Blockchain Papers

Fiza Siyal, Antonella Guzzo, Fahed Alkhabbas, D. Saccà · 5 authors

We propose a novel blockchain-based traceability system that uniquely combines Physical Unclonable Functions (PUFs) and Non-Fungible Tokens (NFTs) to establish secure, tamper-evident, and verifiable digital identities for physical products. Unlike conventional approaches that rely solely on serial numbers or barcodes, our system uses embedded PUFs to generate a physically unclonable ID for each item, ensuring hardware-level authenticity. This PUF ID is cryptographically linked to an NFT minted on a public blockchain, encapsulating metadata such as product origin, manufacturing details, and certification status. Associating NFTs and certifications with PUF-tagged products not only provides transparent provenance but also enables decentralised validation of compliance and ethical standards. This methodology is distinct in its integration of immutable physical identity with blockchain-based digital certification, offering a robust solution for enhancing transparency, combating counterfeiting, and fostering trust across global supply chains. Furthermore, employing Edge and emerging 6G networks, our framework can execute PUF challenge–response and preliminary NFT minting directly at edge nodes. This establishes a real-time, low-latency architecture that reduces network congestion and gas costs for secure and sustainable supply chains.

João Pires da Cruz, Daniel Costa, Pedro Granate, Armando Teixeira · 6 authors

No abstract is available for this record.

Hye-Young Kim

No abstract is available for this record.

Surya Rana

This paper investigates the extent to which cognitive heuristics, social influence, and digitally-mediated sentiment drive the extreme volatility of cryptocurrency, Decentralised Finance (DeFi), and Non-Fungible Token (NFT) markets, and the degree to which these dynamics deviate from the Efficient Market Hypothesis. Using an integrative narrative review and a synthesis of empirical evidence from 2014–2025, the paper develops the Integrated Digital Asset Behavioural Model (IDABM), a four-variable framework relating market stability to social velocity (Sv ), heuristic load (Hl ), platform gamma (Pγ ), and liquidity leverage (Ll ). The analysis draws on demographic and sentiment data, case evidence from the 2022 Terra/ Luna and FTX collapses, and a comparative cross-asset bias taxonomy. The findings indicate that digital asset markets constitute a pure sentiment environment in which the absence of conventional valuation anchors produces heuristic dominance and structurally amplified herding behaviour. The paper concludes that effective regulation must shift from informational disclosure toward behavioural guardrails — including algorithmic accountability, regulation of gamified trading interfaces, and behavioural literacy requirements.

Michael P. Moynihan

In 1978, after a decade of designing eccentric cybernetic installations— such as labyrinths for living animals and computationally controlled plant environments—Luis Fernando Benedit, a conceptual artist and architect from Buenos Aires, drew a series of eight houses for a World Congress in Mexico City organized by the Union of International Architects (UIA).1 The series title, Las casas que cuestan un millón (Houses that cost a million), was a sardonic critique of the conference's theme of “Architecture and National Development” and openly mocked the rhetoric of low-cost housing presented to development aid organizations throughout the decade such as Christopher Alexander's Low-Cost Housing, Yona Friedman's No-Cost Housing, and the work done by the Minimum Cost Housing Group.2Unlike other architects presenting at the UIA World Congress, Benedit was not looking to access flows of international finance or to share research. His examples of high-cost housing were hand drawn, each appearing visually distinct, beginning in a cartoonish tone with topiary gardens and large curving cantilevers. Throughout the series, the houses gradually evolve into austere, sharp geometric forms reminiscent of brutalism or bomb shelters. Their similarities are more subtle: Each drawing includes a subterranean living space, underground entrances, solar panels, and other small-scale eco-technologies popularized in the 1970s. The format, speed, and level of detail in the drawings are similar to a style of communication media in self-help manuals and appropriate-technology discourse, where a comic format was the visualization technique encouraged by the United Nations for disseminating expertise to a new class of self-builders around the world.3 Yona Friedman, the most well-known architect for utilizing this comic style for his own promotion within development programs, was unable to attend the congress in Mexico City, because he was in Bolivia the same week at a UNESCO seminar presenting a housing project that promised minimum cost for governments and “no cost” to inhabitants.4 Friedman's busy schedule in the fall of 1978 reflects the renewed fervor of development discourse in the late 1970s, as housing became the primary strategy pushed by international agencies and economists looking to promote national development and manage rural-urban migration.5Unlike a step-by-step comic strip illustrating how to build a home, Benedit's houses narrate the rise of bureaucratic authoritarianism in Argentina and were drawn for an international forum as a way to comment subversively on the social, political, and technological changes occurring during the ongoing dictatorship (1976–1983) led by General Jorge Rafael Videla. During this period, clandestine torture centers and death raids were used in the enforced disappearance of more than thirty thousand people accused of political dissent.6 Under the dictatorship's so-called Process of National Reorganization (Proceso de reorganización nacional or El proceso), most democratic institutions were repressed; Congress was suspended, political parties were banned, and civil rights were limited.7Building on a decade of computational and technological artworks, Benedit used the conceptual language of cybernetics and closed systems as a metaphor to call attention to ongoing censorship and repression in Argentina, which were coupled with new policies focused on increasing agricultural exports and a drive to attract foreign investment through rural agribusiness development in the country's interior. Benedit was drawn to cybernetics and early computation in the late 1960s because it offered a new language of control to speak about how bodies are disciplined in social space. A decade later, he used the idea of closed systems as a metaphor for the state's transition of the countryside into a space of technological experimentation. In the final house of the series, Casa H, aboveground, there is an inflatable plastic bubble encasing a technologically regulated and ecologically circular agricultural environment. The crops growing inside are intended as produce for the expanding agro-export economy and part of a closed ecological system of dependency, fed by the carbon dioxide produced by a family living belowground, hidden in an underground shelter.8 Presented at a world congress focused on the role of architects in national development, Las casas served not merely as an illustration of how development policies in Argentina played out in the 1970s but also as a warning for architects in attendance who were looking to participate in shaping development discourse.The weeklong World Congress in Mexico City was organized amid fears within the UIA that professional architects were losing ground to other experts involved in global development. The organization formed in 1948 through the merger of several existing architectural associations in Western Europe. By 1978, the Mexico City congress demonstrated the geographic expansion of the UIA, with more than five thousand architects present, representing nearly eighty countries. In the opening speech of the plenary session, the soon-to-be president of the UIA, Rafael de La-Hoz, stoked fears of a crisis in the profession: “Today,” he said, “National Development is taking place without the help of architects.”9Like many other speakers during the week in Mexico City, La-Hoz cited the Club of Rome's report The Limits to Growth, which had been central to the discussions at the United Nations Conference on the Human Environment (Stockholm, 1972).10 He also noted that architects had not been invited to participate in a network of world conferences and congresses organized in the 1970s, such as at the UN Habitat Conference in Vancouver.11 Of course, other issues directly affected professional architects during the decade—such as global stagflation following the 1973 OPEC oil embargo and a general decline in global construction— but La-Hoz's speech suggested that architects themselves were to blame. Architects, he said, had fallen behind in what he referred to as “the information age,” and needed to adapt to new computer-aided technologies capable of integrating their practice with global econometric and environmental modeling, what he referred to, more generally, as “a systems approach.”12For the first time in the thirty-year history of the UIA, professionals from outside of architecture participated extensively. Walking through the exhibitions and listening to the debates during the week, this change would be apparent through the onslaught of statistics alone. Graphs and figures replaced orthographic projections of buildings, representing energy costs, military expenditures, chemical fertilizers measured in barrels, and hunger and famine measured in bodies.13 The new emphasis on data reflected a larger project La-Hoz had been working on for the previous three years called ARKISYST, a new global architectural information system developed by the UIA. Like Noah's Ark, which La-Hoz invoked as its allegorical inspiration, ARKISYST was intended to save the profession and supply practicing architects with real-time information needs, modeled off systems in other fields intended to promote international cooperation in the decade.14 Although the project was eventually canceled, his speech was planned to coincide with the opening of an information center hosted in Mexico City. The location was selected to take advantage of Mexico's access to international development loans and state funding for a new computer center for housing research.15Luis Fernando Benedit's inclusion within this world congress was unusual. The UIA imagined the event as a forum to bring architects experienced in computation, systems analysis, and managerial cybernetics into conversation with politicians, economists, and technocratic elites. Although trained as an architect in the early 1960s at the Universidad de Buenos Aires, Benedit had become internationally well known for creating computational and cybernetic art environments. In 1968, in an exhibition titled Microzoo, he built labyrinths for living cats, tropical fish, birds, ants, snails, and cockroaches.16 One reviewer of Benedit's labyrinths wrote, “Watching the creatures shivering in the museum's air-conditioning, one felt the experimentation—both scientific and cultural— to be quite sinister.”17 A year later he participated in Arte y Cibernética, the first exhibition in Argentina with computer-generated artwork, and was a founding member of the Grupo de Arte y Cibernética.18In Las casas que cuestan un millón there are several references to Benedit's earlier work. The recurring forms throughout the houses, which alternate between sweeping curved cantilevers and triangular pitched roofs, are pulled almost directly from a painting series called Supercomodo (1969) and a house he designed in 1969 for Antonio Battro, an Argentine neurological scientist. In the front yard of Casa B, there is an apiary and a labyrinth. Positioned near the front door, the apiary refers to his work Biotrón, exhibited at the 1970 Venice Biennale, where he collaborated with Battro to build a habitat in which honeybees pollinated computer-controlled artificial flowers.19 The labyrinth in the drawing refers to a series of works in the early 1970s, such as Laberinto invisible (1971), exhibited in Buenos Aires, and Laberinto para ratones blancos II, exhibited at a solo show at MOMA in 1972.20 The exhibition at MOMA was internationally celebrated for a hydroponic environment named Fitotrón, where Benedit grew cabbage and peppers under high-intensity metal halide lamps inside the gallery.21Throughout Las casas series, each house includes a hydroponic garden connected to solar-powered compressors, filters, and extractors. In the first half of the series, the hydroponic gardens are supplemental, positioned on the exterior of the house. By Casa D, the hydroponic chamber attaches directly to the living quarters with diagrammatic arrows pointing outward. In the final house, the hydroponic garden takes over the entire living space. These references to Benedit's earlier projects were likely intended to position his own life and career within the rising authoritarianism in his home country. Although these houses are not exclusively cybernetic, this self-quotation also allows the series to be read as a continuation of a decade-long experiment with labyrinths and plant environments, which attempted to study through the observation of feedback dynamics how environmental changes modify behavior, in particular how humans, nonhumans, and machines are structurally interconnected with their environments.22Such self-reflection also makes clear that Benedit was an internationally relevant actor in a global artistic movement where artists worldwide appropriated cybernetic and systems theories as conceptual tools for both dematerializing the art object and reconfiguring artistic practice as relational and participatory. Exhibitions such as Cybernetic Serendipity in London in 1968 institutionalized this turn, inviting collaboration between artists and computer scientists.23 Scholarship on systems art has often relied on narratives of unidirectional flows of expertise— in particular, through the relationship between cybernetic art and the U.S. military-industrial complex—while also tending to exclude actors in Asia, Africa, and Latin America. This omission is surprising, given the large number of bureaucrats, artists, academics, and government officials all over the world who helped shape cybernetic science in their own contexts.24 As Eden Medina shows in her scholarship on Cybersyn—a cybernetic system for managing the Chilean national economy developed in the early 1970s during the presidency of Salvador Allende— local engineers were already knowledgeable about managerial cybernetics out to to help the International was to the history of not in the collaboration between in the United and the in The of art systems science and cybernetics was in the exhibition in Buenos titled Arte de which more than one artists from Argentina, and This of art Benedit within a global discourse how technologies were not by their but by their to change and adapt in a of political and social 1978, Benedit had become a central in a in in Argentina, where artists used systems and cybernetics as both a metaphor and conceptual language for the rise of authoritarianism in the late Argentina had become a global center for technological art with a of to art the by works by the of and in and and by Fernando and institutions such as the de Arte the and an Argentine through that and In these artists in on and In a of new such as cybernetic became a new conceptual language to the art As art in 1968, the role of cybernetics in art was show that art not in but in between people and the of their in to the of art in Argentina, several artists with these artistic and to experiment with to the between art and creating and outside of the that General to these on more political such as and the project is appropriated media and to state and these works a critique of and the conceptual and political from which Benedit's own in cybernetics these more with the idea of the as a metaphor for artists repression and Benedit's to the underground in these houses to on during the of the dictatorship's El the of and and the rise of technocratic in his references to both the underground and to small-scale Benedit called attention to the relationship between ongoing repression and the drive to attract foreign investment through rural development technocratic and the metaphor of the at a world congress focused on the role in national casas que cuestan un millón a architectural of authoritarianism in Argentina, where rural housing programs, designed to access international had been into tools for repression and first Benedit's houses share a in his earlier the in Casa de from the of a connected to an subterranean read as a series, the houses to transition from to In the first houses A and Casa there are and a front As the series into the imagined the and replaced with and each the of the underground space In the first houses, the is By the final house, Casa H, the subterranean and is to that and a for and The is from the of underground and civil in the United which imagined the life of the class out the with and the of In Benedit's by there are of The ground is not but The life inside one of these underground is or read the houses to narrate an environment of increasing censorship and houses were drawn in the of 1978, clandestine torture centers and death raids had become a of life in Buenos of their these torture centers were often within the but out of the de de in the center had been from an into the torture center in the country. The of these clandestine and the Argentine state's became most apparent during the 1978 World hosted in During with the entire world the of the torture center was from a place of and into a for to the with and other out of torture on as into the in the and its the of the their in the de their be used these and the theme of the call attention to By underground in each of his imagined houses, Benedit directly references other of underground space in Argentina, which used subterranean to comment on state and In an exhibition organized with the help of Benedit called Arte artists and an underground in the in Buenos the to the were as for a of political to was an opening where by into a with of and other from the The exhibition on the role of space, a of by state and to the of the The the exhibition because the artists had to a at the to become and Jorge the of the art de Arte y that organized the was and the a that by are not are by this same a previous of Benedit at the Universidad de Buenos Aires, the with a as a show of During this period, used references to the underground to comment on ongoing political and he drew a series of subterranean In titled de subterranean para for a subterranean for geometric how artistic work had been in the early 1970s of this were by at the of the dictatorship led by General Jorge art of the state was almost as in subterranean in houses the underground is as space, on how artists had been into the where would of the work of and political repression through artistic practice place in Buenos Aires, the of cybernetic in this was to a of international and agricultural became a ground for imagined cybernetic in this period, at the of or rural was for this that work in the 1970s of the In 1978, his work to on agricultural such as the works de and de of these projects are cybernetic, but both on the language of control through the of through control in the and through or control in the Argentina systems were central to how the state political, and state conferences and through funding the Argentine state and a organization by the the countryside as the in the national The organization a titled to in the year its that a renewed agro-export economy and agribusiness from Argentina had in the previous three during a of During this period, there was funding new rural intended to attract international finance and help the of agricultural in the of the country's Las casas que cuestan un drawn in the same year as his work on agricultural be as a of the agricultural housing in the called the These were often directly the with a or metal and Benedit, the became a for In one series he in each was of a with agricultural the replaced with or Benedit's later the houses drawn for the UIA World Congress in Mexico City are with compressors, inflatable solar panels, and These technologies were with many housing presented to development aid organizations in the 1970s, small-scale technologies such as and became in low-cost Their inclusion in Benedit's houses be read as a on these occurring in the Argentine and in particular, a on other rural agricultural housing projects presented at the UIA World Congress small-scale eco-technologies from U.S. project of this presented Benedit's Las was titled de or environment was developed by a of and computer working in Argentina, who housing for an agricultural that from Bolivia to the de in Argentina of and was presented at a of international conferences and exhibited in 1978 as a of technological at the United Nations World Conference on International in Buenos The presented systems and that from a to a and an larger of the project was to the rural This was as and with or of their to into the project also for where the houses would during the In one drawing presented by the the with metal are with solar and other technologies to a to and in the of the drawing is a known as an This particular was by a during the to build by the 1970s, was looking to into new following the of the U.S. military from During this period, the U.S. Congress the of national In this the reflects the to which the dictatorship had the into a ground for U.S. looking to into new national the of small-scale technologies and funding from national the project presented at the UIA World Congress reflected a of other to the in Argentina, such as rural-urban of to Buenos and the of into the Buenos The of policies in place under the new were to the agro-export economy as the primary for the In the 1970s, these of small-scale became a new in a transition in development pushed by World called As and of development wrote, the of the was in development discourse as a and with an invisible were part of the which or later would be by a the Argentine control of rural became their became more and and as their became more a of to with the of the technologies the into a center for ecological and technological during the In the 1970s, international institutions encouraged for development that small-scale in part because of a between and In development discourse, these technologies are often called technologies and were as a of and for local This movement was popularized by the in his and pushed by international organizations such as the World and the United The central was that and technologies to more political and the technologies movement was as a for and the Benedit's of the also be to the of scientific centers where rural development projects were to of international and control of from of these technologies in Argentina was also with the of new technocratic in the and the the that the rise of authoritarianism in Argentina was an in the political this in Argentina as a new political than to more he development policies to more His the in and later this new of authoritarianism was in his home of Argentina, where new of were part of a project of class to the rise of the rise of bureaucratic authoritarianism as a than a with a of in which state the of that were to on foreign and local This rise in in and As through the of larger technologies or computer foreign and This into the global economy with and political of of the the by and to and development from the of read Benedit's houses narrate the own into bureaucratic the of the series of houses with the technological of development there are and curving the people who in these are to and and the yard is with gardens and Throughout the series, these are In the final houses, as development agricultural exports and technological the entire home is into a hydroponic an where repression and censorship the of international The drawn between the and technologies in low-cost housing projects a about the relationship between development, and political the eight houses through as a of rising bureaucratic as a critique of the and shaping international and as an of Benedit's earlier cybernetic with animals and the week in Mexico City, the UIA in with political by the governments of Argentina, and that these all to this with a at integrating architectural practice within increasing flows of international finance through of and development. This how the of development had the professional and social of the 1970s. As a art in a of the this had a to with a throughout almost all the presented throughout the that national development, and are In this Las casas que cuestan un millón as a warning about the of development as a and of in which architects become

Hermann Ngouakam, Goumeni Kouemaha Yannick, Ngouyombo Ange, Antaon Jesse Saint Saba · 5 authors

Résumé Un district sanitaire (DS) est une zone sanitaire décentralisée, relativement autonome sur le plan opérationnel et programmatique, et couvrant l’essentiel des besoins de santé d’une population entre 50 000 à 300 000 habitants résidant dans ses limites géographiques. L’atteinte des cibles de l’ODD 3 passe par la viabilisation des DS, conformément aux résolutions arrêtées à Alma-Ata. L’évaluation constitue la clé́ de voute du succès de tout système de santé car elle permet de révéler les lacunes des plans de santé pendant leur mise en œuvre. Objectif : évaluer le niveau de viabilité des districts de santé de la région de l’Extrême-Nord du Cameroun en 2022. Méthodologie : il s’agissait d’une étude semi-qualitative à collecte des données rétrospective et prospective dans onze districts de santé de la région de l’Extrême-Nord du Cameroun, à travers un échantillonnage en grappe. Les services de santé de 11 FOSA offrant le paquet complémentaire d’activité représenté par l’hôpital régional ou un hôpital de district et 22 FOSA offrant le paquet minimum d’activité (PMA), représentés par un centre de santé intégré ou un centre médical d’arrondissement ont été enquêtés. Résultats : le niveau de mise en place était bon pour 8/11 districts de santé, le niveau de mise en œuvre était moyen pour 8/11 districts de santé, le niveau de rapportage des données était bon pour 8/11 districts de santé. Nous avons plus de 90% des bénéficiaires étaient satisfaits de l’accueil, des attentes et des services reçus. La perception des prestataires de soin était bonne pour 53,62% concernant les infrastructures et matériels, pour 47,82% concernant la motivation et pour 60,87% concernant la charge de travail. Conclusion : après cotation, nous avons retrouvé que 8/11 districts de santé évalués étaient en cours de viabilisation. Il y’a nécessité d’accélérer le processus si nous voulons parvenir à l’atteinte des cibles de l’objectif de développement durable 3 Mots clés : Viabilité – Districts de santé – Région – Extrême-Nord du Cameroun. Abstract According to the World Health Organization (WHO), a health district (DS) is a decentralized health zone, relatively autonomous operationally and programmatically, and covering most of the health needs of a population between 50,000 and 300,000 inhabitants residing within its geographical limits. Achieving the targets of SDG 3 requires the servicing of the HDs, in fact, the district health system offers the best chance of implementing the PHC in accordance with the resolutions adopted in Alma-Ata. Evaluation is the key to the success of any health system because it reveals the shortcomings of health plans during their implementation. Since the adoption of the SDGs in 2015 by the country, no assessment of the sustainability of SDs at the country level has been carried out. Objective : To assess the viability of health districts in the Far North region of Cameroon in 2022. Methodology : This is a semi-qualitative study with retrospective and prospective data collection in the Far North region of Cameroon. Eleven health districts were selected through cluster sampling. Results : The level of implementation was good for 8/11 health districts, the level of implementation was average for 8/11 health districts, and the level of data reporting was good for 8/11 health districts. More than 90% of beneficiaries were satisfied with the reception, expectations, and services received. The perception of care providers was good for 53.62% concerning infrastructure and materials, 47.82% concerning motivation, and 60.87% concerning workload. Conclusion: After scoring, we found that 8/11 health districts assessed were in the process of being serviced. There is a need to accelerate the process if we are to achieve the targets of Sustainable Development Goal 3. Keywords : Viability – Health Districts – Region – Far North of Cameroon.

Naufal Ziyaadaturrahman

No abstract is available for this record.

Kiet Cao, Khoa O., Thu Nguyen, Phan Duy · 7 authors

No abstract is available for this record.

Yalong Wang, Cong Peng, Qi Feng, Yulin Liu · 5 authors

No abstract is available for this record.

Aditya Pathak, Alark Kansara, Irfan Al-anbagi, M. Shamim Hossain

In emergency response vehicular networks (ERVNs), where each second might dictate a life-or-death outcome, the performance of underlying communication systems is critical. Blockchain technology is a promising backbone for authenticating emergency response vehicles (ERVs) at smart traffic signal intersections. However, the decentralized nature of blockchain networks makes them vulnerable to distributed denial of service (DDoS) attacks. A DDoS attack can compromise safetycritical functions by overwhelming the network with fake authentication requests. Therefore, this article presents a comparative performance analysis of two well-known blockchain technologies, namely Ethereum (permissionless) and Hyperledger Fabric (HLF, permissioned), under DDoS-based network congestion. We clarify that this article does not propose any DDoS detection or mitigation mechanisms; rather, we evaluate the ability of the abovedescribed blockchains to maintain service for legitimate transactions under DDoS attacks. We design three DDoS attack scenarios that simulate realistic threats to ERVNs and benchmark throughput and latency using Hyperledger Caliper. Our results show that HLF, because of its architecture, achieves up to 2.7 times higher throughput and lower latency compared to Ethereum. This finding provides an important insight: A permissioned blockchain offers better performance under DDoS attacks, making it a more reliable communication system for safety-critical transportation systems.

Benoît Prieur

No abstract is available for this record.

Amira Talha, Faten Chaabane, Tarek Frikha, Claude Duvallet · 5 authors

International audience

Wenjie Zhang, Heng Pan, Siqi Lu, Ying Xing · 7 authors

No abstract is available for this record.

Dongyu Meng, Fabio Gritti, Robert McLaughlin, Nicola Ruaro · 7 authors

No abstract is available for this record.

Huijuan Wang, Dongfang Zhang

No abstract is available for this record.

Park Ji Hyun

No abstract is available for this record.

Jia Xun Tan, Tee Hean Tanr

No abstract is available for this record.

Pawan Kumar, Shaiwal Satyarthi, Kashish Jain

Intellectual Property has been a classic and time-tested pillar of economic growth, an innovation engine, and a generator for creativity, and technological advancement. However, the 21st century marks the dawn of the Fourth Industrial Revolution, one where the physical, digital, and biological worlds come together.This technological revolution, fuelled by breakthroughs in AI, blockchain, and decentralized economies, has spawned revolutionary shifts in the production, monetization, and taxation of intellectual property.In 2025 and beyond, traditional IPR thinking will be disrupted by the advent of a new generation of intangible assets in the form of inventions created by AI and holographic trademarks, virtual property, and non-fungible tokens. Not only do they disrupt the ownership legal regimes, but also exert pressure on the old tax systems built during the industrial age. While these intangible assets become the centre of the global economy, the existing tax systems lack the capability to manage the complexities of the digital era.We examine in this paper the challenges posed in the taxing intellectual property regime in India and the possible solutions. As the internet and metaverse grow, there is an urgent need to reexamine Indian taxation laws in taxing intangibleproperty like taxation in IPR.

Maryam Bahlooli, Shlok Manwatkar, Megha Beria, Deepali Vora · 5 authors

No abstract is available for this record.

Michaella Neirou

No abstract is available for this record.

E.D.; id_orcid 0000-0003-0263-5985 Martino, Veronica Zerba

This article examines how the blockchain technology reshapes the traditional contract-property divide in private law, leveraging on the peculiar features of non-fungible tokens (NFTs) and real-world asset (RWA) tokenisation. <br/>Building on foundational doctrines—in rem rights, the numerus clausus principle, and third-party notice—we show that blockchain enables the creation of de facto property entitlements, including exclusivity and enforceability <br/>against subsequent transferees, without State involvement or adherence to traditional publicity requirements. We label this phenomenon “tokenising property.” Through illustrative examples, such as NFT royalties, we show how <br/>on-chain entitlements may override or bypass the allocation of rights under existing property regimes, raising coordination and enforcement challenges. Using a transaction cost framework, we assess the conditions under which <br/>tokenizing property can deliver efficiency gains and when it generates new frictions. Finally, we argue that blockchain regulation rather than private law reforms can reassert control over this new form of property by intervening directly in the technical layer of blockchain systems. This may help in ensuring consistency between tokenised entitlements and the broader legal order, as illustrated by the EU Data Act and the Liechtenstein Blockchain Act.

Taichi Matsumoto, Taisei Takahashi, Kazumasa Omote

No abstract is available for this record.

Abhilash Kayyidavazhiyil, Raja Muthalagu, Mohuya Chakraborty

No abstract is available for this record.

Thanh Trung Nguyen, Minh Thành Tạ

No abstract is available for this record.