It is not uncommon for technological innovations to be touted as disruptive. Without a doubt, this also applies to blockchain technologies, which burst onto the digital landscape and into the public imagination more than a decade ago with the emergence of Bitcoin and other cryptocurrencies. But what exactly do blockchains disrupt, and what positive impacts of this disruption can be felt in the arts?
In a nutshell, a blockchain is a hyper-secure digital ledger – a constantly updated and verified chain of interlinked digital data points. The ledger is decentralised across a large number of independent computer nodes, and is set up in such a way that we can be sure of its integrity without having to rely on third party intermediaries to ascertain the correctness of the data. Blockchains are therefore ideally suited for facilitating secure data transactions between individuals, without any need for trustworthy third parties.
Based on these characteristics, it is no surprise that so far, mainstream blockchain applications have primarily taken the form of cryptocurrencies. In this form, blockchain technologies are poised to disrupt established financial services and industries, often with promises that they will ‘democratise’ and ‘decentralise’ existing market structures and business models. In arts contexts, this can have positive effects on creative practitioners, who can now use blockchain technologies for monetising their work without having to rely on traditional trust intermediaries, such as auction houses or gallerists.
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This development relies on two key features of blockchains. The first is that the technology can render digital artefacts as uniquely identifiable in the form of non-fungible tokens (NFTs). This makes it much easier to buy, sell, and collect digital artworks which, until a few years ago, were considered to be poorly suited for the art market because they were so easy to copy and share.
Where traditional artists may have had to rely on the goodwill of gallerists or art institutions, digital artists can now sell their work without the need for such intermediaries.
Where traditional artists may have had to rely on the goodwill of gallerists or art institutions, digital artists can now sell their work without the need for such intermediaries. Connected to this, the second blockchain feature with disruptive potential for the arts is the ability to connect blockchain data with so-called smart contracts. This term refers to algorithmic protocols that can enforce, more or less autonomously, predetermined behaviours. For example, each time an NFT-based artwork is resold online, a smart contract could trigger a simple rule whereby a fixed percentage of the sales price is automatically transferred to the original artist.
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In the UK and many other jurisdictions, all artists are entitled to a royalty every time their work is resold – but the enforcement of this right is notoriously difficult. In theory, this problem can be easily fixed by tying digital artworks to NFTs and encoding them with smart contract-enabled behaviours that enforce resale rights.
As so often, there is a quickly widening gap between the utopian potentials of emerging technologies, and the ways in which they are actually implemented. Currently, several of the largest NFT marketplaces are removing royalty payments from their platforms, suggesting that the world of digital art is perhaps not so different from the “trad” (traditional) art world after all.
Many art critics and technologists nevertheless agree that the disruptions effected by blockchain technology – in particular, the ability for artists to directly control the monetisation and circulation of their work – is revolutionary, and produces life-changing opportunities for artists, on a scale never seen before.
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Dr Martin Zeilinger is Senior Lecturer in the Division of Games and Arts at Abertay University, and was recipient of the 2022 Research Network Grant
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Street art is visual art created in public locations for public visibility. It has be associated with the terms "indepdt art, " "post-graffiti", "neo-graffiti" and guerrilla art.
Street art has evolved from the early forms of defiant graffiti into a more commercial form of art, as one of the main differces now lies with the messaging. Street art is oft meant to provoke thought rather than rejection among the geral audice through making its purpose more evidt than that of graffiti. The issue of permission has also come at the heart of street art, as graffiti is usually done illegally, whereas street art can nowadays be the product of an agreemt or ev sometimes a commission. However, it remains differt from traditional art exposed in public spaces by its explicit use of said space in the conception phase.
Street art is a form of artwork that is displayed in public on surrounding buildings, on streets, trains and other publicly viewed surfaces. Many instances come in the form of guerrilla art, which is intded to make a personal statemt about the society that the artist lives within. The work has moved from the beginnings of graffiti and vandalism to new modes where artists work to bring messages, or just beauty, to an audice.
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Whereas other artists use urban space as an opportunity to display personal artwork. Artists may also appreciate the challges and risks that are associated with installing illicit artwork in public places. A common motive is that creating art in a format that utilizes public space allows artists who may otherwise feel disfranchised to reach a much broader audice than other styles or galleries would allow.
Whereas traditional graffiti artists have primarily used spray paint to produce their work, "street art" can compass other media, such as LED art, mosaic tiling, stcil art, sticker art, reverse graffiti, "Lock On" sculptures, wheatpasting, woodblocking, yarn bombing and rock balancing.
New media forms such as video projections onto large city buildings are an increasingly popular tool for street artists—and the availability of cheap hardware and software allows such artwork to become competitive with corporate advertisemts. Artists are thus able to create art from their personal computers for free, which competes with companies' profits.
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Slogans of protest and political or social commtary graffiti on walls are the precursor to modern graffiti and street art, and continue as one aspect of the gre. Street art in the form of text or simple iconic graphics of corporate icons can become well-known yet igmatic symbols of an area or an era.
Some credit the Kilroy Was Here graffiti of the World War II era as one such early example; a simple line-drawing of a long-nosed man peering from behind a ledge. Author Charles Panati indirectly touched upon the geral appeal of street art in his description of the "Kilroy" graffiti as "outrageous not for what it said, but where it turned up".
Much of what can now be defined as modern street art has well-documted origins dating from New York City's graffiti boom, with its infancy in the 1960s, maturation in the 1970s, and peaking with the spray-painted full-car subway train murals of the 1980s ctered in the Bronx.
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As the 1980s progressed, a shift occurred from text-based works of early in the decade to visually conceptual street art such as Hambleton's shadow figures.
This period coincides with Keith Haring's subway advertisemt subversions and Jean-Michel Basquiat's SAMO tags. What is now recognized as "street art" had yet to become a realistic career consideration, and offshoots such as stcil graffiti were in their infancy. Wheatpasted poster art used to promote bands and the clubs where they performed evolved into actual artwork or copy-art and became a common sight during the 1980s in cities worldwide.
Punk rock music's subversive ideologies were also instrumtal to street art's evolution as an art form during the 1980s. Some of the anti-museum mtality can be attributed to the ideology of Marinetti who in 1909 wrote the "Manifesto of Futurism" with a quote that reads, "we will destroy all the museums."
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The northwest wall of the intersection at Houston Street and the Bowery in New York
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