Hi Rachel, It's good to read this article again. It feels grounded these days compared to how things have blown lately.
I think this paragraph of yours resonates even more at the moment. "This shift from commodity to financial instrument also implies a different economic relationship to the artwork, where the certificate of ownership and authenticity, rather than the formal manifestation of the work itself, are what is most significant. The idea that economic value resides in a certificate of authenticity as opposed to in an artistic image, performance or experience chimes with the marketing of much conceptual and experiential art. While researching the connections between economic value and acts of authentication and signification, artist Sam Keogh points me towards a legal discussion of the value of a Dan Flavin, a conceptual artist known for this fluorescent light tube sculptures. A buyer who has lost the certificate of authenticity wants to know what her Flavin is now “worth”. Nothing it turns out; she lost the right to call her light bulb a Flavin, or crucially to resell it as such, when she lost the certificate of authenticity." Wishing you well. Marc On Fri, 12 Mar 2021 at 16:57, Rachel O' Dwyer <[email protected]> wrote: > > > I haven’t followed the latest surge in NFTs as much as I’d like, but I > wrote this, among other things, on cryptokitties, NFTs and art as a > derivative > https://circaartmagazine.net/a-celestial-cyberdimension-art-tokens-and-the-artwork-as-derivative/ > > > > I’m interested in why now though, beyond growing the speculation in > crypto. > > the past five years has seen a huge rise in art as an asset class and art > is seen as a good hedge against market volatility. Tokens create situations > where these art investments have greater liquidity. > > But I'm interested in why everyday users are interested in NFTs. Is it > pure desperation and precarity - you're in debt, you probably won't own a > house so why not make a bet and invest in a token that might win big. Finn > Brunton and I were talking about this last week for an upcoming issue of > Neural. > > > On Fri, Mar 12, 2021 at 4:18 PM patrice riemens <[email protected]> wrote: > >> Aloha, >> >> Let me say that First Dog on the Moon has, not for te first time, the >> definitive, if not answer, then at last commentary on the issue: >> >> >> https://www.theguardian.com/commentisfree/2021/mar/12/cryptoart-what-is-it-and-can-you-eat-it >> >> Enjoy! >> have a nice day and don't become fungible! >> p+7D! >> >> ps: ALL FDotMoon cartoons (& merchandise too! ;-) on the website: >> >> https://firstdogonthemoon.com.au/ >> >> (It's Australian, oeuf corse ...) >> >> Op 11-03-2021 18:19 schreef Brian Holmes <[email protected]>: >> >> >> I can't answer the second question, but as to the first I believe that >> there are three distinct forms of money that currently operate in a >> hierarchy: >> >> -- Infinite money which is produced and deregulated in the financial >> markets through the manipulation of information >> >> -- Institutional money which is produced and regulated within national >> frames by governments seeking to stabilize social reproduction >> >> -- Sweat money which is produced on the ground through the exploitation >> of labor paid at the bear minimum of survivability >> >> The last form of money is the most extensive one, it's the most common >> coin, the basis of most livelihoods on earth. Institutional money, however, >> has been carefully decoupled from sweat money; and infinite money has been >> decoupled from institutional money in its turn. Institutional money began >> to be produced through Keynesian management of national economies from the >> 30s onward, it's inseparable from social democracy. Infinite money started >> up after the postwar gold standard was abandoned in 1971, and became what >> it is today with the introduction of computerized trading. >> >> What does infinite money mean to its owners? Financial capital is power >> when it is applied to institutions or labor processes. However it can also >> be used for status displays, what Veblen called "conspicuous consumption." >> So you have to bring art back in. For better and mostly worse, "high" >> culture remains the noisy ghost at the top of the capitalist pyramid. >> >> best, Brian >> >> On Thu, Mar 11, 2021 at 10:47 AM Felix Stalder <[email protected]> >> wrote: >> >> I'm sure many have followed the NFT art saga over the last couple of >> months and seen today's headline that somebody just paid $ 69,346,250 >> for a NFT on a blockchain, meta-data to claim ownership of the >> "originalcopy" of a digital art work. >> >> >> https://onlineonly.christies.com/s/first-open-beeple/beeple-b-1981-1/112924 >> >> I don't want to start a discussion on the revolutionary vs reactionary >> character of this emerging art market. All of that has already been >> said. If you want a close approximation of my perspective, I refer you >> to this: >> >> >> https://everestpipkin.medium.com/but-the-environmental-issues-with-cryptoart-1128ef72e6a3 >> >> What I'm more interested in here is to ask two things. >> >> What -- after a decade of quantitative easing and crypto-currencies >> rising into the stratosphere -- monetary value is indicating for the >> segment that profited the most from these developments and what does >> that mean for the rest of us? >> >> And, assuming that this is not a cartoon version of a potlatch where >> wasting resources serves to put rivals to shame, how many different >> scams -- money laundering would be an obvious contender -- are being >> layered on top of one other to create this? >> >> Quite puzzled. Felix >> >> >> >> >> >> >> >> >> >> -- >> | |||||||||||||||||| http://felix.openflows.com | >> | Open PGP | http://felix.openflows.com/pgp.txt | >> >> # distributed via <nettime>: no commercial use without permission >> # <nettime> is a moderated mailing list for net criticism, >> # collaborative text filtering and cultural politics of the nets >> # more info: http://mx.kein.org/mailman/listinfo/nettime-l >> # archive: http://www.nettime.org contact: [email protected] >> # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: >> >> # distributed via <nettime>: no commercial use without permission >> # <nettime> is a moderated mailing list for net criticism, >> # collaborative text filtering and cultural politics of the nets >> # more info: http://mx.kein.org/mailman/listinfo/nettime-l >> # archive: http://www.nettime.org contact: [email protected] >> # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: >> >> # distributed via <nettime>: no commercial use without permission >> # <nettime> is a moderated mailing list for net criticism, >> # collaborative text filtering and cultural politics of the nets >> # more info: http://mx.kein.org/mailman/listinfo/nettime-l >> # archive: http://www.nettime.org contact: [email protected] >> # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: > > > > -- > http://www.rachelodwyer.com/ > > +353 (85) 7023779 > # distributed via <nettime>: no commercial use without permission > # <nettime> is a moderated mailing list for net criticism, > # collaborative text filtering and cultural politics of the nets > # more info: http://mx.kein.org/mailman/listinfo/nettime-l > # archive: http://www.nettime.org contact: [email protected] > # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: -- Wishing you well Marc ------------------------------------------------------- Dr Marc Garrett Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts Lab Furtherfield disrupts & democratises art and technology through exhibitions, labs & debate, for deep exploration, open tools & free thinking. http://www.furtherfield.org DECAL Decentralised Arts Lab is an arts, blockchain & web 3.0 technologies research hub for fairer, more dynamic & connected cultural ecologies & economies now. http://decal.is/ Recent publications: State Machines: Reflections & Actions at the Edge of Digital Citizenship, Finance, & Art. Edited by Yiannis Colakides, Marc Garrett, Inte Gloerich. Institute of Network Cultures, Amsterdam 2019 http://bit.do/eQgg3 Artists Re:thinking the Blockchain. Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner. Liverpool Press - http://bit.ly/2x8XlMK
# distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mx.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: [email protected] # @nettime_bot tweets mail w/ sender unless #ANON is in Subject:
