scholarly journals NFT and digital art: new possibilities for the consumption, dissemination and preservation of contemporary works of art

Artnodes ◽  
2021 ◽  
Author(s):  
Salomé Cuesta Valera ◽  
Paula Fernández Valdés ◽  
Salvador Muñoz Viñas ◽  
Salvador Muñoz Viñas
Keyword(s):  
New Media ◽  
Digital Technology ◽  
Industrial Revolution ◽  
Digital Art ◽  
Multiple Forms ◽  
General Sense ◽  
Principal Characteristics ◽  
Auction Houses ◽  
Third Industrial Revolution ◽  
First Time

Digital technology, which appeared in the '80s and consolidated itself in the following decade with what was called the “third industrial revolution”, has transformed not only our daily environment, but also the way in which we produce and experience the artistic work. Digital art, a subcategory of the so-named art of the new media, presents multiple forms and is in continual evolution, parallel to the devices which make it possible; but its commercialisation in the contemporary art market becomes complex, so digital works present a series of characteristics such as the paperless ofice, obsolescence and reproducibility which may be considered to be not particularly profitable by collectors. Despite this, in recent months the sale of some digital artworks, to which numerous texts are referred to under the name of cryptoart, have increased notably, reaching figures in the millions for the first time in auction houses. The commercial success of these pieces is due to the fact that, together with the work's archive, they include a type of cryptographic certificate, the non- fungible-tokens or NFTs, which collect the the work's data and inscribe them in a blockchain; transforming a multiple and disseminated work into a digital item that is unique and traceable, whose property can be transmitted as one would do with any other object in the offline world. Although they favour in principle the creation and sale of digital art, NFTs present their own problems, especially related to their access, use and sustainability; are NFTs a permanent tool or only a method of fleeting speculation? How does this certification affect property and the author's rights? Is it possible and will it be sustainable to employ them as a strategy for the preservation of digital works? This article carries out an analysis of the principal characteristics and problems of digital art in a general sense, as well as the solutions and preoccupations which the cryptographic certificates offer in all aspects in the life of a work of art: production, dissemination and preservation.

scholarly journals Visualizing the hotspots and emerging trends of 3D printing through scientometrics

2018 ◽  
Vol 24 (5) ◽  
pp. 801-812 ◽  
Author(s):  
Yuran Jin ◽  
Xin Li ◽  
R. Ian Campbell ◽  
Shoufeng Ji
Keyword(s):  
3D Printing ◽  
Industrial Revolution ◽  
Theory Development ◽  
Research Direction ◽  
Matrix Composites ◽  
Quality Of Data ◽  
Content Type ◽  
Emerging Trends ◽  
Third Industrial Revolution ◽  
First Time

Purpose 3D printing is believed to be driving the third industrial revolution. However, a scientometric visualizing of 3D printing research and an exploration its hotspots and emerging trends are lacking. This study aims to promote the theory development of 3D printing, help researchers to determine the research direction and provide a reference for enterprises and government to plan the development of 3D printing industry by a comprehensive understanding of the hotspots and trends of 3D printing. Design/methodology/approach Based on the theory of scientometrics, 2,769 literatures on the 3D printing theme were found in the Web of Science Core Collection’ Science Citation Index Expanded (SCI-EXPANDED) index between 1995-2016. These were analyzed to explore the research hotspots and emerging trends of 3D printing with the software CiteSpaceIII. Findings Hotspots had appeared first in 1993, grew rapidly from 2005 and peaked in 2013; hotspots in the “medical field” appeared earliest and have remained extremely active; hotspots have evolved from “drug”, “printer”, “rapid prototyping” and “3D printing” in the 1990s, through “laser-induced consolidation”, “scaffolds”, “sintering” and “metal matrix composites” in the 2000s, to the current hotspots of “stereolithography”, “laser additive manufacturing”, “medical images”; “3D bioprinting”, “titanium”, “Cstem cell” and “chemical reaction” were the emerging hotspots in recent years; “Commercial operation” and “fusion with emerging technology such as big data” may create future hotspots. Research limitations/implications It is hard to avoid the possibility of missing important research results on 3D printing. The relevant records could be missing if the query phrases for topic search do not appear in records. Besides, to improve the quality of data, this study selected articles and reviews as the research objects, which may also omit some records. Originality/value First, this is the first paper visualizing the hotspots and emerging trends of 3D printing using scientometric tools. Second, not only “burst reference” and “burst keywords” but also “cluster” and “landmark article” are selected as the evaluation factors to judge the hotspots and trends of a domain comprehensively. Third, overall perspective of hotspots and trends of 3D printing is put forward for the first time.

scholarly journals The Internet and “Frictionless Capitalism”

2012 ◽  
Vol 10 (2) ◽  
pp. 302-312 ◽  
Author(s):  
Jens Schröter
Keyword(s):  
New Media ◽  
Industrial Revolution ◽  
New Technology ◽  
The Internet ◽  
Late Capitalism ◽  
The Third ◽  
Bill Gates ◽  
Commercial Medium ◽  
A Chain ◽  
Third Industrial Revolution

Since 1994 when the first browsers made their appearance the internet became the ‚new medium‘ par excellence. As is always the case with new media, there was an intense discussion about the future usage and effects of the new technology. One of the central arguments of this discussion was that the new medium might solve the problems of capitalism – Bill Gates coined the phrase "frictionless capitalism". In the first part of my paper some of these discourses are analyzed. These discourses, often publicly uttered by conservative and liberal politicians, try to construct the internet as commercial medium solving problems of late capitalism. But already the dotcom-crash 2001 hinted at problems with that construction. In the second part there is a discussion of a special interpretation of Marx’ theory of capitalist crisis. It is argued – also with recourse to Norbert Wiener – that the internet is part of the third industrial revolution which might lead to a very deep and even terminal crisis of capitalism. Instead of solving the problems of capitalism the internet might deepen them. We are witnessing since 2008 a chain of ever increasing symptoms of a deep crisis. By using Marx’ approach some of the important effects of the new medium can be described far more accurately than does the unreflected euphoria of Gates and others.

Industry 4.0: The Importance Factors of Innovation in Adopting Cloud Computing Among SMES in Malaysia

2020 ◽  
Vol 11 (1) ◽  
pp. 84-84
Author(s):  
Siti Salwa Sheikh Mokhtar ◽  
Anuar Shah Bali Mahomed ◽  
Yuhanis Abdul Aziz ◽  
Suhaimi Ab. Rahman
Keyword(s):  
Cloud Computing ◽  
Technology Acceptance ◽  
Industry 4.0 ◽  
Structural Equation ◽  
Industrial Revolution ◽  
Equation Model ◽  
Computing Industry ◽  
Global Economic Growth ◽  
Acceptance Model ◽  
Third Industrial Revolution

Small and medium-sized enterprises (SMEs) are commonly perceived as an essential part of boosting and stabilizing global economic growth. In 2018, SMEs recorded a 38.3% contribution to GDP of RM521.7 billion compared to RM491.2 billion in 2017. SMEs are expected to contribute 50% to Malaysia's GDP by 2030 relative to its present 38% contribution. However, in the context of Malaysia businesses, particularly small and medium-sized enterprises, are still not embracing the latest technology revolution sufficiently, as reported by the Ministry of International Trade and Industry (2018). Malaysia is currently in the third industrial revolution (automation), and some are still under the second industrial revolution. Such matter is worrying as only a few industries in Malaysia can adopt pillars of Industry 4.0, where business owners in Malaysia were still hesitant to embrace technologies such as the cloud. To bridge the gap in this analysis, this research adopted the technology acceptance model developed by Davis (1989) and Rogers' Diffusion Innovation Theory (1995), which incorporates the contexts of technology and innovation among SMEs in Malaysia. By using survey questionnaires, data was collected among manufacturing and services SMEs in Malaysia. Structural equation model employed to assess the important factors of innovation in adopting cloud computing among SMEs in Malaysia by using Smart-PLS. Keywords: Cloud computing, Industry 4.0, Innovation, Technological

Image in the Making

2021 ◽  
Author(s):  
Katherine Thomson-Jones
Keyword(s):  
Digital Technology ◽  
Digital Age ◽  
Digital Art ◽  
Digital Tools ◽  
Human Beings ◽  
Video Installation ◽  
Art Form ◽  
Fundamental Distinction ◽  
Net Art ◽  
Do So

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.

Improvements on the truth

2020 ◽  
Vol 8 (1) ◽  
pp. 63-83
Author(s):  
Damian Gascoigne
Keyword(s):  
New Media ◽  
Digital Technology ◽  
Digital Tools ◽  
Digital Animation ◽  
2D Animation ◽  
Analogue To Digital

My drawn animation practice has always focused on the gestural mark and messy materiality. This article is about what happened to that practice in the transition from analogue to digital animation, questioning what was lost forever and what might still be worth fighting for. This practitioner’s account of a ‘before digital, after digital’ career describes the experience of making work, as work itself changed forever. Ushered in with little reflection or resistance in the mid-1990s, the new digital doctrine slowly consumed hand-drawn 2D animation production to the point where few but the most determined independent makers keep this vital practice alive. My contention is that a reckoning on why and how we engage with digital technology is long overdue. The article will set out why – after working with digital tools for more than twenty years – I have now abandoned all but the most cursory engagement with new media tools and taken the long walk back to a material analogue practice. The ideas under discussion here can be traced back to one overriding concern – the unsolvable relationship between movement in drawing and drawing for movement. This dichotomy is unique to 2D animation, because freedom of gesture in drawing does not produce continuity of movement in animation. Mining this seam drives my independent animation practice as I try to reconcile the page and the frame.

The Impact of Regulatory Competition on Measures to Promote Pluralism and Cultural Diversity in the Audiovisual Sector

2007 ◽  
Vol 9 ◽  
pp. 239-259
Author(s):  
Thomas Gibbons
Keyword(s):  
New Media ◽  
Cultural Identity ◽  
Digital Technology ◽  
Cultural Policy ◽  
Global Market ◽  
Regulatory Competition ◽  
Market Place ◽  
Global Media ◽  
Satellite Broadcasting ◽  
The Impact

Communications are being transformed by the combination of digital technology and a global media economy. There is increased convergence between traditional broadcasting, cable distribution, satellite broadcasting, telecommunications and the Internet, which has boosted the sheer volume of programming and information that can be conveyed, and extended its reach at both domestic and international levels. Many will see these developments as an opportunity to promote new media products and to rationalise their operations in a global market place. Others may be concerned that the need to compete successfully in that market place will threaten the survival of local and national cultural identity. In terms of policy and regulation, states may be tempted to emphasise trade and industrial policy, intended to improve transnational competitiveness, at the expense of media and cultural policy, aimed at protecting pluralism and diversity.

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