Hi Edward
Don't know why I am *so* irritated by this event and the press that
surrounds it.
Oh hang on a minute... yes I do... complacent, stuck-up establishment
(including JJ on this occasion- who has had every opportunity to dig a
little deeper), closing ranks, using the organs of the media to shore up
their own interests by denying the possibility and existence of other
emerging cultures.
A very British style of suppression. This is a microcosm of culture in
the UK as we approach Brexit. The establishment feigns to be unable to
conceive of or discover, anything of value forming outwith their own
circles. Or what Beatriz Ramos from DadaNYC describes as a
reinforced-concrete bubble. She was there, and is eloquent in her
frustration https://steemit.com/art/@dadanyc/when-worlds-collide
And here is an example of an experimental artwork that points to the
deep tensions and poetics in the space that we might productively explore
Flower tokens by terra0 is project centered around the tokenization and
verification of natural commodities, and a first attempt at creating a
combined crypto-collectible physical asset. https://flowertokens.terra0.org/
Akk!
On 20/07/18 20:09, Edward Picot via NetBehaviour wrote:
A review of Christie's Art + Tech Summit: Exploring Blockchain
<https://christies.com/exhibitions/2018/art-and-tech-summit-exploring-blockchain#programmeinfo_Nav>,
which took place on Tuesday in London:
https://artreview.com/opinion/online_opinion_jj_charlesworth_art_market_blockchain_christies/?utm_source=ArtReview+newsletters&utm_campaign=e8f93e8858-EMAIL_CAMPAIGN_2018_03_22_COPY_01&utm_medium=email&utm_term=0_771b894a92-e8f93e8858-222819837&mc_cid=e8f93e8858&mc_eid=f30424ebd7
JJ Charlesworth is the same guy who wrote an article in ArtReview not
so long ago about Maecenas, the blockchain-based forum for selling
little bits of artwork online, which claims to 'democratise' the art
market. He's obviously interested in the intersection between art
markets, new technology, and the profit motive: 'But equally obvious
in the push for a more trustworthy art market is the keen desire to
make lots of money out of it. Inevitably, cryptocurrency approaches to
financialising the art market loomed large.'
Interesting and infuriating in just about equal measure.
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