Crypto art: A decentralized view

Crypto art is limited-edition digital art, cryptographically registered with a token on a blockchain. Tokens represent a transparent, auditable origin and provenance for a piece of digital art. Blockchain technologies allow tokens to be held and securely traded without the involvement of third parties. Crypto art draws its origins from conceptual art: sharing the immaterial and distributive nature of artworks, the tight blending of artworks with currency, and the rejection of conventional art markets and institutions. The authors propose a collection of viewpoints on crypto art from different actors of the system: artists, collectors, galleries, art historians and data scientists. A set of emerging themes and open challenges surfaces.

Download Full-text

Tezauronimiczny „skarbczyk” sztucznej biżuterii. Kilka uwag o nazwach własnych „drugorzędnych klejnotów”

Poznańskie Studia Polonistyczne Seria Językoznawcza ◽

10.14746/pspsj.2021.28.2.22 ◽

2021 ◽

Vol 28 (2) ◽

pp. 371-392

Author(s):

Katarzyna Węgorowska

Keyword(s):

Structural Analysis ◽

Proper Names ◽

Art Historians ◽

Polish Art ◽

Limited Edition

Imitation jewellery, also known as “secondary gems”, has been people’s companion from antiquity. Its representative objects, however, have rarely been assigned their individualised proper names – thesauronyms. As an answer to the appeal of Polish art historians and museologists: Ewa Letkiewicz, Katarzyna Kluczwajd, Monika Paś and Dorota Zahel, this study is an attempt at a linguistic and culturological presentation of thesauronyms that signify: a pair of earrings, collar, ring, fur fastener clip, necklaces, brooches, duette brooches, jewellery series, collections, lines, sets, limited edition. The attention is also drawn to the specificity of thesauronyms distinguishing similar jewellery items and thesauronyms denoting many various and completely different referents. Moreover, motivation analysis, semantic and motivation analysis, and structural analysis of the names of imitation jewellery names has been conducted. The findings allowed for redefining, verifying, supplementing and extending the term thesauronym.

Download Full-text

Limited edition: Producing artificial scarcity for digital art on the blockchain and its implications for the cultural industries

Convergence The International Journal of Research into New Media Technologies ◽

10.1177/1354856518795097 ◽

2018 ◽

Vol 26 (4) ◽

pp. 874-894 ◽

Cited By ~ 1

Author(s):

Rachel O’Dwyer

Keyword(s):

Business Models ◽

Digital Rights Management ◽

Digital Art ◽

Digital Culture ◽

Cultural Goods ◽

Digital Rights ◽

Rights Management ◽

New Form ◽

Limited Edition ◽

Digital Assets

This article examines the use of the blockchain to create limited editions of digital art with a particular focus on the business models of two companies: Monegraph and Ascribe. For some, the development of blockchain technologies and smart contracts suggests an opportunity for artists to protect their work from misuse and expropriation. For others, it suggests the possibility of stronger forms of digital rights management, going forward, that may negatively impact digital culture. However, this article argues that the aim of limited editions on the blockchain is not usually to institute stronger restrictions over use or a new form of digital rights management but rather to create new kinds of tradable digital assets. In turn, this trend implies a different operation of intellectual property rights with respect to digital culture, one where alienation rather than exclusion is significant, and a different operation of scarcity with respect to digital cultural goods, where their free circulation is not necessarily antithetical to profit.

Download Full-text

Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art

Leonardo ◽

10.1162/leon_a_00326 ◽

2012 ◽

Vol 45 (1) ◽

pp. 57-63

Author(s):

Etan J. Ilfeld

Keyword(s):

Information Theory ◽

New Media ◽

Contemporary Art ◽

Conceptual Art ◽

Video Art ◽

Digital Art ◽

Major Influence ◽

Third Wave ◽

Media Art ◽

New Media Art

This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.

Download Full-text

Understanding Material vs. Immaterial in Conceptual and Digital Art

Tahiti ◽

10.23995/tht.103179 ◽

2021 ◽

Vol 10 (4) ◽

Author(s):

Rahma Khazam

Keyword(s):

Conceptual Art ◽

Physical World ◽

Digital Art ◽

Art And Politics ◽

Art Object ◽

History Of ◽

Technological Means ◽

The 1960S ◽

Shed Light ◽

Courtauld Institute

In the history of twentieth-century art, we can identify two key moments when the notion of the immaterial became a focus of attention. The first, spanning the period from the mid-1960s to the mid-1970s, was the dematerialization of the art object in the context of conceptual art, famously described in Lucy Lippard's Six Years: The Dematerialization of the Art Object from 1966 to 1972. The second was digital art, which likewise emerged in the 1960s, foregrounding the use of technological means to produce immaterial artworks. Yet in both cases, the claim of immateriality was unfounded. Building on accumulating evidence, the conference “Conceptualism and Materiality. Matters of Art and Politics” held at The Courtauld Institute of Art in London in 2019 drew attention to the importance of materials and materiality in conceptual art, countering its reputation as idea-centred. As for digital art, it has become increasingly obvious that the infrastructure and tools required to produce and maintain it are firmly grounded in the physical world, thereby challenging its alleged immateriality. The first part of this essay explores dematerialization and its aftermath in the context of conceptual art, while the second highlights the analogous developments taking place in digital art. My aim will be to shed light on these shifts from material to immaterial and back again in both conceptual and digital art, and map their similarities and differences. As I will show, both tried – and failed – to satisfy art's recurring but unrealizable yearning to rid itself of the material.

Download Full-text

Art Markets and Digital Histories

Arts ◽

10.3390/arts8030105 ◽

2019 ◽

Vol 8 (3) ◽

pp. 105

Author(s):

Sandra van Ginhoven ◽

Claartje Rasterhoff

Keyword(s):

Social Sciences ◽

Computer Technology ◽

Art History ◽

Art Market ◽

Digital Technologies ◽

Digital Art ◽

Historical Research ◽

Art Markets ◽

Special Issue ◽

Digital Methods

This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. Digital art history or historical research facilitated by computer-technology in general is omnipresent in academia and increasingly supported by an infrastructure of seminars, workshops, networks, journals and other platforms for sharing results, exchanging notes and developing criticism. As the wealth of historical and contemporary data is rapidly expanding and digital technologies are becoming integral to research in the humanities and social sciences, it is high time to reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources.

Download Full-text

Searching for the causes why some of the paintings by Mihaly Munkacsy are darkening

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100134612 ◽

1990 ◽

Vol 48 (2) ◽

pp. 204-205

Author(s):

Imre Pozsgai ◽

Klara Erdöhalmi-Torok

Keyword(s):

Electron Beam ◽

Cross Section ◽

Polyester Resin ◽

National Gallery ◽

X Ray ◽

Art Historians ◽

Made In ◽

Grinding And Polishing

The paintings by the great Hungarian master Mihaly Munkacsy (1844-1900) made in an 8-9 years period of his activity are deteriorating. The most conspicuous sign of the deterioration is an intensive darkening. We have made an attempt by electron beam microanalysis to clarify the causes of the darkening. The importance of a study like this is increased by the fact that a similar darkening can be observed on the paintings by Munkacsy’s contemporaries e.g Courbet and Makart. A thick brown mass the so called bitumen used by Munkacsy for grounding and also as a paint is believed by the art historians to cause the darkening.For this study, paint specimens were taken from the following paintings: “Studio”, “Farewell” and the “Portrait of the Master’s Wife”, all of them are the property of the Hungarian National Gallery. The paint samples were embedded in a polyester resin “Poly-Pol PS-230” and after grinding and polishing their cross section was used for x-ray mapping.

Download Full-text

Malpractice & Negligence: State Supreme Courts Limit Therapists’ Duties to Third Parties

The Journal of Law Medicine & Ethics ◽

10.1017/s1073110500012985 ◽

1999 ◽

Vol 27 (2) ◽

pp. 204-205

Author(s):

Megan Cleary

Keyword(s):

Sexual Abuse ◽

Child Sexual Abuse ◽

Supreme Court ◽

New Hampshire ◽

Third Parties ◽

State Supreme Courts ◽

Recovered Memories ◽

Supreme Courts ◽

Repressed Memory ◽

University Of Colorado

In recent years, the law in the area of recovered memories in child sexual abuse cases has developed rapidly. See J.K. Murray, “Repression, Memory & Suggestibility: A Call for Limitations on the Admissibility of Repressed Memory Testimony in Abuse Trials,” University of Colorado Law Review, 66 (1995): 477-522, at 479. Three cases have defined the scope of liability to third parties. The cases, decided within six months of each other, all involved lawsuits by third parties against therapists, based on treatment in which the patients recovered memories of sexual abuse. The New Hampshire Supreme Court, in Hungerford v. Jones, 722 A.2d 478 (N.H. 1998), allowed such a claim to survive, while the supreme courts in Iowa, in J.A.H. v. Wadle & Associates, 589 N.W.2d 256 (Iowa 1999), and California, in Eear v. Sills, 82 Cal. Rptr. 281 (1991), rejected lawsuits brought by nonpatients for professional liability.

Download Full-text