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Open art will bring about the opening of creators, markets and collectors.
Original title: “What is Open Art? 》
Written by: Nico Yang
Open art is a digital art that relies on technologies such as cryptography, distributed ledger, and distributed storage, and is characterized by openness in fields such as creation, circulation, and collection.
Compared with traditional physical artworks, open art has the advantages of clear property rights, traceability and strong circulation. In addition, by introducing more open value discovery mechanisms and interactive functions, Open Art has more potential collectors and a richer collection experience.
We will briefly describe our thinking on open art from three aspects: creation, market, and collection.
A bold vision: beyond art history
As a new art paradigm, one of the most basic concepts of open art is to think about art works from the perspective of development that breaks the art history.
The analytical thinking adopted by art history is to examine artworks from a developmental perspective based on the chronological relationship. Up to the present, this analysis has produced an obvious drawback-the art is dwarfed into the specimen and reference of the times. It has found the rationality of being respected for certain so-called “art works” that lack vitality, and prevents the public from evaluating works of art based on their own feelings.
In open art, all presuppositions that have nothing to do with the work itself are completely discarded. Tradition does not mean obsolescence, and modernity does not mean advanced. Any style is “rested” as a means of expression. Everything serves the content, serves the expression.
Similarly, in order to serve expression, the presentation of open art is free and diverse: it can be paintings, music, video, documents, or even a combination of various forms. All means of expression that can be digitized can be included in open art. In terms of themes, open art will also show a high degree of diversity and inclusiveness. It can be not only an electronic portrait placed in a rich man’s mansion, but also a popular video, a popular web post, and a picture. Fan works…
Based on this concept, the identity of the artist is also liberated. In open art, there is no pre-determined division between academic and popular groups, nor does it distinguish between mainstream culture and subculture. Professionals and amateurs, women and men, even humans and AI, all identity tags have been erased. The artist is integrated into a field by “creation and expression”, and everything is spoken by the work itself.
We especially want to emphasize the acceptance and tolerance of AI in open art. With the continuous advancement of technology, AI has now “invaded” the art circle, and the artistic creation of AI collaboration has also caused widespread controversy in the art world. We believe that this trend is inevitable and unstoppable. Therefore, instead of continuously magnifying its negative side, it is better to explain its positive side.
AI can realize the transformation of a work across styles and genres, and it can also create “pseudo works” based on the “learning” of a certain painter’s style… To a certain extent, AI realizes a time-oriented and time-oriented narrative aside from the development of art history. “Longitudinal opening” also further breaks the boundaries of artistic creation style and genre barriers, and realizes “horizontal opening”. For AI creation, we look forward to it and are happy to see it happen.
All in all, to the question of “what is art”, open art adopts an open answer in its creative concept. Open Art does not make any presuppositions for authors and works, but only asks for their originality. In the open art movement, creators lose only the shackles, and what they gain will be the whole world.
The opening of the art market
Thanks to the emergence of NFT technology in the blockchain field, open art can build a more open trading market than the traditional art field. If there is no solid property rights relationship, the circulation of an electronic artwork can only be accompanied by arbitrary copying and unstoppable devaluation; while the property rights of NFTs are firmly confirmed by the continuous and mechanical consensus generated by the distributed ledger technology Up. Based on this, the uniqueness of each open artwork can be established technically and become unbreakable, thereby laying the foundation for an open market.
Although technology has solved (or put on hold) many of the problems that originally existed in the transaction process, we still need a richer price discovery mechanism to complement it. The current modes of “limited multi-edition” and “sale by layer” are very good attempts. They make it possible for a work to be held by multiple people at the same time. We try to continue along these lines of thinking.
The two modes mentioned above are the limited segmentation of artworks based on entities (versions, layers, blocks), so can we go a step further and perform unlimited (a certain period of time) and abstract segmentation of artworks? In other words, we hope to find a series of more open price discovery mechanisms to allow more people to participate in the open art market.
In this regard, we have conceived three prototypes of art sales:
- Tim Chai
We will elaborate on the process and principles of these three mechanisms in the next article. Although they have their own characteristics, they all rely on the division of art equity, and their application scenarios are limited to the first time after the work is on the chain. Selling, and in the open art secondary market based on this, the gameplay will only be more diverse and interesting.
The opening of collectors
After realizing the creation and opening of the market, the openness of collection activities has a material prerequisite. Works circulate in the market in the form of a shareholding system, making it possible for a work to be held by multiple people at the same time. Based on the new “initial sale” method we envisioned, the threshold for collectors has also been greatly reduced. A person who does not have strong bidding ability in the traditional art market but has a great love for a certain work can still become a collector of open art.
In collecting activities, we need to find more ways for collectors to interact with works and discover more “non-property rights” to adapt to the changes in the “property rights” of artworks themselves. The old interactive mode relied on a certain part of the work (for example, showing the part that belongs to oneself-layer or version), and the premise of this kind of interaction no longer exists in open art. In other words, discovering new means of interacting with artworks is not only the pursuit of open art itself, but also the requirements of the new market and property rights model.
This new way of interaction, on the one hand, needs to give collectors a sense of belonging (the fun of collecting), on the other hand, it needs to be differentiated to match the difference in property rights, and at the same time, it must not destroy the integrity of the work itself. (Because the work is only divided abstractly).
We believe that “electronic inscriptions” and “electronic seals” based on the programmability of works are a good idea. The postscript seal is a unique way of interaction between collectors and collections in the Chinese cultural circle. The postscript refers to the comments and insights written by the collector (or a person designated by the collector) in the blank of the original work or on a separate sheet of paper. The seal is an artistic personal symbol of the collector, which is an extension of the content of the original work.
In our hypothesis, every collector has the “electronic inscription right” and the “electronic seal right,” but the presentation of these inscriptions and seals differs according to the ratio of the shares held by the collector.
These inscriptions, postscripts and seals from collectors will provide a visual presentation for the traceability and inheritance of the work, as shown in the Chinese tradition, and at the same time enrich the content of the work, and co-author in the form of “second creation”. The theme of open art. Accompanied by the inscription and postscript function, collectors also condense into small communities with the collection as the core—in other words, because an open artwork has the inscription post function, it has become a community in itself.
The further details that need to be discussed are: What form can the title post? How can a large number of “collection traces” from different sources be effectively combined with the original work to achieve a more effective final presentation? These still need us to do further thinking.
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