Near account for payment: jsc2022.near
Project timeline: May, 2022.
This project aims to explore the effects of the advancement of artificial intelligence in the field of artistic creation, as well as the algorithmic-statistical analysis of images in the history of art and digital culture. It seeks strategies of appropriation of these technologies as means for creating arts and ways of apprehending all the change that operates from these technologies. Currently, artificial intelligence enhances the research of images in the visual arts and presents new tools and modes of production, both in creation and in art history research. Its presence is ubiquitous in theoretical-critical thinking in the field of digital culture and art. Crypto Art emerges as an element that, on the one hand, imposes a radical change in the system and in artistic production, causes a fissure in the current system allowing greater freedom for the market allowing instant access for artists – an ultra contemporary form linked to the past production modes. In another sense, it resumes ways of thinking and producing art that, in terms of advances made in the 20th century, are anachronistic and leave something to be desired, such as the number of copies, possession, authorship and ownership of works and the repositioning of the human at the center of creation – eliminating creations assisted by or made by artificial intelligence.
The issue of technologies in art and, more specifically, artificial intelligence has always attracted many artists and artistic movements. The experiments, with the use of artificial intelligence in the visual arts, began in the second half of the 20th century and involved participatory-interactive works with two ways, where individuals and computer systems of artificial intelligence interact. In the field of art, as a whole, it seems to have started a greater opening to these questions from the personal computer, the internet, the graphic visualization ‘interfaces’ and with the image editing programs that are beginning to be part of everyday life. Crypto art begins to seek a confluence of art elements such as, for example, marking print runs of digital images giving them an original/authorial character and, concomitantly, proposing these digital works, both formally and conceptually, in the logic of the base of data from encryption, ‘blockchain’ and cryptocurrencies. Thus, we could distinguish three moments with their characteristics and specificity of the use of artificial intelligence in art. At first, the pioneering use of artificial intelligence seeking human/machine interaction in works of art. Second, the use of algorithmic images as a formal theme for the production of art using conventional means, such as painting. And, in the third moment, to seek a rupture in the arts system, eliminate some stages of this system acting directly in the artist/consumer market through blockchains and resume art historical issues in a kind of remediation. Crypto art is one of the few artistic movements of this millennium that speaks the language of its time, as it allows new languages of digital expression to have a fast, pulsating and tailor-made market for the new generation of collectors. If until some time ago an artist who created digital artworks had very little chance of putting them on the market, for the obvious reason of their infinite reproducibility, today, thanks to blockchain technology, these digital artworks are created in a certified number of small editions and therefore acquire an exchange value. Formally, crypto art comes to align itself with technologies and their creative possibilities and marks an implosion in the art system already in place, but this does not guarantee aesthetic quality. Our objective, therefore, is to create crypto art (NFTs) through the NEAR Protocol (within its ecosystem) with aesthetic quality (combining new trends with traditional techniques and concepts). We believe that this type of initiative is extremely important to increase the interest of artists in the blockchain and in the NFT community in Brazil (especially for NEAR), since the viability of this type of product would be a counter-argument to the conceptual artists still very attached to doing traditional artistic.
USD 200 in NEAR for PhD. Juliano do Carmo (Department of Philosophy at Federal University of Pelotas) for organizing the project and select artists and undergraduate students.
USD 200 in NEAR for PhD. Alberto Semeler (Arts Center at the Federal University of Rio Grande do Sul) to produce three NFTs (artistic objects in Crypto Art together with the project team).
USD 50 in NEAR for each of the two students/artists guests who will collaborate with the PhD. Alberto Semeler.
Total: USD 500 in NEAR.
03 Crypto Arts (that will have NEAR sponsoring in the description) with splits for the DAO at DAO´s Store: philosophart.mintbase1.near-Minter