The CryptoArt market is a new way for artists to distribute digital works to collectors: often digital images and video files. The blockchain technology provides secure ownership, traceability, artist commission on second market sales and a thriving market place, with platforms emerging quickly: Nifty Gateway, SuperRare, MakersPlace.. It’s a vibrant and welcoming community, a place to discuss the works with collectors, and it brings a lot of benefits that the Art market fails to provide.With no travel involved, and a mostly digital distribution, this new model looks like it has the potential to become a sustainable practice for artists. That’s until you understand the magnitude of the environmental impacts of the current blockchain: It is a DISAST
NFTs  are not just cat pictures that people trade on blockchains. Today digital art , collectibles , and in-game assets  are the most visible use cases for these nifty non-fungibles. But the market holds an inconspicuous secret: there is a staggering diversity of online digital content that can be placed on a blockchain in the form of NFTs.
The goal of Quality Magnet Coin QMC for short, is to build a large torrent magnet index that’s impossible to take offline, censor, or block.
The core idea is fairly straightforward. The application uses the blockchain to create a decentralized database of torrent magnet links which doesn’t rely on a hosting service or domain name, making it virtually impossible to take down
De muziekindustrie staat bekend als een harde wereld. Het is niet vanzelfsprekend dat je je brood kunt verdienen met muziek maken en helemaal niet voor jonge artiesten. De industrie wordt gekenmerkt door haar ingewikkelde, bureaucratische structuur. Een structuur waarin artiesten maanden moeten wachten op uitbetaling van royalty’s, waarin complexe contracten onvermijdelijk lijken en transparantie niet lijkt te bestaan. Dat moet toch anders? Volgens de initiatiefnemers van IBT Music kan dat. Teun van Eil, projectleider van het initiatief, legt uit hoe hun geautomatiseerde blockchain-systeem het verschil kan maken en transparantie brengt in de muziekindustrie.
It was just an idea posted in a random financial forum, but people saw the implications immediately. The Bitcoin-BCH financial network brings with it an uncensorable Twitter-like microblogging, called
Memo . Once somebody realized this can also be used for magnet links …
In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression.
Our CPDP 2018 blockchain and copyright panel with Ruslan Nurullaev (International Laboratory for Information Technology and Intellectual Property Law, Higher School of Economics), Primavera De Filippi (CNRS), Susana Nascimento (Joint Research Centre, European Commission), Guido Noto La Diega (Northumbria University), and Alexander Savelyev (Higher School of Economics) is online.
My slides are here:
On the 26 October 2017, the EUIPO brought together around 80 people to interact and discuss the implication of Blockchain technology on the world of intellectual property. Participants includes Blockchain experts, national IP offices, right holder representatives and representatives from civil society. The conference convered the basic concepts of the technology, the many aspects of interaction between the technology and intellectual property, 3 practical use cases and a look into the future.
Blockchain and IP: crystal ball-gazing or real opportunity?by Hiroshi Sheraton and Birgit Clark, Baker McKenzieHiroshi Sheraton and Birgit Clark of Baker McKenzie discuss how blockchain technology can be applied in the intellectual property sphere.
The Blockchain for Creative Industries cluster comprises staff from the Faculty of Arts and Creative Industries, as well as from Science and Technology. We explore the disruptive, and enabling potential of blockchain technology for music, photography, art, fashion, film, journalism and gaming. As well as high-quality research outputs, the cluster is committed to teaching at both undergraduate and postgraduate levels.
Areas of interest include new business and economic models; creative entrepreneurship and artistic identity; copyright; visual analytics; and digital forensics. As well as exploring the considerable potential for innovation, we also look at barriers to adoption and possible disadvantages of this new technology – one some have suggested could be as significant as the World Wide Web.
Members of the cluster have been interviewed on behalf of the French Intellectual Property Office, and have taken part in round-table events alongside representatives of the Department of Work & Pensions and the Government Office for Science.
Cluster members have spoken at events organised by Blockchain Storm and the Bitcoin and Blockchain Leadership Forum, and at festivals including the Great Escape and Wilderness. We have also spoken internationally, at events including Distributed: Music in Nashville, USA, and as part of Global Entrepreneurship Week in Bergen, Norway. Cluster members have been interviewed on the BBC and written articles for publications including the Guardian, the Conversation and Distributed magazine.
Our Music on the Blockchain report, published in 2016, received extensive media coverage from publications including Music Week, Music 4.5, International Business Times, Tech City News, Cryptocoin News, City A.M., Fortune magazine, Huffington Post and Record of the Day. The report was launched at Sonos Studios in London, with leading figures in academia and industry.
The cluster is part of the Open Music Initiative, alongside Berklee, MIT, Harvard and UCL.
- Blockchain for Creative Industries Cluster (2016), Music on the Blockchain: Blockchain For Creative Industries Research Cluster, Middlesex University
- O’Dair, M (2016). The networked record industry: How blockchain technology could transform the consumption and monetisation of recorded music. New Economic Models in the Digital Economy, March 2016.