Seems to me less about scarcity than perversity.

This may be worth a read:
https://www.theregister.com/2022/04/16/something_for_the_weekend/?utm_medium=share&utm_content=article

B

B



On Mon, 9 May 2022 at 17:45, Brian Holmes <bhcontinentaldr...@gmail.com>
wrote:

> "Why do the visual arts seem to have acquired such a central role in the
> crypto economy?"
>
> Could it be that impenetrable financial technology needs an artistic
> fetish to conquer even more territory? Thus digital art, after playing with
> direct democracy for a few decades, has now returned to the time-honored
> role of decorator for the elites.
>
> In case it's not obvious to everyone, "verifiable digital scarcity" is the
> exact opposite of what tactical media set out to do. Hopefully all the
> get-rich-quick NFT-minters are going to set up commons-based infrastructure
> with their haul, I can respect that and will support it when the pump and
> dump is over.
>
> best, BH
>
> On Mon, May 9, 2022 at 8:08 AM Marcela Okretič <marc...@aksioma.org>
> wrote:
>
>> Dear friends,
>>
>>
>>
>> we are very happy to announce the launch of the English translation of 
>> Domenico
>> Quaranta's book:
>>
>>
>>
>> *Surfing with Satoshi*
>>
>> *Art, Blockchain and NFTs*
>>
>> aksioma.org/surfing.with.satoshi
>> <http://www.aksioma.org/surfing.with.satoshi>
>>
>>
>>
>> Release date: 25 May 2022
>>
>>
>>
>> *PREVIEW <https://aksioma.org/pdf/SurfingWithSatoshi_excerpt.pdf>*
>>
>>
>>
>> Limited edition of 300 copies
>>
>> *PREORDER **HERE <https://form.jotform.com/211172647049354>! *
>>
>> *Free shipping for pre-orders until 25 May 2022*
>>
>>
>>
>>
>>
>> The craze for Non-Fungible Tokens (NFTs) that erupted in early 2021
>> thrust the art world into the debate on the blockchain, the
>> decentralised public ledger that holds these tokens, as well as
>> cryptocurrencies, and promises to make “verifiable digital scarcity” a
>> reality. Born out of the 2008 financial crisis and seen by many as the
>> cornerstone of a new, more private, more secure Web3, the blockchain has
>> changed the global economy and is now reshaping the digital environment in
>> which art is increasingly being created, distributed and exchanged.
>>
>>
>>
>> Written by art critic and curator *Domenico Quaranta* amidst an
>> explosion of technological hype and a speculative frenzy, and originally
>> published in Italian by Postmedia Books, *Surfing with Satoshi *sets the
>> promise of the NFT market in a historical context, investigating the
>> technologies it is based on, the role of certificates and contracts in
>> contemporary art, and the evolution of the media art market over the last
>> thirty years.
>>
>>
>>
>> Riding the wave of the ongoing debate, the book tackles a series of as
>> yet open questions, including:
>>
>>
>>    - What does art have to do with the blockchain?
>>    - Does it make sense to talk about “Crypto Art”, and if so what can
>>    be said to define it, apart from the way it is traded?
>>    - Is speculation the be-all and end-all of this trend?
>>    - How on earth can an infinitely reproducible digital file be deemed
>>    “unique”?
>>    - Will the blockchain’s promise of disintermediation destroy the art
>>    world as we know it?
>>    - How is the art world reacting to the situation?
>>    - Are NFTs an opportunity for artists or a scam perpetrated against
>>    them?
>>    - Who are the collectors willing to pay millions for a certificate of
>>    authenticity? Why are they doing it?
>>    - Why do the visual arts seem to have acquired such a central role in
>>    the crypto economy?
>>
>>
>>
>>
>>
>> Author: Domenico Quaranta
>>
>> Editor: Janez Fakin Janša
>>
>> Translator: Anna Carruthers
>>
>> Design and layout: Federico Antonini, Alessio D'Ellena
>>
>> Format: 10.5 x 16.7 cm
>>
>> Pages: 376
>>
>> Colour and B/W images
>>
>> Language: EN
>>
>>
>>
>> ISBN: 978-961-7173-12-3
>>
>>
>>
>>
>>
>> *Published by:*
>>
>> Aksioma – Institute for Contemporary Art, Ljubljana
>>
>> Represented by: Marcela Okretič
>>
>> www.aksioma.org
>>
>> aksi...@aksioma.org
>>
>>
>>
>>
>>
>> *Supported by:*
>>
>> The Ministry of Culture of the Republic of Slovenia, the City of Ljubljana
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-- 
Bronaċ
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