface of the canvas. Digital technologies today have a solution to this problem. They provide digital tools that completely change painting. The canvas no longer exists in the familiar way in which the artist works. It is becoming history. With the invention of VR glasses, the boundaries of visible reality and imagination in art have been removed to enter a new virtual world. Tilt Brush technology goes one step further, giving the opportunity to the artist to create 3D images with a brush in hand while moving in the virtual world he creates. Canvas doesn’t exist, it is a virtual digital world three-dimensional arising from the imagination of the artist and existing only through the eyes of the pink VR glasses. Here comes the question, will technology displace the artist's hand? Keywords: Digital Art, Art, Virtual Reality (VR), Tilt Brush, Technological Innovations, Net Art, Non-Fungible Tokens (NFT), Artificial Intelligence
Nowadays, breakthrough technologies, such as virtual reality (VR), augmented reality (AR), and Blockchain, have definitively attracted the attention of a huge number of investors worldwide. Although, at first glance, Blockchain (traditionally used for financial services) seems to have little to none to share with VR and AR (originally adopted for entertainment), in the last few years several use cases started to appear showing effective ways to integrate these technologies. In this article, an overview of opportunities investigated by current solutions combining VR, AR, and Blockchain will be discussed, showing how they allowed both companies and academic researchers cope with issues affecting traditional services and products in a rather heterogenous set of application domains. Opportunities that could foster the convergence of these technologies and boost them further are also discussed.
Marko Suvajdžić, James Oliverio, Angelos Barmpoutis, Liam Wood · 5 authors
Discover DaVinci is a novel augmented reality system that incorporates blockchain technology with experiential learning to engage participants in an interactive discovery of Leonardo da Vinci's ouvre. In the true spirit of this "Renaissance man", Discover DaVinci explores new ideas and technologies "ahead of their time".
Huaxin Wang, Joris S. M. Vergeest, Jan Miedema, Frank Meijer · 6 authors
Synthetic environment equipped with user interfaces intuitive for direct 3D shape modification by non-designer stake-holders was proposed as a collaboration tool for design concept communication in dynamic prototyping of product design in early stages of the design process. After a survey of 3D user interaction techniques for SE, a simple user interface with hierarchical visual menu was proposed and a proof-of-concept implementation of it was tested to be intuitive with experiment, which serves as a base for further study to verify the hypothetical benefits of SE aided dynamic prototyping in terms of communication efficiency and accuracy.