Arte y economía blockchain. Valor, financiarización y precariedad en la cultura digital

  1. Luis D. Rivero Moreno
Journal:
Accesos: prácticas artísticas y formas de conocimiento contemporáneas

ISSN: 2530-447X 2530-4488

Year of publication: 2023

Issue: 6

Pages: 58-69

Type: Article

More publications in: Accesos: prácticas artísticas y formas de conocimiento contemporáneas

Abstract

In the environment of a new post-fordist economy, cultural capitalism has found in the irruption of blockchain culture and the so-called cryptoart an im¬portant ally. The forerunners of this new artistic aspect pose the arrival of NFTs as a disruptive element, capable of solving the problems that digital art has had up to the present day. Meanwhile, critics claim that, in the blockchain environ¬ment, art would be little more than a mere feeding mechanism for the specu¬lative game of the post-capitalist financial economy. This text tries to address some of the springs that allow us to glimpse the causes of the strong irruption of the so-called crypto-art in the traditional art system and the art market. Ac¬cordingly, questions about the usefulness and value of art in digital culture, the role of art within the blockchain economy or the role of the art worker and his or her conditions in the new environment of production, distribution and sale of art will be addressed.

Bibliographic References

  • Abbing, H. (2008). Why are artists poor?: the exceptional economy of the arts. Amsterdam University Press.
  • Adam, M. G. (2014). Big bucks: The explosion of the art market in the 21st century. Ashgate.
  • Bardhi, F., y Eckhardt, G. M. (2017). Liquid consumption. Journal of Con¬sumer Research, 44(3), 582-597.
  • Baudrillard, J. (2004). The system of collecting. Material Culture: Critical Concepts in the Social Sciences, 1(1), 22.
  • Bogost, I. (2013). Hyperemployment or the Exhausting Work of the Tech¬nology User, The Atlantic.
  • Boltanski, L. y Chiapello, E. (2018). The new spirit of capitalism. Verso Books.
  • Bolter, J. D., MacIntyre, B., Gandy, M., y Schweitzer, P. (2006). New media and the permanent crisis of aura. Convergence, 12(1), 21-39.
  • Brea, J. L. (2008). El tercer umbral: Estatutos de las prácticas artísticas en la era del capitalismo cultural. Cendeac.
  • Comunian, R. y England, L. (2020). Creative and cultural work without filters: Covid-19 and exposed precarity in the creative economy. Cultural Trends, 29(2), 112-128. https://doi.org/10.1080/09548963.2020.1770577
  • Crary, J. (2013). 24/7: Late capitalism and the ends of sleep. Verso Books.
  • Cras, S. (2019). The Artist as Economist: Art and Capitalism in the 1960s. Yale UP.
  • Dal Dosso, S. (2021). Cats, Frogs and Cryptoartists: What if Auteur. jpgs Become a Luxury Good. https://networkcultures.org/long¬form/2021/03/11/cats-frogs-and-cryptoartists-what-if-auteur-jpgs-be¬come-a-luxury-good/
  • Davenport, T. H., y Beck, J. C. (2001). The attention economy. Ubiquity.
  • Debord, G. (1995). La sociedad del espectáculo. La marca.
  • Dibbell, J. (2007). Notes towards a Theory of Ludocapitalism. The iDC Archives.
  • Faustino, S., Fâria, I. y Marques, R. (2021). The myths and legends of King Satoshi and the knights of blockchain. Journal of Cultural Economy, 15(1), 67-80. https://doi.org/10.1080/17530350.2021.1921830
  • Feral File (2021). Artists + Collectors Rights. https://feralfile.com/docs/ terms-of-artist-collector
  • Florida, R. (2019). The rise of the creative class. Basic books.
  • Goldhaber, M. H. (1997). The attention economy and the net. First Monday.
  • Greenberg, J. (2014). «Metadata capital: Raising awareness, exploring a new concept». Bulletin of the Association for Information Science and Technology, 40(4), 30-33.
  • Han, B. C. (2015). The burnout society. Stanford University Press.
  • Hiscox (2014). The Hiscox Online art trade report 2014. London.
  • Hiscox (2021). The Hiscox Online art trade report 2021. London.
  • Horowitz, N. (2014). Art of the Deal. Princeton University Press.
  • Irani, L. (2015). The cultural work of microwork. New media & socie¬ty, 17(5), 720-739.
  • Juarez, G. (2021). The Ghostchain. The Crypto Syllabus. https://the-cryp¬to-syllabus.com/geraldine-juarez-on-nfts-ghosts/
  • Lotti, L. (2016). Contemporary art, capitalization and the blockchain: On the autonomy and automation of art’s value. Finance and Society, 2(96). https://doi.org/10.2218/finsoc.v2i2.1724.Morozov. E. (2022). The Costs of digital utopia. CCCB. https://lab.cccb.org/en/the-costs-of-digital-utopia/
  • Nadini, M., Alessandretti, L., Di Giacinto, F., Martino, M., Aiello, L. M., & Baronchelli, A. (2021). Mapping the NFT revolution: market trends, trade networks, and visual features. Scientific reports, 11(1), 1-11.
  • Pérez Ibáñez, M. y López-Aparicio, I. (2018). Actividad artística y precarie¬dad laboral en España: análisis a partir de un estudio global. Arte y Políti¬cas de Identidad, 19, 49–66. https://doi.org/10.6018/reapi.359771
  • Pérez-Ibáñez, M. y López-Aparicio, I. (2019). Mujeres artistas y precarie¬dad laboral en España. Análisis y comparativa a partir de un estudio glo¬bal. Arte, individuo y sociedad, 31(4), 897.
  • Pinto-Gutiérrez, C., Gaitán, S., Jaramillo, D.y Velasquez, S. (2022). The NFT Hype: What Draws Attention to Non-Fungible Tokens?. Mathema¬tics, 10(3), 335.
  • Pollack, B. (2000). Net scrapes: buying art online is easy, fun – and wide open to potential fraud. FORBES, 166(16), 186.
  • Powell, W. W., y Snellman, K. (2004). The knowledge economy. Annual re¬view of sociology, 199-220.
  • Prassl, J. (2018). Humans as a service: The promise and perils of work in the gig economy. Oxford University Press.
  • Quaranta, D. (2014). Saved by Copying. Web Collecting And the Preser¬vation of Digital Artworks. Possible Futures: Art, Museums and Digital Archives, 224-38.
  • Quaranta, D. (2021). Surfing with Satoshi. Art, blockchain and NFTs. Ak¬sioma.
  • Rinehart, R. (2002). Net.art auction on Ebay. Rhizome. https://rhizome. org/community/24066/
  • Rosler, M. (2010). Culture class: Art, creativity, urbanism, part I. e-flux journal, 21, 1-14.
  • Russell, F. (2022). NFTs and Value. M/C Journal, 25(2). https://doi. org/10.5204/mcj.2863
  • Smith, J. W. (2016). The Uber-all economy of the future. The Independent Review, 20(3) , 383-390.
  • Srnicek, N. (2017). Platform capitalism. John Wiley & Sons.
  • Van Doorn, N.y Badger, A. (2020). Platform capitalism’s hidden abode: producing data assets in the gig economy. Antipode, 52(5), 1475-1495.
  • Velthuis, O. (2005). Imaginary economics: Contemporary artists and the world of big money. NaiUitgevers Pub.
  • Velthuis, O. (2008). Imaginary currencies: contemporary art on the mar¬ket—critique confirmation, or play. En Sublime Economy (pp. 223-239). Routledge.
  • Velthuis, O. y Coslor, E. (2012). The financialization of art. The Oxford han¬dbook of the sociology of finance, 471-487.
  • Velthuis, O. (2013). Talking Prices. Symbolic meanings of Prices on the Market for Contemporary Art. Princeton UniversityPress.
  • Woodcock, J. y Johnson, M. R. (2018). Gamification: What it is, and how to fight it. The Sociological Review, 66(3), 542-558.
  • Waelder, P. (2013). Coleccionar intangibles: estrategias de venta de obras de net art. Artnodes, (13).
  • Yeung, K. (2017). ‘Hypernudge’: Big Data as a mode of regulation by de¬sign. Information, Communication & Society, 20(1), 118-136.
  • Zafra, R. (2017). El entusiasmo. Precariedad y trabajo creativo en la era digital. Anagrama.
  • Zafra, R. (2021). Frágiles. Cartas sobre la ansiedad y la esperanza en la nueva cultura. Anagrama.
  • Zeilinger, M. (2018). Digital art as ‘monetised graphics’: Enforcing intellec¬tual property on the blockchain. Philosophy & Technology, 31(1), 15-41.