Digital art has emerged as a powerful medium for meaning making in contemporary culture and it is situated at the intersection of technology, creativity, and communication. This paper explores the communicative dimensions of digital art from the perspective of visual rhetoric and aesthetic, and examining how symbols, images, and interactive forms operate as persuasive and expressive tools in the digital sphere. The theoretical framework of this study draws upon aesthetic philosophy, semiotics, and rhetorical theory. The study analyses how digital artworks (from digital paintings and interactive installations to memes, non-fungible tokens, and Artificial Intelligence (AI)-generated visuals) construct and disseminate cultural narratives. The paper argues that digital art not only embodies aesthetic value but also functions as a rhetorical act that shapes perceptions, identities, and public discourse. By interrogating the role of interactivity, multimodality, and technological mediation, the research highlights how digital art transcends traditional boundaries of visual communication, and engaging audiences in participatory and immersive experiences. This inquiry situates digital art as a vital communicative practice that negotiates between creativity, socio-cultural meaning, and technology; and underscores its significance in the evolving landscape of visual culture and media studies.
Xavier Tadeo, Gyula Seres, Peter Wang, Yoann Sapanel · 19 authors
<sec> <title>UNSTRUCTURED</title> Incentivization in clinical trial participation can be challenging, with many studies failing to meet recruitment or retention goals despite traditional compensation strategies. Digital health evolves and, with it, new approaches can emerge to engage participants meaningfully. We propose unique digital images as a novel, symbolic incentive for clinical trials. Digital images combine qualities such as personalization, ownership, and digital visibility, which may drive engagement more effectively than monetary rewards alone. In our illustrative study, participants complete AI-personalized digital therapeutic training using CURATE.DTx, generating individualized learning trajectories. These are transformed into digital artworks and minted as non-fungible tokens (NFTs), given as a reward upon trial completion. This concept integrates gamification, personalization, and blockchain technology to support both intrinsic and extrinsic motivation. We explore the implications for decentralized healthcare, long-term behavior change, and participant recognition in the context of preventive medicine and longevity science. Our aim is to encourage research into the use of digital incentives to transform the participant experience and promote sustained engagement in health interventions. </sec>
Open access
Digital Mental Health Interventions
Artificial Intelligence in Healthcare and Education
Artistic content, especially in the digital era, is increasingly susceptible to unauthorized appropriation, imitation, and misuse, often with little to no attribution to original creators. In this paper, an unified AI-assisted visual similarity-detecting system with a blockchain-based provenance-checking base is introduced to prevent art appropriation and securely and in interpretable and real-time apply digital copyright. With the help of a hybrid deep learning framework that consists of Vision Transformer (ViT) and ResNet-based architectures, the system compares the stylistic and structural characteristics of the artworks with those of cosine similarity, Euclidean distance, and style loss measurements. The triplet loss-trained visual encoder allows the model to be useful in distinguishing between direct copies, derivative works, and inspired originals. In an image-based art collection (designed as a WikiArt replica, though not a real WikiArt collection) of more than 10,000 examples, the framework obtained a high classification performance of 94.3, and exact copy performance (precision) of 96.4 and inspired work performance (precision) of 88.6. Artwork metadata and visual fingerprints are hashed with SHA-256 and stored on a permissioned blockchain (Hyperledger Fabric) to provide provenance records and immutable and to enforce copyright permissioned via smart contracts. The proposed system is more accurate in detection and explainable than the available tools like Google Reverse Search and the TinEye. It is also supplemented with Grad-CAM-based visual heatmaps and real-time smart contract execution as the dispute resolution. Further development of the model will focus on extending it to video art and 3D designs, as well as generative AI art (e.g., GANs, Diffusion), and the global copyright databases will be integrated to be universal. This system is a strong move towards the protection of the integrity and rights of Web3 digital artists.
This study began with the infinite reproducibility enabled by digital technology and the resulting crisis of value in the fields of art and design. Under conditions of digital reproduction, the traditional value system grounded in scarcity has been fundamentally challenged, while blockchain technology represented by non-fungible tokens (NFTs) has reconfigured the value structure of digital objects through the notion of “on-chain uniqueness.”<br/> The purpose of this study is to examine the “ontological-infrastructural turn” in digital design value within the context of NFTs, and to clarify how value is displaced from visual content itself and re-anchored in a techno-social infrastructure composed of blockchain, metadata, protocols, and social consensus. Accordingly, this paper conducts a systematic theoretical investigation of the interrelations among blockchain technology, interface design, and mechanisms of social recognition from an interdisciplinary perspective.<br/> The results and contents of the study are as follows. First, blockchain functions as an “ontological operator” that reconstructs authenticity and scarcity through computational recording, shifting the mode of existence of design objects from material or formal presence to a verifiable form of “on-chain existence.” Second, “on-chain uniqueness” is not merely a technical condition but a perceptual experience constructed through interface design, interaction mechanisms, governance structures, and the social performance of ownership and community formation, which ultimately solidifies into social consensus and symbolic capital.<br/> Based on these findings, this study is expected to provide a new theoretical framework for understanding the transformation of design value in the digital age and to offer insights for future research on authorship, authenticity, and institutional design practices.
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.
This study examined the role of visual design in Non-Fungible Tokens (NFTs) as a strategic component of value creation and inclusive participation within the decentralized creative economy. The research addressed the growing need to understand how visuals influence identity, accessibility, and community-driven economic engagement in digital platforms. The study was conducted using a qualitative interpretive approach, employing visual rhetorical analysis and digital ethnography. Ten top NFT collections on the OpenSea marketplace were analyzed based on their visual characteristics, creator inclusion, and community interaction. The visual elements were assessed through rhetorical lenses ethos, pathos, and logos, while participation was observed through social media metrics and community discourse. The findings indicated that accessible and culturally resonant visual designs enhanced user engagement and contributed to broader economic inclusion. Collections with visually open, emotionally engaging, and culturally inclusive features attracted stronger community involvement and sustained market relevance. In contrast, NFTs with elitist or exclusive visual narratives demonstrated more limited participation and accessibility. The study concluded that visual identity plays a central role in shaping the success of NFTs not only as aesthetic artifacts but as instruments of economic democratization. It was recommended that future research explore algorithmic visual production and long-term community dynamics across diverse cultural contexts. This research highlighted the potential of visual design to foster equity, representation, and sustainable value in the evolving digital economy.
The DeepFake tech has had a theatrical impact on the visual arts, not only the provision of creative technology, but also the question of authenticity, copyright and misinformation. The deep learning and generative adversarial networks (GANs) produce deepfakes artificial images, which are extremely harmful to art. The article discusses the DeepFake detection and management within visual art work with emphasis on the practical application of analysis through multiple-layered approaches that would assist in ensuring the presence of the digital authenticity. DeepFake was managed through three core approaches, namely AI-Based Detection Frameworks, Blockchain-Based Authentication System, and Human-AI Collaborative Review Models. The decentralized strategy was based on blockchain technology, which was the Non-Fungible Token (NFT) registration by the cryptographic hashing to authenticate the provenance and ownership of the artworks. The human-AI composite system has integrated the inspection of the specialists on the visual level with the automatic monitoring of the anomalies to increase the readability and reduce the number of false alarms. The experiment revealed that the AI-based systems, blockchain approaches, and the collusion between human beings and AI detected 92.3, 87.6 and 94.1 % of people respectively. These findings suggest that the incorporation of algorithmic intelligence, a safe check, and human knowledge can help in quite a powerful DeepFake verification and management in the field of visual arts.
Open access
2 source records
Aesthetic Perception and Analysis
Digital Media and Visual Art
Generative Adversarial Networks and Image Synthesis
Introduction: The interplay between digital culture and non-fungible tokens (NFTs) represents a major paradigm shift in the creative industries, especially in the European context. This article examines the relevance of this issue, highlighting the transformative impact of NFTs on artistic practices and the art market in general. The study addresses the dual nature of NFT as a source of opportunities and challenges for artists, including issues of authenticity, intellectual property rights and environmental sustainability. The study aims to understand the implications of NFTs for European artists, focusing on their potential to enhance economic opportunities while recognizing the associated risks. Methodology: A mixed-methods approach is employed, including a comprehensive review of the academic literature, as well as a survey of artists, collectors and entrepreneurs to gather information on their experiences and perceptions of NFTs. Findings: These reveal that while NFTs offer innovative avenues for monetization and audience engagement, they also raise critical concerns about market volatility, regulatory frameworks and ethical implications. As artists grapple with the complexities of market volatility and ethical dilemmas, there is an imperative need for clear regulations and frameworks, as well as fostering knowledge and collaboration. Conclusions and discussion: This article contributes to the discourse on the future of digital culture in Lithuania, suggesting that a balanced approach is essential to harness the benefits of NFT while mitigating its challenges
This study examines how the historical development of web technologies and Korea’s digital transformation have shaped the structure of art consumption, situating the inquiry within broader socio-historical flows and institutional frameworks. The trajectory from the static information delivery of Web 1.0, to the interactive platforms of Web 2.0, to the semantic and relational information sharing of Web 3.0, and finally to the decentralization of Web3, extends beyond a mere technological evolution. In particular, the state-led informatization policies initiated in the wake of the 1997 IMF financial crisis, along with subsequent strategies such as the Digital New Deal, laid the institutional foundation for the digital transformation of the Korean art market. Within this context, the study traces the processes and changes in art consumption that emerged. Methodologically, the research adopts a qualitative, interpretive approach, drawing upon diverse secondary sources including academic studies, policy documents, news reports, and platform operation records. The findings demonstrate that web technologies have served as a primary driver of comprehensive changes in art—shaping modes of appreciation, systems of distribution, and extending further into assetization and financialization. Today, art consumption has been redefined to move beyond viewing and purchasing, encompassing decentralized experiences and transactions as assets via online platforms. This shift underscores the rise of platform-based relational consumption models and the structural incorporation of art into capital markets. The study’s significance lies in its diachronic analysis of how web technologies have impacted art consumption. Furthermore, by integrating perspectives from the histories of technology, policy, and art, it establishes a foundation for multi-layered inquiry into the transformations of art consumption and institutional frameworks.
Salim Saay, Sean O’Brien, Amandeep Singh, Amalia de Götzen · 6 authors
This research investigates the use of diverse visual knowledge communication tools in the multidisciplinary training produced in the BC4ECO project. During this project, teaching and learning content was developed to enable postgraduate learners to utilise blockchain and Distributed Ledger Technology (DLT) to solve complex, real-world problems related to environmental sustainability. We examine how visual modelling techniques enhance comprehension across disciplines and facilitate interdisciplinary and transdisciplinary collaboration, particularly for learners who may not have prior programming or computer science knowledge. Findings suggest that using these tools leads to enhanced collaboration between computer scientists and non-computer scientists and aids in the facilitation of joint problem solving between seemingly disparate disciplines. Additionally, the study highlights how the use of tools for established software engineering modelling, like Visual Paradigm for UML, bridges the gap between theoretical knowledge and practical implementation, strengthening problem solving skills and improving software development education.
NTF (non-fungible token), as a significant application of blockchain technology, is reshaping the model of art education. This paper explores the potential applications of the NTF in art education, focusing on how it influences teaching methods, the value transformation of students, the evaluation of art education, and international development. The study employs a mixed-method approach, combining questionnaire surveys (N=100) and semistructured interviews (N=15), to analyse the acceptance and impact of the NTF in art education. The results show that the NTF can increase students’ market awareness and copyright protection awareness and promote the global circulation of artworks. However, technical barriers, market volatility, and insufficient educational practice experience remain the main challenges to the widespread application of the NTF in art education. This research not only reveals the value of the NTF in art education but also provides practical guidance for future curriculum design, educational assessment, and academic certification.
Design thinking is an important tool for connecting innovation ability with practical problems. Design thinking, as a systematic approach to thinking concepts, processes, and learning tools, can provide new ideas for educational reform and the cultivation of talents in the future. Introducing design thinking into higher education and establishing an effective and innovative curriculum system is also aimed at better cultivating innovative talents. Based on the characteristics of blockchain technology such as decentralization, security and equality, this study builds a platform for design thinking education and expounds the practical problems such as the lack of thinking enthusiasm and motivation of students in the existing education model and the transformation of theory into practice. Analyze the possibility that blockchain technology can help students stimulate their creativity through incentive mechanisms, protect students' design achievements through distributed ledgers, and enhance their employment competitiveness. While blockchain technology makes it easier for colleges and universities to implement design thinking education, it also gives them new ideas and opportunities to implement creative teaching based on design principles, creates an equitable and effective learning environment for students, and gives them access to a better learning platform.
The study aimed to analyse fine art photography as a form of visual art, its aesthetic characteristics, stylistic evolution, and contemporary developmental trends. The research was based on the analysis of art-historical works, exhibition catalogues, artistic practices of leading photographers, as well as content analysis of digital platforms and the non-fungible token market. The study established that fine art photography has transcended its traditional documentary function and acquired the status of an autonomous conceptual medium, integrating elements of painting, cinematography, performance, and digital technologies. It was found that the stylistic transformations of fine art photography have been accompanied by experiments with form, light, composition, and narrative structure, particularly evident in the development of such movements as conceptual, staged, and minimalist photography. The results confirmed that fine art photography has evolved into a multidimensional artistic practice that combines visual aesthetics with conceptual content and actively interacts with other art forms. It was revealed that contemporary photographers not only experiment with genres and techniques but also shape new modes of audience engagement through digital platforms, the non-fungible token technologies, and social media. The study demonstrated that digital technologies open new possibilities for photographers, particularly in algorithmic editing, generative art, and the non-fungible token economy, while simultaneously transforming the methods of presentation and artist-audience interaction. The findings may be applied in art education, curatorial practice, and the development of new digital exhibition formats.
This research aims to deeply explore the origin of the metaverse and its impact on the development of corporate strategy, especially in the field of non-fungible token (NFT) artwork design. Through the analysis of the current development status of NFT artworks, an artificial intelligence-based enterprise development strategy and a metaverse NFT artwork design method are proposed. In addition, the generation logic, technical attributes, and technical and legal risks of metaverse NFT artworks under different design methods are also studied. It is expected that this research will provide strong theoretical support and practical guidance for the legal protection of metaverse NFT artwork design.
The urgency of this research is to increase efficiency, transparency and sustainability in increasingly complex and challenging agribusiness supply chains. The aim of this research is to develop an integrated system that combines IoT capabilities in collecting agricultural data in real-time, AI to analyze data and provide recommendations for action, as well as security and transparency guaranteed by blockchain technology. The method used is a mixed methods approach, this approach combines qualitative and quantitative elements to obtain a deeper understanding. A qualitative approach is used to gain a contextual perspective, while a quantitative approach is used to measure performance empirically. This research uses a case study design on a sensor-based agricultural monitoring system because of its ability to provide in-depth and holistic insights. The research population consists of users and stakeholders in sensor-based agricultural monitoring systems. The sample was selected purposively to cover various aspects of the supply chain. Data was collected through in-depth interviews, direct observation, surveys of system users and collection of sensor and transaction data from agricultural monitoring systems. The research results show that the integration of IoT, AI, and blockchain significantly improves operational efficiency in agribusiness supply chains. Implementation of this integrated system resulted in an increase in productivity of up to 22%, a reduction in pesticide use by 35%, an increase in water use efficiency by 30%, and a reduction in operational costs by 18%. Statistical analysis confirmed a strong positive correlation between the use of integrated technology and increased operational efficiency (R=0.85, p<0.01).
The digital preservation and protection of cultural heritage have become increasingly important in the modern world, where the security and authenticity of cultural assets are often compromised. Existing systems face challenges such as inadequate provenance tracking, data manipulation, and lack of transparency in access management. To address these issues, a novel system is proposed that utilizes Ethereum blockchain technology for securing and managing cultural heritage assets. The proposed solution leverages the decentralized, immutable nature of blockchain to ensure the integrity, provenance, and transparent access to digital assets like artworks, manuscripts, and historical artifacts. By employing Ethereum smart contracts, digital signatures, and a decentralized governance model, the system automates ownership management, tracks asset provenance, and facilitates secure access controls. Results indicate that the system significantly improves the transparency, security, and traceability of cultural heritage assets, offering a robust method for preserving these valuable resources. It enables real-time monitoring of asset interactions and ensures that ownership transfers are securely recorded, thus safeguarding the assets' authenticity. The system also fosters collaboration among stakeholders through a decentralized platform, ensuring sustainable and verifiable inheritance of cultural heritage. Future developments could enhance the system's capabilities, including real-time adaptation to user behavior and integrating broader global heritage networks, reinforcing the platform's role in preserving cultural legacy for future generations.
In this chapter, I present and discuss Web3 as a technology enabling new forms of decentralized governance and operation on the Internet. I first provide a brief history of the evolution of the World Wide Web from Web1.0 to Web3, and then provide examples of Web3 technologies and existing use cases. This chapter also considers some of the key changes that Web3 brings along and the positive possibilities in industries and societies these will present. This chapter further considers some of the challenges and issues that must be addressed for Web3 to realize its full potential and to have a positive impact. I introduce a range of innovative Web3 applications within the media and creative industries. These innovations target contemporary industryspecific issues characterized by a lack of transparency and power imbalances. I focus on the music industry, the film and series industry, as well as on the social media creator industry. Lastly, this chapter points to the challenge of system-wide adoption of Web3 technologies and the importance of interdisciplinary research.
Abstract Generative art refers to art that is created in whole or in part using an autonomous system. This form of digital art dates back at least to the ise of computing machines in the 1950s. Recently, however, generative art has experienced a burst in digital creativity thanks to the emergence of blockchain technology and, in particular, of Non-Fungible Tokens. In this paper, the author explores the new forms of generative art that blockchain technology has brought to the field. Moreover, he embeds these new forms of blockchain-based generative art within Philip Galanter’s generative art theory.
Bilgi sistemlerinin ve kitle iletişim araçlarının teknolojik dönüşümü, dijital çağın önemli bir parçası olarak karşımıza çıkmaktadır. 21. yüzyılda, internetin ve bilgisayar teknolojilerinin gelişimi, bilgi sistemlerini sanal ortama taşımış ve modern hayatın pek çok alanında değişim yaratmıştır. Bu dönüşüm, kitle iletişim araçlarının evrimini hızlandırmış ve farklı disiplinler arasında yakınlaşmayı sağlamıştır. Sanat da bu değişimden etkilenmiş, dijital teknolojilerle yeni bir boyut kazanmıştır. Dijitalleşmenin sunduğu olanaklar sayesinde sanat eserleri, coğrafi sınırlamaları aşarak geniş kitlelerle anlık iletişim kurabilmektedir. İnternet aracılığıyla dolaşıma giren dijital eserler, teknik olanaklar sayesinde tekrar üretilebilir ve ticari ekosistemler oluşturulabilir. Bu bağlamda, Non-Fungible Token (NFT) teknolojisi, dijital sanatın özgünlüğünü ve sahipliğini garanti altına alarak sanatın dijital dünyadaki yerini sağlamlaştırmaktadır. NFT'ler, sanat eserlerinin dijital ortamda değerli birer varlık olarak kabul edilmesini sağlar ve sanatın ticaretini kolaylaştırır. Bu çalışmanın amacı, NFT teknolojisi ile üretilen sanat eserlerinin dijital kültüre katkısını incelemektir. Çalışmanın temel sorusu NFT teknolojisi ile üretilen sanat eserlerinin dijital kültüre ne ölçüde katkı sağladığıdır. Seçmece yöntemle belirlenen içerik analizi ile araştırılmış olan bu çalışma, dijitalleşen sanat medyumlarının kültürel etkinliğini sorgulayarak literatüre önemli bir katkı sağlamayı hedeflemektedir. Dijitalleşme ve teknolojinin her geçen gün gelişmeye devam etmesi, bu çalışmada yapılan araştırmaların ve parametlerin (ulaşılabilirlik vb. durumlar nedeni ile hedef kitlelerin değişmesi ve satış oranlarının etkilenmesi) değişebilmesi durumu bu çalışmanın sınırlıklarıdır. NFT teknolojisinin sanat üzerindeki etkileri ve dijital kültürdeki rolü, sanatın geleceği ve dijitalleşmenin sanatsal üretim üzerindeki etkileri hakkında derinlemesine bilgi sunacaktır.
Batik is an important part of Indonesia’s culture. It is known for its detailed repeating designs. Repeating designs are tough for designers, especially when they to mix in modern styles. Still, more people online are getting excited about making unique batik patterns. With new tech, like deep learning, things have changed. These models are doing better than the old ways for tasks like classifying images and recognizing objects. One cool tech, called pix2pix, helps turn one image into another using a method called Conditional Generative Adversarial Networks (cGAN). It uses data sets with images along with their edge maps that get pulled using techniques like Canny Edge Detection in OpenCV. This means that it can help create complex batik designs. This study also looks at Non-Fungible Tokens (NFTs) and how they can help sell and keep batik art safe. By turning batik designs into NFTs, artists can prove their work is accurate and connect with fans all over the world. This fresh idea not only keeps Indonesia’s rich culture alive but also lets people on the internet and batik lovers join in the creative fun. More chances exist for people to work together and explore digital art while saving their cultural heritage. Looking ahead, the Batik patterns created can become NFTs. This means that each Batik pattern’s uniqueness and ownership can be clearly shown through blockchain tech. It opens up a digital marketplace where folks can buy, sell, or collect these digital art pieces. Adding NFTs gives more value and realness to the Batik patterns made using advanced deep-learning methods. This broadens how this research could be used and its effect in the digital world.
Mohammad Aaris Amirza, Ahmad Luqman Ahmad Kamal Ariffin, Mohamed Razeef Abdul Razak
Non-fungible tokens (NFTs) have made a significant impact on the Malaysian art industry. This blockchain advancement have provided artists with a new way to monetize their digital artworks and have also opened avenues for art enthusiasts to collect and trade digital art in a secure and transparent manner. Many Malaysian artists have embraced NFTs as a means of showcasing and selling their digital creations to a global audience. However, the pricing factors of NFTs have posed obstacles for traditional artists and collectors who wish to enter this technology. This research paper aims to study the elements that influence the pricing of NFTs created by Malaysian artists. The study conducted interviews with prominent Malaysian NFT creator that has successfully created and monetized their NFTs on both local and international platforms which was analyzed using thematic analysis. This analysis reveals that market dynamics, creator reputation, and the concept of scarcity and utility influence the pricing factors of NFTs in Malaysia. These insights provide a comprehensive understanding of the multifaceted factors that shape the NFT pricing in Malaysia. The findings underscore the necessity for educational initiatives to enhance understanding of NFT market among artists and collectors. This study also proposes for future research to explore the long-term evolution of the NFT market and to compare it with other regional and global markets to gain comprehensive insights into its dynamics.
The recent advent of non-fungible tokens (NFTs) has profoundly disrupted the contemporary art market, but their status remains contested. While advocates tout the democratising potential of NFTs, critics dismiss them as a speculative bubble. This study elucidates the position of NFT art within mainstream art market discourse through an interdisciplinary analysis synthesising critical discourse analysis, corpus linguistics, and the political economy of art. Examining three key 2023 art market reports furnishes empirical insights into how influential institutions frame and valorise NFT art. Linguistic patterns reveal NFTs’ increasingly solid yet variable positioning across art market segments. NFT art appears well-integrated into mainstream discourse but remains emergent at the high end. The analysis reveals a complex picture, with the data showing both positive institutional framing and valorisation of NFT art, as well as the identification of ethical tensions and concerns around issues of accessibility, diversity, and sustainability within the NFT art market discourse. We find NFT art simultaneously amplifies and challenges existing hierarchies, creating new opportunities counterposed by risks.
Topan Try Harmanda, Muhammad Rafi Juliansyah, Karina Mayasita Handoyo, Aan Khunaifi · 11 authors
The e-ticketing system is a digital ticket sales and purchase system that changes the habit patterns of buyers and facilitates buyers in making ticket purchase transactions. The current e-ticketing system has several problems, such as the use of a centralized system that is vulnerable to data leakage, ticket fraud, and scalpers. Blockchain is a technology that can help overcome problems in the e-ticketing system. For this reason, we would like to review existing research on the application of blockchain in e-ticketing systems to provide an overview of the extent of the application of blockchain in e-ticketing systems. Through an analysis of 26 selected studies, our results show that there are four main research focuses on the application of blockchain in e-ticketing systems, namely ticket management & distribution, solving ticket fraud, solving ticket scalpers, and ticket payments. We found that Hyperledger and Ethereum are the most commonly used platforms and there is also the use of other technologies such as RFID, NFT, and self-sovereign identity that can improve the performance of blockchain in e-ticketing systems. Despite the promising benefits, challenges such as scalability, high transaction costs, the need for stakeholder collaboration, and the need for more extensive real-world testing. This study concludes by emphasizing the need for continued research and development to fully leverage blockchain's capabilities in revolutionizing the e-ticketing industry.