NFT art

The research undertaken in the following paper bases its analysis on the model of the decentralized governance, offered in the case of blockchain technologies. The focus will be centered on some social elements of innovation introduced by the blockchain system, such as the Non-fungible tokens (NFT) and on the argument of their undeniable influence on a social, political and cultural levelinto forming a new model of governance. More specifically, it will be given an insight on the modes in which the compliance to the blockchain and NFT model, gives rise to new levels of relations between people, influencing their ways of living and socializing. Thus, NFTs are putting forward some novel aesthetics of interaction-exemplified by the case of a new perspective on art, and enhancing individual will and autonomy, through the circulation of cryptographic tokens within the digital space.

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Filmmakers, writers, advertisers, public relations specialists, game designers, digital creators —in brief, all storytellers are increasingly using transmedia narrative elements to reach their target audiences. This study discusses how the narrative genre of transmedia storytelling, which expands in many fields from art to education, from literature to marketing, will contribute to NFTs (Non-Fungible Token), which are digital assets that express works of art connected to block-chain technology. The study's primary purpose is to discuss the world of NFT within the framework of transmedia storytelling. This study, based on a literature review, aims to discuss NFT with transmedia storytelling and current NFT examples. The world of NFT (Non-Fungible Token), which has made a name for itself in the last few years and has very few studies in the literature, is also a world not far from transmedia storytelling due to its structural features. Digitization, which has led to permanent changes from art production to the consumer experience meeting with art, has finally entered our lives with NFT —as a sub-version of coins and tokens that can be defined as digital money. NFTs, which can be defined as digital passports, offer the user the opportunity to travel the digital world by blending different platforms, precisely like transmedia storytelling. It has been understood that transmedia narrative can contribute to the world of NFT, while NFTs can also be a tool used in transmedia storytelling as a narrative tool. Both are concepts fueled by multimedia, storytelling, gamification strategies and communities. At this point, it has been determined that there are many areas that they can transform and contribute when they meet on common ground. The literature review determines that the importance of NFTs having a story universe for the development of the NFT ecosystem has been highlighted. In this regard, it is essential to spread the stories of NFTs through different tools such as digital games, applications, fan culture, websites and make the buyer a part of the universe, just as in transmedia storytelling. It is anticipated that more research will be conducted on this subject in the upcoming years, as an important market will emerge in the field with the proliferation and adoption of the production of NFTs. This study is thought to be one of the pioneering studies in this aspect since it is rarely found in the literature that discusses this subject with transmedia storytelling.

The NFT art world is a mixture of late capitalism and populist aesthetics in which any idea of an "adequate artistic expression" has become increasingly difficult. Beeple's digital artwork "Everydays: The First 5,000 Days" sold for $69.3. Twobadour, one of the two buyers of the work, thinks that work "is going to be a billion-dollar piece someday." Until recently, "art" as a vague institution could still provide some landmarks about the 'how' of art and the discourse attached to it. Galleries and museums played a role in promotion, which sparked debates, both public and elitist. Curators, who are generally excluded from the financial craze, functioned as gatekeepers. Once NFTs are introduced into a highly speculative art market, any notion of aesthetic "truth" becomes dysfunctional. Authenticity emerges from the Enlightenment tradition for which being authentic meant to be free and autonomous. In the twenty-first century, authenticity needed to be installed in nonmateriality, and NFTs are the latest result of this process. Dematerialization means despatialization. The digitized version of a work is authentic, but authentic has here a meaning different from what it was before. The shift goes hand in hand with the reissuing of authenticity as a highly abstract category that is common in the twenty-first century.

The research undertaken in the following paper bases its analysis on the model of the decentralized governance, offered in the case of blockchain technologies. The focus will be centered on some social elements of innovation introduced by the blockchain system, such as the Non-fungible tokens (NFT) and on the argument of their undeniable influence on a social, political and cultural levelinto forming a new model of governance. More specifically, it will be given an insight on the modes in which the compliance to the blockchain and NFT model, gives rise to new levels of relations between people, influencing their ways of living and socializing. Thus, NFTs are putting forward some novel aesthetics of interaction-exemplified by the case of a new perspective on art, and enhancing individual will and autonomy, through the circulation of cryptographic tokens within the digital space.

popular marketing tactic that can work out for you if you plan to update your NFT marketplace with new works regularly is to market using personalized emails. Also, releasing educational videos and even teaser videos before every artwork can create a buzz around your artwork in both the NFT community as well as the general social media community.

2021, INMECS (International Media and Cultural Studies Conference),“Dijital Sanat’da Yapıtın Biricikliği Kaygısı; Cripto Art Üzerine Bir Değerlendirme.”, 6-7 Eylül 2021, Hasan Kalyoncu Üniversitesi İletişim Fakültesi Yayınları, 2021, pp.59-64

Non-Fungible Token (NFT) adalah sebuah teknologi kripto dalam melakukan tokenisasi digital terhadap foto, video, atau bentuk virtual lainnya. Aset-aset yang ditokenkan itu akan tercatat dalam blockchain atau buku besar digital yang sama dengan jaringan yang mendukung mata uang kripto. Token NFT yang sudah dienkripsi dalam sistem blockchain tidak bisa direplikasi atau diduplikasi. Teknologi ini digunakan oleh produsen visual termasuk seniman dan desainer untuk memasarkan karya visualnya secara digital. IndoArtNow adalah sebuah lembaga pengarsipan online yang memiliki misi mengarsipkan karya-karya seniman Indonesia yang pernah dipamerkan baik di dalam negeri maupun luar negeri. Lembaga ini juga membuka diri pada perkembangan kreasi baru dalam seni visual melalui (NFT) dengan membuat sebuah kelompok percakapan dalam aplikasi Discord. Anggota grup ini berasal dari beberapa seniman yang sebelumnya memiliki relasi dengan pengelola IndoArtNow. Ada perbedaan karakteristik dalam NFT dibandingkan dengan seni rupa kontemporer yang coba diadaptasi oleh pengelola grup ini. Grup Discord IndoArtNow mewadahi beberapa seniman yang masuk ke ranah NFT maupun para produsen visual lain yang sebelumnya tidak berkaitan dengan seni rupa kontemporer. Dalam perjalanannya, terjadi perubahan dalam melihat posisi kreator, terutama dalam mendefinisikan produsen, yaitu dari istilah "verified artist" (seniman terverifikasi) menjadi "verified creator" (kreator terverifikasi). Perubahan terminologi ini terjadi melalui praktik negosiasi di antara pengelola grup dengan anggota grup. Penelitian ini hendak menggali bagaimana pemahaman mengenai praktik kreasi yang dilakukan dalam NFT dan perubahannya yang terjadi dari pemahaman mengenai seni kontemporer.  Penelitian ini menggunakan pendekatan kualitatif dalam mendalami penggunaan terminologi tersebut dalam kaitannya dengan perubahan persepsi pengelola kelompok percakapan IndoArtNowNFT maupun anggota grup.

Kata kunci: kreator, praktik kreasi, NFT, IndoArtNow NFT

Hem finans hem de sanat dünyasında son derece popüler hale gelen NFT terimi Non-Fungible Token yani "değiştirilemez belirteçler" anlamına geliyor. Dijital varlıkların aidiyetlerini kanıtlayabilen benzersiz tanımlayıcılar olarak da ifade edebileceğimiz bu "belirteçler" aynı zamanda dijital sanat eserlerini ya da farklı türde koleksiyonları blok zinciri ticaretinde kolay doğrulanabilir varlıklara dönüştürüyor.

Twenty-one pieces of cryptoart by Dmitry Borshch will be shown next month in two physical locations at Skolkovo. This innovation center hosts PimPay and Elfin, startups that provided high-resolution displays, big enough to display the work at scales intended by the artist, for his show. That's one reason to show cryptoart offline – displaying it at "true" scale (Elfin has a projector, so few artworks that are too big for the displays will be projected onto the space's wall). Another reason is meeting artists; both startups believe their employees and others invited to the show's opening where Dmitry will explain these blue-and-white pieces, styled by him CryptoBlues, profit from such meetings. In late November of this year he will show all twenty-one of them, displayed together with eleven pink collages, at Azrieli Center in Israel, his first show there, under the title "Cryptofied". Later these thirty-two works, some like "Unchained from Lust", "A Mining Archer", "Will it contain you, this house I have built?", "fashy", "The Undertaker’s Pale Children", and "Better One Bird" transformed into audiovisual ones, are coming to Melville, New York for a show entitled "Crypto Optimism", jointly produced by an investment advisory firm in that hamlet and Russian American Cultural Center.

"I am hopefully a sober optimist about cryptoart, but an explanation first. Images produced on paper, canvas, other support, if artistic enough, become digital artworks when they're digitized artistically (reproductions cannot be art) – these, if minted as NFTs, become cryptoart, whether sold for cryptocurrency or not. It's this tokenization that unites different works in my shows instead of common themes. They are 'lazy-minted' on the Ethereum blockchain. I decided to mint there to benefit from Ethereum's network effect, but will not sell NFTs on the blockchain until it fully transitions to proof-of-stake. Environment isn't the only reason selling now is premature: 'smart contract' vulnerabilities, their publication on different blockchains, thereby undermining scarcity of the artworks described in these contracts (even when they describe an open edition, its sale is often time-limited and happens on one blockchain, not many) are two other reasons," explains Borshch.

He continues, "That a digitized image, still or moving, has become a tradable, rentable digital asset isn't new; its 'distributed financialization' is. Trades of NFTs categorized as art and excluding all other kinds, when measured by the total number of daily sales, have peaked in August after falling, rising for months since their last peak in January. The exchange value, and with it use value, of these NFTs are on the rise now (it's early September) – I am using both terms in contemporary, post-Marxian senses. The latter is pleasure that one derives from ownership of his NFT, being viewed by others as a collector of scarce, non-fungible assets and the elevated status that brings, peacocking it allows... But those assets are divorced from taste. I thought Beeple's collage "Everydays" was produced with the encouragement of Christie's auctioneers because they were reluctant to display his crappy pictures – he named them and himself Beeple Crap – individually, yet even the finest auctions today sell cartoonlike items, so many think buyers who participate in them are less concerned with displays of tastefulness, more with buying (and often quickly reselling or flipping) the most profitable way."

Teknolojik gelişmeler insanlık tarihinin bilinen başlangıcından günümüze dek yaşam koşullarını belirleyen ana etmenlerden biri olarak kabul edilmekte ve bu gelişimler sanat eylemine de etki eden güçlü bir unsur olarak okunmaktadır. Sanat tarihsel açıdan özellikle Sanayi Devrimi sonrası süreçte sanatta yaşanan kırılmaların kaynağındaki teknolojik donanım, yeni paradigmaların oluşmasına olanak sağlamış ve sanatçının ifadesi üzerinde de baskınlık kuran bir gerece dönüşmüştür. Dijital Çağ olarak da tanımlanan 21. yüzyılda dijitalleşmenin tüm yer küreyi içine alan kapsama alanının yaşam kültürüne yönelik belirleyici etkileri, sanatsal ifade biçimlerini ve üretim yöntemlerini değişime uğratmıştır. Dijital kültürün oluşturduğu dil sosyal, ekonomik, toplumsal, kültürel birçok alanda etkilerini sürdürürken bireyin doğayla, dış gerçeklikle, varlık alanı ve ben duygusuyla olan ilişkisine de iki uçlu müdahale etmektedir. Dijital yapının yaşam kültürüyle bağı konusunda olumlu bakış açıları bulunsa da; biyolojik bir varlık olarak insanın kodlarla örülü düzlemle diyaloğu, doğayla ilişkisi arasındaki mesafeleri arttırırken, metalaşma ve yapaylaşma duygusunu da beraberinde getirir. Dijital ekranlarda tüketilen imgelerin oluşturduğu bellekle ifadenin  yapaylaşması, sanatta sentetik yapıların oluşmasıyla ve sanatın varlık alanını yitirmesiyle sonuçlanabilir.

Technological developments are accepted as one of the main factors determining the living conditions from the known beginning of human history to the present, and these developments are read as a powerful factor affecting the act of art. From an historical point of view, especially in the post-Industrial Revolution period, the technological equipment at the source of the breaks in art has enabled the  formation of new paradigms and has turned into a tool that dominates the expression of the artist. In the 21st century, which is also defined as the Digital Age, the decisive effects of the coverage area of digitalization covering the entire globe on living culture have changed the forms of artistic expression and production methods. While the language created by digital culture continues its effects in many social, economic, communal and cultural areas, it also interferes with the individual's relationship with nature, external reality, space of being and sense of self. Although there are positive perspectives on the connection of digital structure with the living culture; As a biological being, the dialogue of human with the plane knitted with codes increases the distances between their relationship with nature and brings with it the feeling of commodification and artificialization. The artificialization of expression with the memory created by the images consumed on digital screens may result in the formation of synthetic structures in art and the loss of art's existence.

The paper is the result of a Research Project on Semiotics started in 2021 at Alma Mater Studiorum – University of Bologna, as part of the Master Degree on Semiotics.
It is based on the XV century Coat of Arms designed and painted by Giovanni Antonio Carpani in his Code (which is locked at the library of the Como Civic Museum). The collection of the Coat of Arms on this book have been restyled by Shmerz and valorized for a future presence on the upcoming Metaverse with NFT files.
Shmerz (b. 1986), is an Italian artist leaving in Milan, and is the founder of Meta Heraldry, a new digital artistic current about Heraldry for NFT products and Metaverse.
At the date of the publication each Coat of Arm is not yet been incorporated in a single NFT but is ready to be published (minted) on OpenSea platform, probably the largest NFT Marketplace, with the Ethereum blockchain.
This paper is also a sort of special preview of the Meta Heraldry Project (MHP) called CCACC – acronymous of Carpani Collection Coat of Arms XV Century Lake Como Code, and is oriented to show and analyze the value of such semiotic visual system in 2022 for the innovation of Heraldry.
The reader will find 45 Coat of Arms, divided on 5 different sheets as it is on the Carpani Code (Maspoli, 1973). The selection of the 45 on more than 800 coat of arms documented by the painter Carpani is because the restyling work is just started.

Issue available here: https://journal.media-culture.org.au/index.php/mcjournal/issue/view/fungible

A themed issue of M/C Journal exploring the theme of "Fungibility". Articles include analyses of theories of value, citizenship, memes, the film industry, music and art through the prism of fungibility and non-fungibility.

Articles are open-access.

This is a solid economic proposal for a really sustainable world. We have now new reality of the trinity of consciousness: Human Being, AI and the Nature. We need to find a effective path for the evolution of human wisdom based upon the effective knowledge generation and accumulation from the industrial revolution. This is not only really new economic theory but also crypto-art! Please join me for this development of new economic theory as well as new art!

One of the most important consequences of the pandemic and the accompanying quarantine and mitigation measures is likely to be investing in memes making its way to the masses and the mainstream. The best-known examples are the ironic investment in Gamestop and Dogecoin, and to at least some extent, the NFT trading boom. Given the sums that have circulated so far – perhaps best exemplified by, for example, US digital artist Mike Winkelmann, alias Beeple – it is clear that art fairs are already looking for ways to integrate NFTs, but for this NFTs must first be integrated with art history. This is not that easy because digital NFT art has emerged as if by itself and from scratch, outside the traditional art world and its institutions.