Digital Glazing™ is an authorial digital fine art technique created by Inga Stawińska and held as proprietary intellectual property of Home Made Game. Inspired by Renaissance glazing and sfumato, it translates the gradual construction of colour, luminosity and tonal depth into a manual vector-based process using thousands of individually shaped, overlapping elements with controlled colour and transparency. First systematically applied in PoloLegacy and subsequently developed across White Pants BTC Club, Digital Glazing™ combines fine-art principles with vector-native SVG construction and Bitcoin-native preservation. This record documents the technique’s definition, technical specification, authorship and provenance, accompanied by a reference SVG artwork.
The VR cycle built an operational mathematics — arithmetic, numbers,sets, forms, topology, a continuum on Brouwer's path — and onlyafterwards wrote out the logic it had been standing on: ZTL, Zero-TrustLogic (concept DOI 10.5281/zenodo.21318981). This preprint carries outthe programme "raise VR onto ZTL" and verifies, rather than declares,the thesis that VR always stood on ZTL. Three steps, every claim eitherMEASURED (machine enumeration, reproducible by the ZTL repository'stest stands) or kernel-checked in Lean 4 with the axiom footprintprinted per object. (a) Witnessed identity is a ZTL atom discipline: verdicts are packagedwith their certificates; the alive inference rules are witnessconstructors; identity on finite operational sets and on the vonNeumann register is totally earnable; groundedness of a set isorthogonal to earnability of its identity; a fully earned register isclassical. The entire verdict layer sits on the empty axiom list. Step(a) also returned a correction to ZTL itself: the verdict-warranty is atwo-grade ladder (sound — never lies; hereditary — never revoked),published same-day as ZTL v1.1 (DOI 10.5281/zenodo.21323552). (b) Choice sequences are the lazy register: the lawless stage court ofa growing sequence coincides with ZTL's global supervaluation totally(a law is knowledge: it narrows the worlds); Kripke persistence isnative to the lazy register; warranted greedy verdicts are exactly theBrouwer-assertable ones; the fallen law of identity p→p is redeemed bythe stage court — a law of logic, not of data. (c) The survival ledger: a proof survives the move onto ZTL iff itstands below the classical floor. The cycle's four-tier axiom ledgerwas therefore the ZTL-survival audit all along; sweeping 405live-audited objects plus flagship anchors shows that everything VRcalls operational moves, and what stays is exactly what the cycle hadalready flagged as classical by design, by substrate, or by borrowedplumbing. No operational theorem died in the move. The preprint also measures the delta against intuitionism: ZTL and IPCare incomparable as law-sets (p→p falls in ZTL, Jankov's weak excludedmiddle holds), agree 14/14 on premised classical rules, and part wayson every structural signature (finite matrix, disjunction property,double negation, the status of an unproved sentence). A thirdfoundations posture, not a relabelling of the second. AI disclosure: prepared with the assistance of Claude (Anthropic),Variant A architecture (human curator directing the model as architectand implementer); all mathematical content and decisions are due to thehuman author. This work was developed with Claude Fable 5. Reliabilitydoes not depend on trusting the AI: every claim is reproducible by therepositories' regressions and the Lean 4 kernel.
Editorial: Governance as a Problem of Collective DecisionBy Prof. Dr. Rodrigo Cid, The PhilosopherGovernance, in its essence, is the art of answering an unavoidable question: how do we decide together? From tribal councils to modern corporations, from cooperatives to DAOs and artistic communities, the challenge repeats itself. And at the heart of this question lies a mechanism that is deceptively simple yet philosophically treacherous: the vote. Which voting system is the fairest? Arrow’s impossibility theorem taught us that there is no universal answer. Every context — its size, its urgency, its level of trust among participants — demands a specific institutional design. This dossier does not offer ready‑made formulas. Instead, it maps how different agents and sectors are confronting this problem. VAN Ameneyro, in their conversation with One Love DAO, shows us how governance becomes a “necessary evil” in the world of digital art. The promise of horizontality runs up against concrete questions: who gets a seat at the table? Who is still left out? The answer, for VAN, lies in transparency, real participation, and the construction of institutional memory — something fragile in the volatile environment of Web3 platforms. Fer Caggiano delivers an incisive diagnosis: power has not disappeared with decentralisation. It has merely moved — from institutions and curators to wallets and tokens. Community curation, in practice, often reproduces plutocracy. Their article forces us to ask: before voting, who defines what can be voted on? Governance begins with visibility. Steve Coulter (aka 45renegade) offers an unexpected interpretative key: punk as an operating system. Before lean startup, before bootstrapping, before the creator economy, punk already practised independent production, direct distribution, and community building as survival strategies. His text reminds us that governance is not only about formal rules and votes. It is also about ethics, refusal, and the courage to build without asking for permission. Vessy Mink appears twice in this issue, each time with a different governance experiment. In Governing the Sound, she presents Optimus Goddess, a licensing model where the artist retains full publishing rights and curation is replaced by equitable partnerships — an attempt to rewrite the rules of a historically extractive industry. In Music Train S9 E1‑6, co‑created with BK Han, she documents a live, collaborative song‑minting project. The audience does not merely listen; it participates in real‑time creation, turning musical production into a participatory governance performance. Here, the very act of making music becomes a collective decision process. Vitor Emanuel Gripp, writing from inside Token Nation, shows how a technology event can become a living laboratory for governance. By bringing together academics such as Maria Goreti (Fiocruz), Carlos Frederico (UFOP/KryptoLab) and Rodrigo Cid (UFOP/GIFLABS), Token Nation does not merely discuss decentralisation — it practises it, in the curation of its stages, the selection of its projects, and the constant negotiation between efficiency and participation. His account, grounded in his own journey from exhibiting artist to community manager, reminds us that governance is not an abstract protocol but a daily, messy, collective achievement. Rodrigo Cid, in Voting or Governing, returns to the philosophical bedrock of the problem. He reminds us that Arrow’s theorem is not a mathematical curiosity but a structural warning: no voting system is neutral. By applying this lesson to blockchain, his article demonstrates that digital governance does not escape the aporias of collective choice — it merely translates them into code. He also develops the problem of many hands and the fragility of institutional memory in decentralised systems, connecting directly with the questions raised by VAN Ameneyro and Fer Caggiano. Felipe Farinha, from the University of Saint Joseph in Macau, brings a comparative perspective. In Direct Democracy in the Age of the Extended Mind, he examines how different jurisdictions and cultural contexts shape the possibility of legitimate digital governance. His reflection on personal exocortices — AI assistants that extend a citizen’s cognitive capacity — asks whether direct democracy might finally become feasible at scale, provided we solve the problems of authenticity, manipulation, privacy, and civic deskilling. The exocortex, for Farinha, is not a substitute for democratic agency but a prosthesis for it. Daniel Gomides, from the Federal University of Ouro Preto, revisits Rousseau’s First Discourse in Scientific Progress and Moral Progress. He argues that technical sophistication does not guarantee ethical advancement. His analysis of AI, hunger, and climate agreements shows that the gap between what we can do and what we should do remains as wide as ever — a sobering reminder that governance cannot be reduced to algorithmic efficiency. Rousseau’s warning, written in 1750, still echoes today: science may teach us how to build better tools, but it does not teach us how to be better humans. Rafaela Ferrari Kley, from Degenerados Club, takes a complementary path in The Logic of Irrationality. Diagnosing a civilisation that has never been so technologically advanced yet remains emotionally manipulable, she recalls that Aristotle’s logic was a civilising attempt to contain collective hysteria. Today’s algorithms, however, are optimised for engagement, not truth. Her reflection forces us to ask whether governance can ever be purely rational, or whether it must always wrestle with the irrational architectures of attention, fear, and belonging. The question she leaves us with is disarmingly simple and profoundly uncomfortable: are we seeking to understand reality, or merely constructing emotionally bearable versions of it? Finally, this issue closes with a special launch. Rodrigo Cid’s The Philosophy of Artificial Intelligence (co‑authored with Pedro Luiz Caetano Filho) is not merely reviewed here; it is treated as a governance artifact. Its systematic collaboration with AI systems, its transparent use of the CRediT‑IA framework, and its rigorous discussion of Arrow’s theorem, opacity, bias, and responsibility provide a conceptual toolkit for exactly the questions this magazine raises. The book is available for free download (DOI: 10.5281/zenodo.20143966), and we invite our readers to read it alongside the articles in this issue. At the end of this volume, we hope that the reader will not find definitive answers. Instead, find a richer repertoire of questions. About who votes, about who decides what is put to a vote, about how we move from paper to action. About whether code can ever fully replace trust, and whether we would want it to. About what the classroom, the punk venue, the music studio, the DAO, the tokenised event, and the blockchain have in common: all are arenas where the same question echoes, again and again — how shall we decide together? Enjoy the reading. Prof. Dr. Rodrigo CidThe Philosopher(GIFLABS / Universidade Federal de Ouro Preto)
Non-Fungible Tokens (NFTs) are unique digital assets stored on a blockchain that certify ownership of an item, giving rise to NFT art, where digital creations are tokenized to provide verifiable scarcity and provenance. To clarify the polarized debate surrounding this phenomenon, this paper conducts a systematic literature review of 18 academic articles (2020–2025) to synthesize the current state of research on its aesthetics. The review first maps the field’s methodological and typological landscape, and then presents three core thematic findings: the reconfiguration of value from intrinsic visual merit to social factors like community and identity; the evolution of the artist’s role from creator to system designer and community manager; and the adaptation of traditional art world frameworks. The study’s primary contribution is the articulation of a new theoretical framework, “decentralized aesthetics,” which posits that the value of NFT art is derived from the holistic, participatory experience it generates across perceptual, cognitive, emotional, and socio-cultural dimensions, rather than from its isolated visual properties. Finally, the paper identifies critical research gaps, such as a lack of longitudinal and cross-cultural studies, and proposes an agenda for future inquiry into digital creativity and ownership.
Distributed by Grasshopper Film, 12 East 32nd St., 4th Floor, New York, NY 10016Produced by Nicholas Bruckman, Shawn Hazelett, and Rahilla ZafarDirected by Nicholas Bruckman2024, Streaming, 77 mins Minted: The Rise (And Fall?) of the NFT, directed by Nicholas Bruckman, focuses on the explosive growth of the NFT (non-fungible token) digital art market in the late 2010s and early 2020s. Bruckman introduces how NFTs are situated within broader conversations about creativity, ownership, and value in digital environments. Using interviews with artists, collectors, technologists, and cultural critics, the viewer is asked to consider how NFTs are not simply a speculative trend, but rather a disruption, a way to represent artwork as a token for transactions that bypass traditional intermediaries in the art world (like galleries and museums). The strength of the film is Bruckman’s highlighting of the experiences of artists with new opportunities for visibility and economic independence through their NFTs. Notably, the documentary amplifies the perspectives of some female and BIPOC creators, framing NFTs as a space that seems to offer alternatives to the exclusionary and gatekeeping structures of the traditional art market. While the film highlights these voices, it stops short of fully examining whether the NFT ecosystem dismantled or merely reproduced the existing inequities within the art world. Minted is a timely film for conversations about digital literacy, information ethics, and the economics of creative labor. While the documentary does not offer a comprehensive critique of blockchain systems, it is successful as a snapshot of a significant cultural moment and a useful prompt for viewers to question the intersections of art, technology, and society. Awards:SXSW, Audience Award; Next Generation Indie Film Awards, Best Documentary Feature; Cordillera International Film Festival, Grand Jury Award for Best Documentary
In the decade since the first edition of this volume, there has been an upheaval in the digital art world that saw the rise and fall of NFT (non-fungible token) art sales, some astronomical auction prices for digital art and NFTs, the creation of artist resale rights, and a rapid transformation in musical, material, and performance art distribution, thanks to the streaming economy, the subscription economy, and the sharing economy. Furthermore, generative AI can now turn users’ voice commands into works of art.
In today's fast-paced business environment, art has experienced a dramatic and quick transition. These days, artists are not only artists; they are also artrepreneurs who combine their artistic and business acumen. Digital and social media are essential components of the significant development of artistic self-employment. Social media sites like YouTube and Instagram are now critical for establishing a strong online presence, interacting with a global audience, and bypassing intermediaries.Art Education is the procedural approach of teaching and learning artistic skills, aiming to foster creativity, critical thinking, and a deeper understanding of the world. Creative methods, aesthetic questions, and individual artistic expressions are the main topics of contemporary art education. However, they hardly ever give art students the technological, entrepreneurial, and self-management abilities needed to create and maintain financial rewards from artistic endeavours. Since many artists work for themselves or as freelancers, entrepreneurship is a vital part of arts education and is critical for career success in the arts. The lines between digital technologies, art, and commerce are becoming increasingly hazy. Furthermore, there is a pressing need to reconsider the function of art education in light of the emergence of Web3. Without addressing these linkages, art pedagogy runs the risk of leaving students unprepared to deal with both creative agency and financial independence in the digital age. The skill gap is widened when such competencies are not included, making it more difficult for graduates to turn their artistic expertise into long-term professions. Recent research on arts entrepreneurship education reiterates this worry and shows how the abilities offered in art schools continue to diverge from those needed in the creative sectors. Despite being highly skilled and productive when they leave school, graduates lack the necessary skills in related fields like marketing, finance, and entrepreneurship. A hybrid curriculum that strikes a balance between art education and business training is necessary to connect creativity with entrepreneurial education. Project-based collaborations, internships, and real-world simulations are examples of experimental techniques that are seen to be particularly effective in equipping students with both business and creative skills (Ávila & Davel, 2023). There is an urgent need to reconsider the significance of art pedagogy and develop a groundbreaking educational framework that logically integrates various fields. To close this gap, the art curriculum must be completely changed to incorporate digital technologies and entrepreneurship. The goal of modern pedagogy is to provide art students with the necessary tools for a sustainable career, visibility, smart use of digital technology, market adaptation, and financial independence-not to dilute the content. The S.M.A.R.T Curriculum Loop, a revolutionary framework that tackles issues regarding the merging of art with business and digital skills, has been proposed in this study as a solution to this important necessity in art academia. Such a drastic change would equip art students to pursue jobs that are both financially feasible and creatively satisfying.The S.M.A.R.T Curriculum Loop provides a clear framework for introducing students to international art by combining social media-driven art education into conventional art courses. This methodology helps students fulfil the needs of the digital economy by integrating multidisciplinary elements into art instruction. Universities can equip artists who lack the requisite technological abilities and help them develop resilience in the digital age in this way. This Opinion Article posits that the modern education of art needs to immediately shift out of a studio-based, skills-oriented model to begin digitally empowered artrepreneurial education. Whereas conventional methods focus on mastering the arts, they do not equip graduates with a creative economy that is influenced by the dynamics of social media, the governance of platforms, and the creation of visibility through algorithms. This paper will argue that the S.M.A.R.T Curriculum Loop as a futureoriented solution to the challenge of digital literacy, entrepreneurial ability, and creative practice is viable because it integrates all three into a pedagogical framework.The limitations outlined above necessitate a re-examination of how existing scholarship conceptualises creativity, entrepreneurship, and digital fluency in art education. The following section synthesises prior studies that inform the development of the S.M.A.R.T Curriculum Loop.Promoting creativity in art discipline higher education is often an unexplored area that needs attention at the institutional level, as creativity is no longer seen as a luxury but a necessity in the current economic world post-COVID-19 outbreak and quarantines. Systematic integration of creativity in universities is imperative rather than treating art as a separate domain. The four correlating factors for fostering creativity-conversation, scholarly relations, liminal spaces and leadership-must be included in the present-day art curriculum. This framework criticises traditional pedagogies and addresses creativity as a perpetual, relational and formal mechanism crucial for learning, leadership and innovation (Rae, 2023).Due to the ever-evolving nature of the art economy, entrepreneurial skills have become an integral aspect of art education. Traditional art education is often expertise-centric, relying solely on artistic mastery. Today's Artists must be selfsufficient and capable of dealing with complex market dynamics, navigating digital platforms and building personal brand image. This can be attained only by integrating entrepreneurial training into the art curriculum, which can lead to fostering innovation and adaptability (Zhang & Wang, 2022).Despite the increasing acceptance of entrepreneurship education in higher education, it is often overlooked in the field of the arts. There is a scarcity of existing research to comprehend arts entrepreneurship, which hinders its integration into the arts curriculum. Artrepreneurship education is valuable in enhancing the entrepreneurial competencies of artists. However, there is a need to address the gap between skills acquired through art education and skills actually required for their viable careers (Wong & Chan, 2024).A novel pedagogy must equip artists with skills not only for fostering artistic persona but also autonomy, resilience and digital fluency-enabling a generation of artrepreneurs capable of steering Web3 platforms, building and learning viable habits and practices and reclaiming rights over their original creations (Bridgstock, 2013).Artificial Intelligence (AI) and Web3 technologies now serve as core components of art production, distribution and monetisation in the present-day world. These technologies include Blockchain, NFTs (Non-Fungible Tokens) and DAOs (Decentralised Autonomous Organisations). Generative AI models like Midjourney and DALL•E allow artists to create complex visual concepts from simple text prompts, fundamentally changing the creative process and the definition of a 'tool' in art. AI functions not only as a catalyst for artistic innovation but also as a source of ethical challenges, particularly through the use of generative models such as GANs and diffusion models that reshape creative processes while raising concerns of authorship, originality, and artistic integrity(Amini, 2025).Art education must strategically include these technologies in its art pedagogy, as these are no longer just peripheral tools but fundamental in the rapidly evolving creative economy. NFTs have transformed the conventional perception of ownership and creatorship, introducing students to the idea of digital origination, providing access to global art dissemination through a decentralised system of networks. Smart contracts, a novel term, allow the generation of digital royalties, thereby reimagining the importance of entrepreneurial agency and financial independence for a creator. Web3, NFTs and DAOs are revolutionising art education, transitioning traditional university models into a 'metaversity' concept.NFTs help in keeping a secure record of students' data, DAOs provide decentralised learning centres, while Web3 facilitates customised open learning. The metaverse provides interactive virtual environments for engaging, synchronous, and asynchronous education (Sutikno & Aisyahrani, 2023).Previous research supports critiques of traditional art education, indicating the scarcity of existing research in arts entrepreneurship and a gap between skills acquired through art education and skills actually required for their viable careers (Wong & Chan, 2024). Conventional arts education relies on studio setup and knowledge dissemination, which deals with developing creative, sophisticated, disciplinary, and technical skills. These theoretical or conceptual disseminations of knowledge, which are monotonous, neglect adequate skill development, fail to include critical thinking, and often lack real-world relevance. This is particularly alarming given that most creative, performing and literary artists are self-employed or work on a freelance basis, making entrepreneurial skills critical for career sustainability and success. Art educators are often facing a dilemma in identifying and defining the skill sets required for artrepreneurial pedagogy (Bridgstock, 2013).The older, outdated framework is hindered by faculty hesitance to accept art education as a new frontier due to their narrow perception of entrepreneurial education as merely a "vocation", which conflicts with the age-old romanticisation of art as distinct from a source of revenue. Lack of consensus by art school managers on a curriculum that suits present needs by adopting successful business schools' models is another issue (Beckman, 2007). The available curriculum doesn't equip artists with the necessary Web3 skills, which are essential for navigating their careers. Students generate strong academic portfolios but are appraised with limited digital presence or tool proficiency, building a gap between their talents and tangible opportunities. Most programs also neglect the critical rise of technologies like AI, NFTs and Smart contracts. This overlooks recent technologies, leaving the students unprepared for navigating digital art markets. There is a pressing need for the formation of a formal instructional framework with strategic entrepreneurial and digital competencies.As an example, a recent graduate surveys conducted of design and fine arts courses in Asia and Europe have shown that students graduate with good portfolios, but they lack a digital presence, a fact that has a direct impact on employability on algorithmdriven creative markets. Most of these institutions still focus on studio production as they provide very scarce training on online visibility, digital rights, and monetisation strategies. Conversely, those programs with experience of implementing hybrid creative-entrepreneurship courses (e.g., digital portfolio markets, social-media-based exhibition projects) claim to find substantially better graduate interaction with international audiences. These instances point to the fact that disconnect is not a hypothetical notion but it can be seen in actual educational outcomes. They may organise interactive exhibitions in a virtual space, allowing a global audience to access, interact with, and buy their artwork in real-time. Digital fluency and the commercial skills needed in art markets are expanded and disseminated through such encounters.These tools allow art students to move beyond traditional studio-based instruction because of their transformative ability to develop new models for creativity and collaboration. Students can gain practical experience that prepares them for jobs as artrepreneurs by interacting directly with these (Sutikno & Aisyahrani, 2023).The implementation of this kind of technologies in art education goes NFT-based assignments make evaluation more transparent through verifiable ownership records and metadata trails. DAO-led collaborative projects allow instructors to assess participation, governance decisions, and community contribution as part of the creative output.The S.M.A.R.T Curriculum Loop may immediately address all of the drawbacks of traditional art education, which leave students unprepared to succeed in professional marketplaces. This framework fills the gap in the demands of the digital world by incorporating multidisciplinary elements into art instruction. It works as a cycle that allows for skill improvement and iterative participation over a number of semesters. The creative framework addresses the demands of today's art students by combining social media and entrepreneurial abilities. The authors disclose that there are no commercial or financial relationships that could potentially create a conflict of interest regarding this research.The research received no support of funding.The referencing style used in the study is APA formatting style.
Dec 23, 2025·Proceedings of the ... Annual Hawaii International Conference on System Sciences/Proceedings of the Annual Hawaii International Conference on System Sciences
Tejas Kotha, Kushagra Bhatnagar, Leona Chandra Kruse, Matti Rossi
NFTs (non-fungible tokens) promised the interaction of artists/creators directly with their collectors without the need for any intermediaries, but the realisation was quick that such a technology, instead of getting rid of intermediaries, reintroduced new intermediaries in the form of NFT marketplaces. These marketplaces exhibit diverse features and cater to different user groups. A wide array of governance strategies, such as curation and gatekeeping, are used to steer creativity and interactions in the marketplace, informed by the marketplace's strategy. We examined this diversity by identifying the 'ideal types' of marketplaces based on these strategies alongside the motivations of the creators to make sense of the growing NFT market and constructed a typology that distinguishes four kinds of NFT marketplaces: Avant-garde, Canonical, Mass Culture, and Coterie. The article also offers practical implications for creators and collectors looking to make informed choices when deciding to participate in a particular marketplace.
The contemporary art world is undergoing a foundational shift, driven by the emergence of blockchain technology and its most culturally salient application: Non-Fungible Tokens (NFTs). This transition marks a move from the physical, gatekept spaces of the "White Cube" gallery to the distributed, code-governed networks of the blockchain ledger. This article argues that this is not merely a change in the medium of art's financialization, but a profound process of decentralization reshaping the core pillars of the art ecosystem-curation, valuation, ownership, and access. We analyze how blockchain disrupts traditional, centralized art market models by enabling peer-to-peer transactions, immutable provenance tracking, and fractional ownership through smart contracts. Crucially, we examine the rise of algorithmic and community-driven curation, where platforms like SuperRare or DAOs (Decentralized Autonomous Organizations) challenge the authority of the traditional curator-institution. A conceptual framework (Figure 1) maps this new ecosystem, while a comparative table (Table 1) delineates the paradigm shifts across key domains. Through case studies of NFT platforms, crypto-art movements, and artist collectives, we demonstrate both the emancipatory potential and the critical tensions within this decentralization. We conclude that while blockchain introduces new forms of transparency, accessibility, and artist empowerment, it simultaneously engenders novel hierarchies, environmental concerns, and questions about the nature of cultural value in a digitally native era. The future of visual culture will be negotiated in the space between the aesthetic aura and the verifiable hash.
Recently, digitalization has been progressing in various fields, especially the use of blockchain technology used in virtual assets such as Bitcoin. Based on blockchain technology, new paradigms are emerging, such as creating non-fungible tokens that cannot be forged or altered, and establishing a system that provides financial services and products without intermediaries. In particular, with the advent of NFT, digital content is given asset and economic value, and as a result, transactions such as issuance and transfer occur, income increases. For this reason, the necessity of taxation was emphasized, and for that reason, the taxation relationship began to be analyzed, but it is difficult to judge the taxation relationship because the judicial legal relationship surrounding the NFT, such as the rights of the NFT holder, is not clear. In this regard, Japan's tax processing guidelines, which clarify the tax relationship between issuing and transferring digital art and reselling, have its own meaning. If you look at the contents, the copyright is usually reserved only by the creator in the case of the NFT transaction that connects digital art, and the NFT is often granted only rights such as permission to use the work. Therefore, in primary distribution, it is subject to miscellaneous income or business income, and in secondary distribution, where rights are transferred due to the transfer of NFT, it is subject to transfer income or business income. Non-fungible tokens, on the other hand, are used in various fields in terms of their properties and functions. Therefore, we have to consider how to deal with various issues individually and specifically. In terms of tax law, it is also necessary to categorize NFT in consideration of this and then tax them according to economic substance. In this study, the taxation relationship was examined by classifying it into securities-type NFT, payment-type NFT, and other NFT.
Esta dissertação investiga o potencial educativo e social da Web3 por meio da arte e da criação de NFTs (tokens não fungíveis), com o objetivo de ampliar o acesso e a compreensão de tecnologias emergentes no Brasil. A pesquisa propõe e desenvolve um material didático baseado em oficinas experimentais, abordando os fundamentos da blockchain e das NFTs sob uma perspectiva crítica, acessível e artística. O projeto foi aplicado com estudantes de iniciação científica e público externo em eventos presenciais e virtuais, resultando na produção de materiais gráficos e obras digitais que valorizam a arte como mediadora na apropriação das tecnologias. A análise dos encontros demonstrou que o engajamento artístico favorece a compreensão técnica e estimula reflexões sobre autoria, propriedade digital e infraestrutura tecnológica. Além disso, a pesquisa traça um parâmetro com as condições brasileiras de acesso à internet e às tecnologias digitais, evidenciando desigualdades que impactam diretamente a inserção na Web3. A dissertação também inclui entrevistas com artistas atuantes no cenário das NFTs, cujos relatos aprofundam a compreensão dos desafios e das potências do uso artístico dessas tecnologias. Conclui-se que a inserção crítica na Web3 depende não apenas do domínio técnico, mas também do impacto das barreiras socioculturais e da construção de comunidades virtuais que favoreçam a permanência e o engajamento contínuo nesse ciberespaço.
L’utilizzo e la diffusione di nuovi strumenti tecnologici nella produzione delle opere determinano e allo stesso tempo riflettono il cambiamento nel nostro modo di interpretare l’arte, anche attraverso nuove modalità di fruizione e godimento. Il riferimento è alle diverse modalità di creazione e di riproduzione delle opere artistiche e alla loro successiva circolazione, ma anche all’affermazione di movimenti, quali la cripto-arte, in grado di favorire la digitalizzazione dell’arte, ovvero la sua dematerializzazione. L’arte, in definitiva, diventa essa stessa campo di sperimentazione tecnologica, in considerazione delle esperienze relative all’operatività dell’intelligenza artificiale, alla digitalizzazione delle opere d’arte fisiche o alla creazione stessa di opere digitali. Il dialogo aperto e continuo tra arte e innovazione tecnologica (e, nello specifico, con la blockchain, i non fungible token, l’intelligenza artificiale) segna un’importante fase storica di rinnovamento per l’arte. Al contempo, l’ampliamento delle sue forme e tecniche di manifestazione ha un’importante e dibattuta ricaduta sul piano dell’inquadramento giuridico, della attribuzione e proteggibilità delle opere che ne sono nuova espressione.
Коллекционирование искусства ведет историю еще с IV в. до н. э. Искусство изменялось вместе с научными открытиями, а коллекции - вместе с мотивацией коллекционеров. Большую роль в трансформации арт-рынка и формировании частных и музейных коллекций России XXI в. сыграла цифровизация изобразительного искусства, а также появление технологии невзаимозаменяемого токена (NFT). В статье рассмотрены факторы, влияющие на формирование коллекций изобразительного искусства, и описаны цифровые технологии создания предметов искусства. Кроме того, проанализированы предпосылки для создания виртуальных галерей и их роль в формировании коллекционера нового типа - инвестирующего в цифровое искусство. Fine art collecting dates from the 4th century BC. The art changed together with scientific discoveries, and collections - with the motivation of collectors. The main role in the transformation of the art market and the formation of private and museum collections in Russia in the 21 st century was played by both the digitalization of fine arts, and the emergence of non-fungible tokens (NFTs). The article deals with factors influencing the formation of fine art collections, and describes digital technologies of creating works of art. Besides, the presuppositions of creating virtual galleries and their role in forming a new kind of collector investing in digital art are analyzed.
Dijital teknolojilerin hızlı gelişimiyle birlikte illüstrasyon, geleneksel yöntemlerden uzaklaşarak dijital ortamda üretilen eserlerle zenginleşmiştir. Dijital illüstrasyonların geleneksel yöntemlere kıyasla daha hızlı bir üretim süreci sağladığı görülmektedir. Dijital araçlar, sanatçıların tasarım süreçlerinde zaman tasarrufu yapmalarına olanak tanımaktadır. Tekrar edilebilirlik, dijital illüstrasyonların bir diğer önemli özelliğidir. Sanatçılar, bir eseri kolaylıkla kopyalayabilir veya eserin üzerinde değişiklikler yaparak farklı versiyonlar oluşturabilirler. Bu durum hem zamandan tasarruf etmelerini sağlamakta hem de eser üzerinde denemeler yapma imkânı sunmaktadır. Bu çalışmada, teknolojik gelişmelerin illüstrasyon sanatına getirdiği değişimler ele alınmaktadır. Bilgisayarlar, grafik tabletler, yazılımlar ve dijital kalemler, sanatçılara sınırsız bir esneklik ve hız kazandırmış ve böylelikle görsel tasarım süreçlerini daha erişilebilir hâle getirmiştir. Farklı yazılımlar ve dijital araçlar, sanatçıların daha çeşitli teknikler denemelerine ve renk paletlerini kolayca değiştirmelerine yardımcı olmaktadır. NFT'lerin (Non-Fungible Token) ve yapay zekânın bu alana girişi ise, dijital illüstrasyonun hem ticari değerini hem de üretim biçimlerini değiştirmiştir. NFT'ler sayesinde dijital sanat eserleri benzersiz birer varlık olarak tescillenebilmekte ve uluslararası piyasada alınıp satılabilmektedir. Bu da sanatçılara, fiziksel bir sergi veya galeriye ihtiyaç duymadan geniş bir izleyici kitlesine ulaşma imkânı sağlamaktadır. Öte yandan yapay zekâ teknolojileri, illüstrasyonun üretim süreçlerine yeni bir boyut kazandırmıştır. Yapay zekâ, belirli görevleri yerine getirmek için insan tarafından sağlanan veri setlerine ve yönlendirici komutlara (promptlara) ihtiyaç duymaktadır; bu nedenle, insan müdahalesi olmadan bağımsız bir şekilde yeni bir içerik üretememektedir. Sonuç olarak, dijitalleşme, illüstrasyon dünyasında hem sanatsal özgürlüğü hem de üretim süreçlerini önemli ölçüde etkilemiştir. Kullanılan NFT ve yapay zekâ gibi araçlar, sanatçı ve tasarımcılara, yeni bir deneyim kazandırmıştır. Sanatçılar, bu yeni teknolojileri kullanarak daha hızlı ve erişilebilir eserler üretirken dijital platformlar sayesinde de daha geniş kitlelere ulaşma fırsatı yakalamaktadırlar.
The advent of non-fungible tokens (NFTs) in the art world has led to the emergence of a unique aesthetic sensibility, ‘crypto-aesthetics.’ This nascent phenomenon is marked by the amalgamation of digital and traditional art forms, the exploration of decentralisation and blockchain themes, and an emphasis on scarcity and digital ownership. This article proposes to examine the crypto-aesthetic phenomenon of NFT art through the lens of New Materialism, in particular the key concepts of two major New Materialist thinkers, namely Karen Barad and Jane Benett. Our application of New Materialism elucidates crypto-aesthetics as a distinct occurrence stemming from the interplay of object-reality, agency and networks, sociomateriality, and cultural and historical contexts. Utilising the New Materialism perspective to investigate crypto-aesthetics sheds light on the intricate relationships, processes, and consequences shaping the art market vis-à-vis NFTs and digital art. By acknowledging the agency of matter and the entwined nature of human and non-human entities, a more holistic comprehension of crypto-aesthetics’ transformative potential for artistic expression, value generation, and cultural dynamics can be attained. Our theoretical framework offers a novel lens through which to explore and understand the burgeoning world of NFT art and its crypto-aesthetic tendencies.
Non-Fungible Tokens (NFTs) are transforming the digital art by allowing artists to sell unique, one-of-a-kind digital artwork that is verified on the blockchain. Although NFTs have attracted much attention from academia and industry, little is known about this innovative art practice. In this work, we focus on how NFT artists understand their art creation process, interact with NFT marketplaces, and face challenges in their NFT practices. We conducted a mixed-method study, including interviews with 19 artists and an analysis of market transactions on OpenSea and SuperRare. We found that serialization and Web3 concepts are significant features in NFT artwork creations, and artists utilize artificial intelligence and smart contracts to create artworks incorporating these features. Artists perceived that blockchain features like transparency, openness, and authentication strongly influenced their NFT trading experiences, and they also encountered challenges such as determining artwork value, rights ownership, and addressing technical issues in the creation process.
Tesserart is a pioneering portal offering a tool-based web3 infrastructure designed to evolve with rapid technological advancements in the digital art space. Its goal is to simplify the processes of creation, curation, and collection of digital art and events, providing community-driven tools and innovations. Committed to enhancing accessibility and versatility, we aim to be the Swiss Army knife of the digital art ecosystem. Tesserart facilitates the digitalization and accessibility of digital artworks through blockchain technology, extending global reach and opening new revenue streams. It provides comprehensive tools for digital and physical event experiences, including live artwork minting and selling, ticketing, curation, and the use of community tokens for engagement and rewards. Our business model capitalizes on transaction fees and royalties from art sales, along with partnerships with digital art marketplaces and cultural organizations. Tesserart aims to redefine digital art engagement and collectability, making it more accessible, innovative, and experience-based
La notorietà degli NFT (non-fungible tokens) sta vivendo nell’ultimo tempo una inflessione negativa, non solo tra il pubblico specializzato ma anche fra i meno esperti, che hanno sentito parlare di queste strane “opere d’arte digitali crittografate” nel 2020, quando questo fenomeno era nella sua fase di massima ascesa. L’applicazione di questa tecnologia, resa celebre dalla diffusione (questa sì, in evidente ripresa) delle criptovalute, al mondo dell’arte digitale e del mercato che intorno a questa si è generato, risente ora delle conseguenze di questa diffusa sfiducia verso l’“arte su blockchain”. Insomma, i celebri cripto-gattini non sembrano essersela mai passata così male come ora. È forse giunto dunque il momento di una valutazione del fenomeno NFT che guardi oltre ai sensazionalismi del mercato come anche alle repentine disillusioni. In questo, gli strumenti dell’Estetica ci sembrano i più adatti a uno scopo certo pretenzioso ma necessario, considerando soprattutto che gli NFT hanno generato, che lo si voglia riconoscere o meno, una piccola rivoluzione nel mercato dell’arte. Di questo parliamo nel nostro contributo “NFT: tra esperienza estetica e nuovi mercati dell’arte”, recentemente apparso sul volume della Milano University Press a cura di Allegra Canepa Il mercato dei non fungible tokens tra arte, moda e gamification. Il contributo raccoglie prospettive diverse – appunto estetiche, ma anche sociologiche, economiche, tecnologiche, etc. – sul mondo cripto.
In 2021, the first year of Metaverse, Web3.0 ecosystems emerged as a result of the Internet's de-centralized evolution. In the Web3.0 space, there has been a very active advancement of the generative art non-fungible token, which is a special asset stored on a blockchain that allows creators to buy and sell assets and verify ownership. In other words, as it reconstructs the interpersonal relationship, the generative art non-fungible token must carry cultural values to be meaningful, and waiting to observe artificial intelligence generative art in the future requires a new mindset and posture. Design thinking is a design-based approach to solve today's complex problems. This study thus addresses the new Web3.0 ecosystem and introduces environmental sustain ability issues and computational thinking in the form of generative art to discuss the possibilities of future design thinking. By linking with social information, this study also creates an intersection with heterogeneous knowledge and stimulates a new thinking pattern that is different from previous ones. This project of design and research in the Metaverse virtual environment is still a novel topic. Reviewing past literature indicates that relevant papers are very scarce, and more resources are urgently needed for research in this field.
This paper presents a study of new digital art technologies, as digital NFT (Non-Fungible Tokens), and generative Artificial Intelligence, through the practice of two contemporary artists, namely Damien Hirst (1965 -) and Lev Manovich (1960 -).We will discuss some aspects of Hirst's "The Currency" (2016-2022) and Manovich's "Soviet Land" (2022) to understand how artists are incorporating these new technologies into their practices and how they revolutionize contemporary artistic expression.
Los NFT (Non Fungible Token) tienen la capacidad de convertir algo reemplazable en algo único a través de un certificado digital de autenticidad. De esta forma, los objetos virtuales, principalmente obras de arte, se crean, exponen, compran y venden de forma digital, no sin abrir un sinfín de críticas y debates. En el corazón de esta transformación se encuentra la técnica moderna, llevada adelante por su último eslabón: Internet. En este marco se cruzan de forma novedosa arte y técnica, pero también se ponen en tensión los polos físico/virtual, ya que los NFT pueden servir como prueba de propiedad de cualquier artículo, independiente de a qué polo pertenezca. Los límites se vuelven borrosos y nos encontramos ante otra prueba de la digitalización de la vida moderna. Y de haber sido un proceso impertinente, no hubiese generado acalorados debates en redes sociales. Este ensayo busca atravesar la reactualización del problema de la técnica moderna que acarrean los NFT y la cristalización de este proceso y conversación a través de memes. Algunas preguntas que aparecen son: ¿cómo impacta y atraviesa al arte los NFT? ¿Se puede hablar del criptoarte como vanguardia artística? ¿Qué implicaciones tiene una nueva forma de reproductibilidad técnica? ¿Cuáles son las tensiones que producen los NFT que generan conversación? ¿Cómo se puede reconstruir este debate a través de memes y cómo estos encapsulan un metálogo?Para responderlas, se buscará por un lado recorrer y sistematizar el presente técnico del arte teniendo en cuenta cómo los NFT transformaron su realidad, y por el otro, se detectarán los ejes problemáticos de dicho presente para luego ver cómo estos están representados en memes de forma simplificada y accesible. Para realizar dicho recorrido, se hará uso del análisis de contenido y la sociosemiótico para rearmar el debate alrededor de los NFT a través de conceptos como el sentido social y las huellas discursivas presentes en la teoría de Eliseo Verón. Será necesaria también la definición de metálogo de Bateson, el concepto de presente técnico indeterminado de Anderson y el de técnica presente en Bookchin, Mumford y Castoriadis, la definición de arte y de vanguardia de autores como Huyssen y Badiou, la reproductibilidad técnica y el aura del arte de Benjamin.
Reviewed by: The Story of NFTs: Artists, Technology, and Democracy by Amy Whitaker and Nora Burnett Abrams Jessi Rae Morton (bio) the story of nfts: artists, technology, and democracy Amy Whitaker and Nora Burnett Abrams Rizzoli Electa https://www.rizzoliusa.com/book/9780847899364 144 pages; Print, $32.50 In The Story of NFTs: Artists, Technology, and Democracy, Amy Whitaker and Nora Burnett Abrams provide a thoughtful and well-designed overview of the role of NFTs (non-fungible tokens) in the art world as well as the relationships between NFTs and art history. The authors acknowledge often that NFTs are relatively new and that therefore the book can offer little in terms of future predictions or assertions about the long-term effects of NFTs on artists and art markets. Instead, Whitaker and Abrams seek to engage with numerous questions about blockchain technologies—including NFTs and DAOs (decentralized autonomous organizations). To address such questions, some definitions are necessary; Whitaker and Abrams cover key concepts and terms early in the book, and they also provide an appendix that walks the reader through the process of minting an NFT. The appendix defines and explains platforms, protocols, wallets, keys, and smart contracts—all concepts that are mentioned earlier in the book, but with which some readers may prefer to spend additional time. The Story of NFTs is not exhaustively entry-level; readers who are already familiar with the basics of NFTs and block-chain technology will still find much to learn, and less familiar readers will get quick, direct definitions that allow them to move on to the more interesting, though less technical, aspects of the topic. The Story of NFTs is predominantly interested in the relationship between NFTs, blockchain technology, and visual arts, and so the technological elements—though important and duly attended to—do not take over the book. The book's introduction calls attention to two key moments in recent art history—the Association of Art Museum Directors COVID-19-related decision to loosen sales restrictions on museums for two years and the March 2021 sale of Beeple's NFT Everydays: The First 5000 Days for over $69 million. These two events serve to characterize recent disruption within the art world, [End Page 17] but they are not the source of the disruption. Whitaker and Abrams point to these moments to illustrate how NFTs moved to the forefront of art discussions in the past few years, then trace the history from which these moments grew. They set out to "understand NFTs not as an alien landing but instead as part of the history of art." When considered in this light, NFTs appear as a development in the art world rather than an incursion by finance or technology outsiders. The authors' positioning of NFTs within the larger scope of art history is particularly effective when they connect older art practices and concepts with the capabilities of NFTs. For example, "the Artist's Reserved Rights Transfer and Sale Agreement, a 1971 document created by Seth Siegelaub and Robert Projansky and commonly referred to as the Artist's Contract or the Siegelaub-Projansky Agreement," provides artists with resale royalties along with options for control of future exhibitions. Historically, though, most artists have not been able to secure such extensive control over their work. With smart contracts, on the other hand, NFTs can automate resale royalties for artists, and the intellectual property parameters associated with a particular platform or NFT may limit how a purchaser can use the artwork. Furthermore, artists could use DAOs to pool their resources, and "it would be possible to create a retirement investment trust using fractional shares or resale royalties." Such innovations have the potential to "automate processes that were previously too cumbersome bureaucratically." The possibilities certainly sound promising, but it seems we will have to wait and see whether they are effective in practice. Another particularly interesting example of a connection between NFTs and earlier art practice is the concept of a certificate of authenticity traced back to Sol LeWitt's wall drawings. Rather than prioritizing the paintings themselves, LeWitt's certificates supply instructions for the artwork, and the holder of the certificate is the owner of the artwork. This...