what strikes me the most maybe is that blockchain allows a work of art not
to exist - it supports the non-existence of the art object. contrary to
what it's supposed to do, but maybe just as interesting.
in the history of art this might be a new thing, from the little i know.
not only that something either exists or not, which has always been some
sort of base binary thing, either or; but moving through the virtual, the
potential, the vast foam of quantum planck volumes, in and out of our sub-
and superdimensional reality of fake time and fake space -- that existence
as such is not at the base of reality, but can be seen more as an emergent
quality of something - a quality of existing. physics keep telling us that
existence is interaction - when there is no interaction existence cannot be
claimed and reality remains probabilistic and foggy, out of focus, out of
existence.

i'm thinking that existence might not be so important after all, it could
be more an attribute of an art object. you can have a consensus-proven
existence on the blockchain, which could free the art object from its
existential ruminations - it doesn't longer have to exist, existence is
taken care of by the blockchain as a form of interaction and consensus
reality.

an art object on the blockchain: The properties of the art work (what it
is) is detached from its objective status as a being in time (which is
taken care of by blockchain, a verifiable being@time). Perhaps this
being@time formulation detaches art from existence. Existence becomes a
category, a pure concept of understanding. Such a category is not a
classificatory division, as the word is commonly used but is instead the
condition of the (epistemic) possibility of objects in general – that is,
any and all objects, not specific objects in particular. So if our system
of abstraction includes ‘existence' as a possible and provable property or
category of objects, then existence isn't essential to them. In other
words, a being@time type of object makes existence a non-essential property
since existence is already part of its formulation. Or again, an
existential medium detaches its produce from existence, as for instance
life. As living beings, since we already exist we don't have to be attached
to existence, it rather frees us from it. Our obsession and attachment to
existence rather suggests our non-existence. The same for the symptomatic
amassing, collecting, etc, - it's rather based on scarcity.


my 2 cents of thoughts,
bjørn


On Tue, Oct 31, 2017 at 7:02 PM, Rob Myers <[email protected]> wrote:

> On Fri, 27 Oct 2017, at 08:13 PM, Pall Thayer via NetBehaviour wrote:
>
> This is a great read. Now I want someone to explain to me how a
> non-material (non-existent) work of art maintains its immateriality (its
> non-existence) despite a record in the blockchain.
>
>
> Immateriality and inexistence are different matters. :-)
>
> Registering something in the blockchain doesn't anchor its being or cause
> it to come into existence unless we agree it does or we have some way of
> evaluating that existence -
>
> http://robmyers.org/proof-of-existence/
>
> For entities we are claiming exist outside of the blockchain, the data
> that claims to register that existence is a proxy for them.  We cannot
> validate the correctness of that claim using the blockchain's consensus
> rules in the same way we can for a simple value transaction if we wish to
> validate the fact of the registered object's existence outside of the
> blockchain. Something about being outside the text. We can only validate
> that person X placed a record on the blockchain, and possibly that later
> they sent it to person Y.
>
> We use such proxies when buying and selling physical property such as cars
> or houses, or more pertinently when buying and selling conceptual art.
> Certificates of authenticity for conceptual art are even more material than
> blockchain records. But I feel they are still proxies for the work rather
> than being the work, although this may just be the conceptual art fan in me
> speaking.
>
> - Rob.
>
>
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