NFT加密艺术是什么意思？

艺术家CryptoZR从技术层面做出了她的解释：“加密艺术的核心是使用区块链本质的特性来创造的艺术作品，至少有三类：第一类是NFT，例如《红与蓝》;第二类是基于智能合约技术创作的艺术作品，例如《小目标》;第三类是使用区块链底层协议的系统类艺术作品，例如《TopBidder》。”

Artist CryptoZR explained her technically: “The core of the encryption art of has at least three types: the first category is NFT, such as Red and Blue; the second category is artistic works based on smart contract technology, such as Small Goals; and the third category is systematic art based on the bottom of the block chain agreements, such as TopBidder.”

区块链创业者、《纽约时报》创始人杰森·贝利(Jason Bailey)的定义更狭义，他认为“加密艺术是与区块链上的非同质化代币关联的数字艺术。” 策展人李振华提供了艺术史视阈下解读CryptoZR加密艺术作品的两条重要线索：一条是“基于电、电视、计算机发明以来的新媒体艺术”的迭代;另一条是“观念艺术的线索”。 实际上，许多其他加密艺术作品也都凝结了上述两条线索上的血脉。其中包括今年3月美国艺术家Beeple(迈克·温克尔曼)耗费5000多天、每天创作一件图像NFT，从而形成的巨型数码拼贴画《每一天：前5000天》，它以近6900万美元在佳士得成交，创造了全球在世艺术家作品拍卖的第三高价。

The founder of the block chain, Jason Bailey, has a narrower definition, arguing that “encryption art is digital art associated with the non-symmetry of the tokens on the block chain.” She provides two important clues for interpreting CryptoZR's encrypted art work at an art history threshold: “New media art based on electricity, television, and computer invention”; and “Ideal art clues.” In fact, many other encrypted art works have also condensed the bloodlines of these two clues.

Beeple也曾在卓纳画廊的音频节目中谈及过数字艺术创作的初衷和痛点，他的观察可以帮助我们更好地辨析当下热议的加密艺术与数字场景、数字插画。他谈道：在NFT爆火之前，数字艺术家只能通过游戏公司、影视公司、广告公司的临时工作来维生;除了这些商业项目以外，他们其实也会做更艺术、更私人的作品。他们的商业成果一直被展示和观看，而讽刺的是，他们的艺术作品却很难被收藏，以至于这些艺术家的名字鲜为人知。

Beaple also spoke of the original intent and pain of digital art creation in his audio programme at the Drona Gallery, and his observations could help us better to identify the encoded art and digital scenes and digital illustrations that are now under discussion. He said: until NFT explodes, digital artists can only survive through temporary work by game companies, film companies, advertising companies; in addition to these commercial projects, they actually do more artistic and personal works. Their business work has been shown and watched, and ironically, their works are difficult to collect, so that their names are not known.

当前被在市场上交易最频繁的加密艺术是NFT，每一个NFT代币都是独特的数字资产，其所有权通过区块链技术进行管理和认证。没有两个NFT是相同的，并且它不能被拆分，这一点与传统艺术收藏品有异曲同工之妙。但二者在价格认定、交易、保管、展示等方面又大相径庭:

The encryption art most frequently traded in the market today is NFT, each of which is a unique digital asset whose ownership is managed and certified through block chain technology. No two NFTs are the same, and it cannot be divided, which is very different from the traditional art collection.

价格。在传统艺术市场中，决定作品价格的核心因素包括真伪、保存状况、来源、尺幅等指标。对于加密艺术来说，这些似乎都不再是问题。因为它具有确真性、去物质性，并且尺寸可变。而这也意味着加密的交易更加依赖作品的独创性、稀缺性，以及市场的价值共识，换句话说，更听从供求关系的基本法则。

In the traditional art market, the core factors that determine the price of a work include indicators of authenticity, preservation status, source, scale, etc. None of these seem to be a problem for encryption. It is true, material, and variable in size.

交易。如今较为活跃的加密艺术交易平台包括 OpenSea、Nifty Gateway、MakersPlace、SuperRare等。当被问到“如何购买加密艺术”时，李振华指出“关键是对代币系统的理解和使用，如冷热钱包的概念”。加密艺术交易的另一个突出特点是市场透明度，买方可以看到每个过往买家和投标者的历史，他们付出了什么价格，以及任何数字商品的当下市场状况。

When asked, “How to buy encryption art”, Li Zhenhua points out that “the key is the understanding and use of the money system, such as the concept of cold and hot wallets.” Another prominent feature of encryption art transactions is market transparency, where buyers can see the history of every past buyer and bidder, what price they pay, and the current market situation of any digital commodity.

管理。与油画、摄影、装置、雕塑相比，加密艺术的管理成本要节制得多。藏家既不需要租仓库、买保险、也不需要联络运输、修复，只要记住区块链钱包的账号和密码就够了。当然，更具“人性”的工作，如藏品体系的建立和规划，依旧需要由人决定。

Management. The management costs of encrypting art are much more modest than those of paintings, photography, devices, and sculptures.

展示。在传统的艺术收藏中，藏家对藏品的专属特权集中体现在支配权上：藏家既可以独自欣赏，也可以选择在自己的生活空间或美术馆、博物馆展示。而在加密艺术的世界里，通常一件作品被交易以后，其他人依旧可以在交易平台或其他网页看到同样的东西。一方面，私人藏家把作品“锁”起来的特权消失了。另一方面，传统私人收藏展示所自带的社交属性，也转变为线上的新方式。

In traditional art collections, Tibetans’ exclusive prerogatives to the collection are concentrated in power: Tibetans can either enjoy it alone or choose to display it in their own living spaces or art galleries or museums. In a world of encryption, when a work is traded, others can still see the same thing on a trading platform or on other web pages. On the one hand, the privilege of private collectors to “lock” their work disappears. On the other hand, traditional private collections display their own social attributes and turn into new online ways.

赞助。区块链不仅成就了数字艺术被收藏的可能性，也强化了艺术家的激励机制。从藏家的角度来说，收藏加密艺术既是财富储值的一种方式，也是对艺术家、艺术文化发展更直接的赞助。因为藏家可以直接从艺术家手上购买作品，且此后作品的每一次交易都会为艺术家带来收入。

From a collector’s point of view, the collection of encrypt art is both a way of storing wealth and a more direct support for artists and artistic and cultural development. Because Tibetans can buy their works directly from artists, and every subsequent transaction will generate income for artists.

目前欧洲有“艺术家转售权”机制，授予艺术家或其继承人收取艺术品转售抽成费用的权利。但在世界上大部分其他地方，艺术家无权控制后续销售或从中获利。加密艺术允许通过智能合约将特许权使用费编程，每次售出作品时，艺术家都可以从中赚取一部分收入。每当博雅特的《沉思的红色小丑》从一个艺术收藏家转手到另一个艺术收藏家时，他可以继续抽成5%。

But in most other parts of the world, artists do not have the right to control subsequent sales or profit from them. Encryption allows royalties to be programmed through smart contracts, from which artists can earn a share of each time they sell their work.

注册有任何问题请添加 微信：MVIP619 拉你进入群

文章转载注明 网址：https://netpsp.com/?id=69912