France’s top modern art museum to display CryptoPunks, Autoglyphs NFTs

February 11, 2023 Coin Telegraph

Art

A new exhibition targeting the intersection of art and blockchain will open this spring at the Centre Pompidou, home of the first collection of modern art in Europe.

Paris's leading contemporary art museum, the Centre Pompidou announced on Feb. 10 an upcoming permanent exhibition targeting the intersection between art and the blockchain represented by nonfungible tokens (NFTs).

According to an announcement on Feb. 10, the Centre will feature NFTs from over 16 digital artists around the world, including popular collectables such as CryptoPunk #110 and Autoglyph #25, both donated to the Centre Pompidou.

Le Centre Pompidou fait l’acquisition d’un ensemble d’œuvres traitant des relations entre blockchain et création artistique, dont ses premiers NFT !
Ce sont 18 projets de 13 artistes français et internationaux qui entrent en collection.
Plus d'infos https://t.co/PXL4O2E9vh pic.twitter.com/sNI7EYtK5E
— Centre Pompidou (@CentrePompidou) February 10, 2023

Xavier Rey, director of the French National Museum of Modern Art, noted in a statement that the Centre Pompidou is "pursuing its interest in digital art, in connection with the blockchain." According to Rey:

"Web3 is an innovative territory that artists have now seized upon to create original and daring work, and this collection reaffirms our support for artists in their conquest of new means of expression, which is the foundation of modern art."

The exhibition - scheduled for this spring - marks NFT's first display at the internationally renowned Centre Pompidou, home to other artists' masterpieces such as Vassily Kandinsky, Frida Kahlo and Henri Matisse.

We are honored to announce that Autoglyph #25 (donated by us), and Cryptopunk #110 (generously donated by our friends at @yugalabs) have been acquired by @CentrePompidou for their permanent collection. pic.twitter.com/q8URwLHbTR
— Larva Labs (@larvalabs) February 10, 2023

NFT creator Yuga Labs, which owns the intellectual property (IP) of the CryptoPunks since March 2022, said the initiative is part of a legacy project that donates Punks to leading art institutions worldwide. The company already donated CryptoPunk #305 to the Institute of Contemporary Art, Miami.

"Seeing CryptoPunk #110 displayed in the Centre Pompidou, arguably the world's most prestigious contemporary art museum, is a great moment for the web3 and NFT ecosystem, and we're honored to help drive this cultural conversation," commented Yuga Labs co-founder Greg Solano.

NFTs are digital objects that hold features such as uniqueness and non-interchangeability, verifiable on the blockchain. Based on distributed ledger technology, NFTs can serve as a method of authentication for buyers of unique items, proving aspects such as ownership. Most notably, they appear in art, music, as well as in blockchain-based video games.

Preserving and reinventing music festival legacy in the metaverse

February 2, 2023 Coin Telegraph

Art

The metaverse has been used as a means of cultural preservation in the past. Now, the legacy music festival Woodstock is using digital reality to preserve its legacy and reinvent its future.

The metaverse is becoming a destination for more brands, companies and communities to connect. A study from December 2022 revealed that 69% of users believe metaverse entertainment will reshape social life.

Recently, the legacy music and arts festival Woodstock, known for being the most famous of the 1960s rock festivals, announced that it would reinvent itself as a digital world in collaboration with metaverse developers Sequin AR.

Festivals in the metaverse are not a new thing. As digital life has been becoming more prominent over the years, we’ve seen virtual PRIDE parades, cultural events specific to countries and metaverse fashion week.

In the case of Woodstock building its own virtual space, a physical festival’s immense legacy is being both preserved and reinvented for new generations. Cointelegraph spoke with the Woodstock team and Robert DeFranco, the CEO of Sequin AR, to understand how legacy events navigate a digital rebirth.

Jennifer Roberts, a partner at Woodstock Ventures, recalled how the original festival in 1969 “defied so many expectations” as it brought together half a million people around peace, music and art. Now the metaverse allows for a truly global audience to experience the festivals’ legacy.

“We think that today’s Woodstock Generation isn’t united by when they were born but by a shared value system of peace, creativity and compassion. ”

Roberts called the metaverse a “democratizing experience” where, despite physical circumstances, people can come together to celebrate what they believe in.

Connectivity is a big motivator for brands and companies to enter the metaverse. With over 90% of consumers curious about the metaverse, the opportunities to create connections on a global scale are only increasing.

However, just as in real life, throwing an iconic festival for thousands of people is a big task with many considerations.

DeFranco said the goal of such initiatives is not to replace, but complement what is available in physical reality and the legacy of an event.

“There’s nothing like being at a live show. The intent is to have a community to engage in and an experience you enjoy when you can’t be at a live show.”

Roberts said when preparing to create this digital compliment, the anticipation of new needs for artists, audiences and even music genres is a new challenge. She also said leaving room for serendipity in the process is not to be overlooked.

“The magic of the original festival was something that resulted from the alchemy of bringing different elements together. We have faith that will happen here too, albeit in ways we can’t predict.”

From indie artists to iconic pop stars, the music industry has been very active in its adoption of Web3 technologies.

Major labels like Warner Music have been particularly active in bringing performances into digital reality, particularly after its announcement of its own music-centered Web3 platform it is creating with Polygon.

Roberts said however, when it comes to legacy it's not just about keeping the past alive but looking towards the future.

“It’s not about enshrining the past, but rather a way to involve new audiences and write the next chapters of history.”

Over the next seven years, the metaverse is expected to create a market valuation of $5 trillion according to recent reports.

Web3 can help artists and companies manage music metadata: B2B music exec

January 13, 2023 Coin Telegraph

Art

Web3 features such as NFTs and blockchain-based systemization offer clarity and a new sense of accessibility to managing music metadata.

The music industry has not shied away from its keenness on adopting Web3 solutions. From nonfungible tokens (NFTs) helping artists connect with their communities to blockchain being used for various use cases including event ticketing.

Another relevant implementation of the technology to be considered by industry insiders is how Web3 tools can help artists and companies manage music metadata.

Cointelegraph spoke with Con Raso, the managing director of B2B music streaming technology provider Tuned Global, to better understand this use case.

In the current Web2 music industry, numerous organizations are dedicated to the management of music metadata, along with its licensing. Though with Web3 developments like NFTs, which can identify each individual usage via blockchain, data management questions come into play.

Raso elaborated that metadata is currently delivered by a major label through the industry standard Digital Data Exchange (DDEX). This can create XML files of more than 200MB, which contain information on contributors, artists, commercial and territorial rights and more.

The creation of “full-length” NFTs, for more than just personal use, is underway. This allows them to contain metadata to be available for use and access also on Web2 platforms.

“Almost all NFTs created today are only for personal use, unable to be exploited as streaming assets. [Full-length NFTs] provide greater clarity and control for artists in how they manage their works.”

However, Raso says Web3 formats are still in their infancy. Though inevitably, this new technology questions old systems and creates space for the development of new ones.

Another example of a new system is a blockchain-based standard in which all parties involved in the creation and licensing would be presented with a single view of a recording or works.

This could help perpetuate effective payments or reporting of metadata usage. According to the managing director, it will be a slow-rolling adoption of the innovation but can pick up steam from the fringes of the industry first.

“Indies play a huge role in this execution as they often (not always) have full control of their works and hence their works can lead this innovation."

He continued to say that, “whether it is an organization that is setting standards, like DDEX or a new entity, the standardization of metadata is a plus not only for platforms but ultimately artists and users."

Both mainstream and niche artists in the music industry are slowly trickling into the Web3 space. While the legacy names in the music world might be more difficult to convince to change their methods, major players like Warner Music have already begun innovating.

Most recently Mastercard announced its plans to launch a Web3 musician accelerator program with Polygon.

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Can blockchain solve the ownership debacle over AI generated art?

December 21, 2022 Coin Telegraph

As Web3 and emerging technologies such as AI continue to expand creative possibilities, questions over how to protect creative rights and arts arise.

Web3 and emerging technologies have been pushing the boundaries of art distribution, ownership and engagement with fans. However, not all of the recent developments are welcomed by the art community, especially when it comes to artificial intelligence (AI).

Recently, AI-generated art has sparked a major debate around ownership after a smartphone app went viral which created AI-generated portraits.

The debate around ownership of intellectual property (IP) rights is similar to those seen in the film and music industries. However, developers in the emerging tech space say blockchain technology can provide a middle for artists and AI-generated content.

Cointelegraph spoke with Dan Neely, CEO of Vermillio, to better understand how these problems can be troubleshot in the future. Vermillio is an authenticated AI platform that connects the lineage of ownership.

Neely says authenticated AI introduces a system of automation and verification available to the public. In this instance, anyone could verify ownership and lineage rather than relying on multiple third-party sources.

“This matters not only because creators need to prove that a piece of content is their own, but because they need to authenticate the use of their digital creations."

This falls in line with much of the outrage that is picking up steam on social media regarding AI-generated content. One artist posted a 6-tweet thread dissecting the artists against AI-art movement, calling what is happening “exploitation”.

1/6 I created this image for everyone to use wherever they want.
Ai creates the “art” you see on the backs of artists being exploited. Ai “art” is currently scraping the web for art and uses it in datasets. No artist gave consent to have their art used. We were not compensated pic.twitter.com/eGn352MyCj
— Zakuga Mignon Art (@ZakugaMignon) December 13, 2022

Neely says that the art created through generative AI should not be a threat to original art– but rather they should coexist. Instead he said different markets will be created for human made art and machine-made art. Nonetheless, the legitimate questions of ownership and authenticity need to be taken seriously.

Mike Winkelmann, also known as Beeple, is an active digital artist who has used emerging technologies to create high-value nonfugible token (NFT) collections. He also joined the conversation on Twitter around the AI-art controversy with a new piece against machine-made.

THE BATTLE OF AI ART pic.twitter.com/ePSoXzb6fQ
— beeple (@beeple) December 15, 2022

Whether to call it a battle or a decisive moment, Neely believes creative industries are at a crossroads to make a choice. Creatives will either need to tolerate unauthorized third parties using generative AI or utilize new tools like blockchain.

According to Neely, “technologies including AI and blockchain are used to allow third parties to buy access to an authorized digital signature of training data that is digitally controlled by a creator.”

Authenticated AI could be one of the major tools to allow creators to be the ones bringing order and fairness to the “Wild West” generative AI content and the greater Web3 space.

Ultimately, the world of Web3 depends on creators to propel the space forward into the future of the internet. Neely highlights that authenticating AI and content ownership through blockchain will allow creators to play their part on their own terms.

“Creators want to take their work with them wherever they choose and share it with the communities they care about.”

As AI continues to be more public and pervasive in digital spaces, minimizing user suspicion surrounding the technology is key for many developers. Recently, some companies are even using AI-based tech in order to make metaverse design accessible for creators.

NFTs and Soulbound tokens define Web3 filmmaking, says director

December 15, 2022 Coin Telegraph

Art

As various mainstream industries adopt Web3 tools, the world of filmmaking can take a lesson from the offerings of NFTs and the newly appeared soulbound tokens to define a new age of cinema.

Web3 tools and innovations are making their way into various mainstream industries across the world. Some such as the sports and music industries have made a big leap into adoption. However the world of cinema has not been as vocal on its adoption.

Some filmmakers in the past have touched on DAOs as a tool to boost community engagement around cinematic projects.

Recently, big names in cinematic entertainment like Disney have made more swift moves into the space by hiring Web3-related lawyers and bringing the Polygon blockchain network into its accelerator program.

Cointelegraph sat down with Director Stephen Fung, who is currently developing the Web3 film project Departed Apes, to better understand how Web3 tools like nonfungible tokens (NFTs) and now soulbound tokens (SBTs) can serve cinema. Moreover, Fung helped define what makes a Web3 film, and if it's a genre of its own.

Despite there being not a lot of buzz in the world of cinema around Web3 tools, Fung says these two worlds share one inherent feature: visuals.

“Films are just moving images, telling stories. It's all very visual based. In my opinion, besides the tech behind Web3, it's also a very visually based [industry].”

However, where the film industry may be hesitant around the whole NFT movement, is intellectual property (IP) rights.

“Film companies’ most valuable asset that they have is their intellectual property (IP). Let's say if you're Marvel you're not going to dive into something that may have the potential of jeopardizing any of the IP,” says Fung. “They tend to be a lot more careful, which is very understandable.”

This can be seen in a recent lawsuit between blockbuster director Quentin Tarantino and the film studio Miramax, over NFTs which were made about the former’s hit movie Pulp Fiction. The main issue in this case was over property rights.

Nonetheless Fung highlighted the ways in which these tools can still be useful to communities in the crossover world of Web3 and cinema. He suggested using Discord for NFTs as a “writers’ room” to include the community, which is usually a “closed doors” element in filmmaking.

The director also highlighted who SBTs can help creators differentiate those who are in it for reselling NFTs and those who have a passion for the project.

“We will use it more like a badge of honor for these early supporters.”

Fung continued to say that as far as Web3 movies go, there is no definition at the moment, rather two perspectives: “either a movie that stems from characters that originated from the Web3 space,” he says, “Like if the Bored Ape Yacht Club were to make a movie."

Or if there is a film shown inside a metaverse. In other words taking a standard cinematic film and Web3-izing it through the ways viewers interact with it.

Overall, the director emphasized that this is still a time of development for the whole space, therefore those in cinema should allow for “some level of being risky” as they step into the space and explore.

NFTs, Nonprofits and Longevity Intersect at Art Basel Miami

December 9, 2022 Coin Telegraph

Artists

NFT artist Nikita Replyanski on the future of NFTs, his work with the Longevity Science Foundation, and art as community building.

Just as Art Basel has expanded beyond its initial gallery showcases in Switzerland, where the international art fair was conceived, the pursuit of longer and more fulfilling lives has grown from the subject of science fiction novels to real, viable science.

Now the evolution of art is being leveraged as the Longevity Science Foundation’s partnership with Triptych and digital artist Nikita Replyanski leveled up during Art Basel in Miami Beach. The partnership to launch a collection of nonfungible tokens (NFTs) was announced during the summer. Longevity Volumes” will help fund LSF research grants for longevity projects.

Replyanski said he showed his own work and his collaborations, including the one with the LSF, at Beyond Basel, a star-studded, cutting-edge NFT event curated by Trippy Labs.

“All my art is inspired by the transformation of humanity by technology,” he said.

Replyanski hopes that his work with the LSF will help change attitudes about basic and experimental science. “I like to think that through projects like this, I am participating in shaping the image of medicine and science of the future,” Replyanski said.

His work has been connected to the intersection of technology and humanism for nearly a decade when he was involved in designing bionic/robotic hands with Motorica. Replyanski collaborated with engineers to develop several design lines used by people with disabilities today. Models with his art prosthetics participate in fashion shows and photoshoots designed to transform how the world perceives prosthetics and disabilities.

One of Replyanski's bionic prosthetics designs

One of Replyanski's bionic prosthetics designs

“I am very passionate about the values of transhumanism, among which, of course, biology and medicine play a huge role,” he said. how the results of your work can change lives.”

NFTs in the Art World

Events evolve. Science evolves. Art evolves, and NFTs are playing an important role in redefining the evolution of media. Events like Art Basel are an opportunity to expose what may be an uninitiated audience to the potential that exists for this medium.

“The role of such events for the NFT community and digital art, in general, is enormous,” Replyanski said. “First of all, it's the development of digital art as a genre, opening it up to the audience of traditional art, representing brands and galleries. Of course, it is expanding the boundaries of the NFT community. I am sure a lot of people will change their attitude toward NFTs thanks to such events.”

He said having the opportunity to engage with an audience in person, versus across a more contained medium like his Instagram feed, allowed for a greater experience and a more authentic expression of the artistic statements he's trying to convey.

“Context is very important to any artwork,” Replyanski said. “Immersing yourself in it through huge screens is not comparable to scrolling through an Instagram feed where people often see my pieces. It's another level of communication with my art. immerse themselves in my world.”

This is extremely important for artists, especially given the state of the financial markets as investors look for alternatives. “Thanks to the bear market, there are still those people for whom NFTs are not the way to make fast money, but a full-fledged platform for self-realization of a creator's art or a niche for web3 project development,” he said. “I am one of those who have invested time and money in building my own little universe within the NFT community. coming up in the near future.”

Flora, one of Nikita's earlier NFT art pieces. View more of his work here.

Flora, one of Nikita's earlier NFT art pieces. View more of his work here .

NFTs for Nonprofits

Replyanski said he is particularly excited about the potential NFTs hold for nonprofit organizations like the Longevity Science Foundation.

“NFT drops for nonprofit organizations is a new tool of participation for those who want to support them,” he said. This is an open gateway for anyone who wants to become a participant in the life of a Web3 charitable company. Simplicity, accessibility, gamification, or the ability to vote in DAO. For the artist, it's an opportunity to show their vision and involvement in the theme.”

Sagacity, by Nikita Replyanski. Proceeds from this NFT, his most recent digital art, will support the Longevity Science Foundation.

Sagacity, by Nikita Replyanski.

Proceeds from this NFT, his most recent digital art, will support the Longevity Science Foundation.

The Longevity Science Foundation is a global nonprofit dedicated to expanding the human lifespan. Most recently, the LSF further developed its presence in the US with a new headquarters in Miami and appointed president and CEO, Lisa Ireland. NFTs will play a valuable role in advancing the LSF's work funding cutting-edge longevity research. Nikita's “Longevity Volumes” collection explores the relationship between humans and technology, and the proceeds will go directly toward supporting the LSF.

Material is provided in partnership with the LSF

Party-to-earn: Blockchain breaking down the doors in electronic music community

December 1, 2022 Coin Telegraph

Artists

With access getting more exclusive and ticket prices rising, electronic music fans are at the heart of a new push to rebalance the scene.

Electronic music is big business. According to a report by the International Music Summit, in 2021, the electronic music sector was valued at $6 billion dollars and that sector is poised for significant further growth. That $6 billion dollar figure marks a 71% increase from the industry’s valuation in 2020, which was understandably much smaller due to the effects of the pandemic. While revenue is down from where it was in 2019, barring further massive disruptions, the industry is on pace in 2022 to surpass its pre-pandemic heights.

This should be great news for artists and music lovers alike, but there is a caveat. As electronic music continues to flourish, access to festivals and concerts — the heart of the electronic music scene — has become increasingly exclusive. The price of concert tickets is up across the board throughout the entire music industry. Earlier this year, a furor was sparked when tickets to see Bruce Springsteen, an artist with a committed following among working-class people, went on sale for astronomical prices. The high prices were blamed on algorithms used by ticket-selling platforms, but this wasn’t an isolated incident.

Take Tomorrowland, one of the biggest electronic music festivals. In 2022, a general admission ticket to the festival cost about $280. These tickets get sold out very fast, leaving only the more expensive packages, which can cost several thousands of dollars. And that base price doesn’t take into account travel, food and all of the other expenses that go into attending one of these events. The total cost of going to one of these events can be anywhere from $1,500 to $50,000. That is simply not something that the vast majority of people can afford.

Restoring the Electronic Music Scene to Its Roots

Electronic music festivals are about more than just the music. These are events that are supposed to bring together people from all walks of life in a communal setting. The way things currently operate, going to these events is becoming more of a privilege.

However, one blockchain project has decided to do something about this and use its platform to bring electronic music back to its roots. Klubcoin bills itself as the “1st cryptocurrency for all clubbers, festival goers and electronic music fans.” The project’s goal is to create a currency that is accepted by everyone in the electronic music scene. By using the Klubcoin currency, music fans get rewards that include access to VIP events, meet-and-greets with famous DJs and artists and more.

Klubcoin and the Pary-to-Earn Model

The model of operation is called “party-to-earn,” and has been positioned as a means of decentralizing the music and festival scene in a similar fashion to how play-to-earn games have shaken up the gaming industry. Klubcoin gives clubbers and festival goers the ability to earn rewards and gain access to exclusive events by doing what they love. Now, fans will not only be able to get into sold-out events for reasonable prices, once there, they will also be eligible for discounts on food and drinks, get cashback on all their purchases and have access to parties and meetups exclusive to the Klubcoin community. By introducing a means of exchange tailored to electronic music creators and fans, the project is aiming to bring those creators and fans back into focus.

Klubcoin has already met with some success in its efforts, forging partnerships with some of the biggest music festivals and DJs in the world. The project’s roster of partners now includes Amnesia Ibiza, Bootshaus, Caprices Festival, DJ Mag, Pacha Barcelona, Opium, Motel Particulier and many more. As it progresses, Klubcoin will be looking to integrate into even more festivals and partner with more artists to expand its ecosystem and offer more people alternatives to the current status quo.

For music creators, Klubcoin represents a unique opportunity to expand their audience and contribute to a more direct relationship between fans and artists. The sustained success of Klubcoin could have a profound impact on an industry that is becoming increasingly unrecognizable to its original creators.

Material is provided in partnership with Klubcoin

Disclaimer. Cointelegraph does not endorse any content or product on this page. While we aim at providing you with all important information that we could obtain, readers should do their own research before taking any actions related to the company and carry full responsibility for their decisions, nor can this article be considered as investment advice.

Ownership is the future of digital entertainment, says blockchain exec

November 14, 2022 Coin Telegraph

Art

Web3 technologies are changing the way we engage with various forms of entertainment and ownership is at the heart of it.

Web3 is uprooting traditional entertainment industries with a new way of creating and engaging with digital content.

The industry has already seen nonfungible tokens (NFTs) display the potential to transform how television scheduled programming can be created. Increased metaverse activity began challenging artists with new possibilities for performances and connectivity with their fans.

All the use cases of Web3 technology upgrading the future of digital entertainment include one key component: ownership. Ownership is one of the defining characteristics that distinguishes Web3 activity from its predecessor.

According to professionals in the industry, it will also be a defining characteristic not only of Web3 but of the future of digital entertainment.

Cointelegraph spoke with Mitch Liu, CEO of the media and entertainment-centric blockchain Theta Labs, on what users can expect in the not-so-distant future of digital entertainment.

Foremost, ownership redirects power back to the users actually engaging with the content rather than a few powerful platforms. Liu highlights that specifically with “tokenized economies for entertainment businesses,” both users and platforms benefit:

“For platforms that embrace Web3, they gain new ways of monetization at a time when the margins of Web2 business models are shrinking.”

This comes at a time when competition within the streaming industry is driving turbulent results for service providers. According to recent reports, platforms such as Paramount+ and Disney+ saw an increase in subscribers in the last quarter. However, stocks dropped as much as 9% for the latter, and earnings for both fell short of official estimates.

Liu says streaming wars lead to higher costs for users and more ads. Instead, he suggests such platforms need to adopt new business models which highlight user experience. This comes through ownership:

“The key is to give the users and fans a say rather than have every decision come from the top down.”

Liu continued by saying that, “giving more control back to users, whether it's immutable ownership of a movie or the right to vote on how a platform operates, will help to avoid centralization.”

Metaverse activity is one way to particularly enhance user experience through ownership. As investors are pouring into the metaverse space, entertainment platforms can take advantage of a new frontier with fewer barriers between audiences:

“Decentralized economies and user ownership can be built into metaverses from the ground up.”

According to a recent DappRadar report, metaverse and blockchain gaming projects cumulatively raised $1.3 billion during Q3.

Companies in the space also see the potential Web3 has for entertainment ventures, as blockchain developer Ripple created a $250 million fund to back entertainment and media-focused Web3 projects. Its second wave of creators launched on Oct. 18 of this year.

Artists

NFTs in the Art World

NFTs for Nonprofits

Restoring the Electronic Music Scene to Its Roots

Klubcoin and the Pary-to-Earn Model

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