Kunsti roll Bitcoini renessansis

Bitcoin meets at a decentralized crossroads of communication, money and identity, which are three important elements of Renaissance periods.

See artikkel on mitteametlik järg a Eelmine artikkel sarnasel teemal.

The Bitcoin Renaissance is well underway and the art gallery by the same name at Bitcoin 2022 was a prime example.

The Bitcoin Renaissance gallery offered a small glimpse into the future of the kind of influence Bitcoin will have on creative works and vice versa. Artists from all over the world gathered to exhibit their physical and digital artwork, auction off pieces and some of the participants gave talks on a small stage next to the gallery.

The importance of Bitcoin and its connection to art cannot be overstated. Art was one of the major factors of the previous Renaissance which led to a significant overhaul in human progress and culture. According to one interviewee, the three main components of the previous successful Renaissance were decentralized money, decentralized communication and decentralized identity. This article attempts to summarize those factors and compare them to the current markers which indicate we are in the midst of a brand new era with similar characteristics. The Bitcoin Renaissance is real and we are only beginning to scratch the surface of what it may look like.

Detsentraliseeritud raha ja suhtlus

Mul oli võimalus galeriilaval vestelda nii paljude eksponeerivate kunstnikega kui ka ühe esinejaga. Ajaloolane, kes on spetsialiseerunud hiliskeskaja ja renessansi vahelisele perioodile, Joshua Rosenthal, Ph.D., selgitas mõningaid erilisi omadusi, mis muutsid viimase renessansi kestvaks ja tähelepanuväärseks. Ta mainis, et ajaloo jooksul on olnud kümneid renessansse, kuid ükski neist ei olnud nii edukas kui 14.–17. sajandi renessanss, kuna eelmised ei kasutanud detsentraliseeritud tehnoloogiat ega olnud seotud raha ega kommunikatsiooniga.

Enamikule inimestele tuttav renessansiperiood oli ajaloos püsiv tugipunkt, sest tolleaegsed inimesed kasutasid ära äsja taasavastatud kahekordse raamatupidamise rahasüsteemi. Seda tüüpi hajutatud pearaamat võimaldas inimestel juurdepääsu kapitalile mobiilse deebet- ja krediidivormi abil. Rääkides sellest kahekordsest kirjest broneerimisest, ütles Rosenthal: „See sisuliselt eemaldas vahendaja või võimaldas kasutada detsentraliseeritud vahendajat; vahendaja on kirik."

Kirik oli võimu epitsenter. Rosenthali sõnul oli raske eraldada ühiskonna usulisi ja poliitilisi aspekte. Selle uue topeltraamatu tehnoloogia tulek andis inimestele võimaluse reisida, sest nende raha sai nendega kaasa liikuda.

The rediscovery of double-entry bookkeeping and subsequent decentralization of ledger technology in the late Medieval period led to physical mobility of the populace. Similarly, Bitcoin provides a new way for humans to distribute a global ledger and presents the possibility for jurisdictional arbitrage because wealth is not tied to any geographic location — so long as Bitcoin users are able to keep track of their seed phrase, which allows them access to their wealth anywhere with an internet connection.

Lisaks detsentraliseeritud rahale võimaldas trükipressi leiutamine ka detsentraliseeritud suhtlust. Rosenthal kirjeldas keskmise keskaegse inimese elu järgmiselt: "Sa ei saanud mitte ainult lugeda, vaid ka kirjutada, vaid kui tahtsite jagada võimudokumenti, oli see lubatud." Põhimõtteliselt oli kirikul võim kõige üle enne kahekordset raamatupidamist ja trükipressi.

“They [the Church] were really good at exercising dominion over evil, keeping people in their place and part of their tools were regulating money, regulating communication, but you, as a medieval person, it wouldn’t have occurred to you that there could be something else.” –Joshua Rosenthal

Trükipress andis inimestele võimaluse jagada ideid ulatuslikult. Enne selle leiutamist levitas kõiki dokumente kirik, kuid nüüd olid ideede edastamiseks detsentraliseeritud vektorid. Enamik trükitud oli üks suur pilt, mida Rosenthal võrdleb tänapäeva meemidega.

“The people are seeing some images for the first time. It’s not just a realistic representation. It means something and it’s crazy. Basically the content of the images displayed the hierarchy as illegitimate. They printed images to show viscerally that the previous world was illegitimate and to show worlds that were unimaginable at the time.”

Kui paljud inimesed seostavad trükimasinat piiblite ja pikemate tekstide masstootmisega, siis Rosenthal ütleb, et tegelikult oli piltide laialdane jagamine peamine viis, kuidas inimesed said kogeda midagi, mis oli täiesti uskumatu. Allpool on näide pildist, mida ta oma esitlusest jagas. "Paavsti sünd ja päritolu" näitab naisdeemonit, kes väljutab paavsti. Seda tüüpi jämedat pilti oleks näidatud ühiskondlikus keskkonnas, näiteks linnaväljakul, ja vaatlejad jagaksid kogemust, mis muutis nende ettekujutused praegusest võimustruktuurist.

Seda tüüpi memaatiline väljendus on viis, kuidas luua mille jaoks uus pilt võiks ja trükipressi detsentraliseerimine on see, mis selle tegelikult võimalikuks tegi.

Jällegi selgitab Rosenthal, kuidas see tehnoloogia võimaldas ideede massilist jagamist: "Trükipress võimaldas inimestel ideid jagada. Saate selle parima lihapoe tagatuppa panna ja kümneid tuhandeid asju nädalas välja printida. Ja siis loomulikult püüdsid linnaametnikud teie klienti (KYC) printereid tundma õppida, mõned järgisid seda, kuid teised ütlesid: "Ei, me ei tee seda." Anonüümselt ja detsentraliseeritud viisil töötades tekkisid ideed. võib levida kaugele ja laiale.

Võimustruktuuride peegeldamine

Ma rääkisin Marissa Jean to discuss how she started disseminating Bitcoin-related ideas through her art. “I just started incorporating emotions or basic feelings into the painting. For example, the first one I ever made was called ‘Inspiration,’ I started chronologically. I asked myself, how did I feel when I first got into Bitcoin?”

Jean used these emotions to portray her journey through Bitcoin. “I connect my emotions and my interest in Bitcoin because it’s kind of become a pastime of mine. And so since it’s on my mind anyway, I might as well paint it.”

Painting about Bitcoin and its ethos was easy for Jean because “Bitcoin has changed many people’s lives for the better. And so it’s a subject worth painting about that has different levels of meaning for everybody.”

The layers of meaning and direct representation of Bitcoin in her art as well as other Bitcoin-themed art in the gallery paves the way for observers to connect to it in ways that are meaningful to them individually. It also provides an opportunity for viewers to begin questioning the current power structures of today.

In discussing the Bitcoin Renaissance gallery, Jean reflected, “You see a lot of artists interested in portraying the fact that the U.S. dollar is failing them, losing value and that Bitcoin is their savior. You see a lot of rebellious stuff, you know, rising to the occasion or fighting against oppressors. We are in this phase where we are against the oppressor. So that [type of painting] is the norm, but it’s also staying weird; the memes aren’t gone, they’re just ingrained. There was so much amazing, beautiful oil, Renaissance-style art there that was a freaking Pepe.”

See toob meid tagasi Rosenthali mõtte juurde, mis käsitleb kunsti memifitseerimist, mis esitleb maailma täiesti naeruväärsel viisil, pöörates selle käigus praeguse paradigma pea peale ja pakub seejärel uue raamistiku maailma vaatlemiseks.

Varem kujuteldamatu eostamine

Varem kujuteldamatute maailmade loomise teema on midagi, millega kunstnik Sarah Meyohas is quite familiar. Inspired by the immaculate conception of Bitcoin, Meyohas said, “It was like a new creation of currency, in a way that has not been done before. Bitcoin was the ultimate inspiration because it was a re-imagining of value.”

Meyohas is not new to Bitcoin. In her personal quest to understand subjective value, including the etymology of financial terms, Meyohas created Bitchcoin 2015. aastal ja toetas žetoone fotodega tema näituselt "Kroonlehtede pilv", avaldades seejärel esimese näite tokeniseeritud kunstist plokiahelal.

Meyohas recently made a Bitcoin hologram piece that was displayed in the Bitcoin Renaissance gallery and described how this intangible asset was turned into a physical work of art. “Bitcoin is both hyper-physical and completely nonphysical at the same time. So that’s part of what I was really excited about, making holograms for Bitcoin. Bitcoin is the one cryptocurrency that has this image that’s super strong and it has this image that feels like it should be physical.”

By marrying the metaphysical and the physical, Meyohas is able to create a vision for new possible realities — visions that were unthinkable before Bitcoin.

In her “Speculations” series, she created a story of the new innovation of Bitcoin’s timestamping through the use of distributed consensus and blockchain. “Speculations bring time and space together. The Bitcoin blockchain is an innovation of time. It’s timestamping with a new agreement on time.” (For more about Bitcoin and time, read Gigi’s “Bitcoin Is Time. ")

Bitcoin offers artists the opportunity to present a new version of reality, inextricably tied to this completely new way of determining value.

“It’s an intense cultural development and that gets put into art. But the thing that’s interesting about Bitcoin that does appeal to artistic creation is it’s like the Genesis story of Bitcoin has lore and magic to it and feels like itself, a moment of creation.

“True art is made in a pure way; you’re not making art to become a gagillionaire, you make art to create something radically new; that is totally avant-garde; that presents the world in a new way to people.” -Sarah Meyohas

The artists in the Bitcoin Renaissance gallery are presenting new possibilities for viewers to demonstrate worlds that are possible, but which many observers may not even be aware could potentially exist. In his talk, Rosenthal explained,

“Both then and now, art is more than it seems, more than real. The art in the Bitcoin Renaissance gallery is not just pretty, but a way of defining identity and recreating our reality. The art points to something beyond our current perceptions, the new, the possible, and the world to come. In a real way, the image is more real than the thing itself as it gives expression and thereby reality to the idea, concept and construct. Medieval you could not envision self-sovereignty until faced with a technologically empowered art that reshaped your identity and recreated your world.

"Kunst osutab endast kaugemale uue maailma võimalikule ümberkujundamisele, kus ebaõnnestuvad institutsioonid on reformitud iseseisvuse kaudu ... ja seejärel ilmneb see reaalsus."

Identiteedi ümberkujundamine maailma taasloomiseks

Lisaks raha detsentraliseeritud olemusele, kahekordse raamatupidamise ja trükipressiga suhtlemisele, nimetas Rosenthal detsentraliseeritud identiteeti viimase renessansiperioodi viimaseks tunnuseks, mis muutis selle püsivaks ja tõhusaks. Selle identiteedi muutuse varased etapid keskajal toimusid siis, kui talupojad nägid kujutluspilti, mis kujundas ümber nende maailmavaate. Nihke ajal andis see identiteedi ümberstruktureerimine keskaegsetele inimestele uue vaatenurga potentsiaalsetele reaalsustele, mida enne trükipressi tulekut oli võimatu ette kujutada.

Many times throughout our conversation, Rosenthal likened Sathoshi Nakamoto’s white paper to Martin Luther’s “95 Theses.” By pointing out the inconsistencies with the Church selling indulgences in order to finance war, the whole system fell apart. “He pulled the plug from the economy of the hierarchy … He pulled that pin and like, it’s just a little thing, but then you realize the whole thing unraveled. Then you read the Bitcoin paper and you realize the whole financial system unravels.”

Enne teeside postitamist oli Luther tundmatu tegelane. Pärast seda, kui ta teesid kirikuuksele naelutas, jätkas Luther kirjutamist pseudonüümi kasutades. He essentially took down the economy of salvation and had to go into hiding to avoid being arrested and potentially killed. Rosenthal shared, “It was a monetary attack. What he did though, was on the legitimacy of money, which obviously ties into the legitimacy of authority.” Again comparing Luther to Nakamoto, Rosenthal ponders if the publishing of the “95 Theses” bringing down the legitimacy of the Church is exactly what is in the process of happening since the publishing of the Bitcoin white paper bringing down the legitimacy of the current financial system. (Interestingly, Luther posted his “95 Theses” on October 31, 1517 and Nakamoto published the Bitcoin white paper on October 31, 2008.) Due to the anonymity of the internet, the identity of Satoshi Nakamoto remains unknown. The use of Bitcoin in conjunction with the internet is allowing for a new type of decentralized identity.

Detsentraliseeritud pseudonüümsus

Üks kunstnik, kellega rääkisin, on väga tuttav oma töö taga anonüümseks jäämisega; Istusin koos krüptograffi to discuss his perception of Bitcoin and its influence on his art. He shared, “When I saw the potential for Bitcoin and the dearth of art and design in it, I knew that there was an opportunity there. And also I was just extremely passionate about it. It’s a never ending source of inspiration. I think, especially in this society, we need this [inspiration]. I don’t want to raise kids in a world without bitcoin. It’s hope for me; I don’t know what I’d be doing without it.”

By remaining shielded behind his pseudonym, cryptograffiti is allowed to let his work speak for itself, “The typical idea with art that you’ll oftentimes hear is ‘you want to ask something that’s recognizable,’ but I pushed back against that because usually like the unsaid part of that is, ‘so that collectors will know that it’s your work.’ It’s more from an investment standpoint, but art, to me, is not about trying to make work that is easily bought. It’s about just doing what you’re passionate about and what resonates with you. And it just so happened that mine is a concept that tries to push me going forward.”

This freedom has also given him time to reflect on Bitcoin and the ways in which its decentralized nature and ability to process borderless, nearly instantaneous transactions. Cryptograffiti gave encouragement for other artists to accept bitcoin for their work in order to “get into a circular economy and get past this stage of people not wanting to spend bitcoin at all. People will use the Lightning Network more readily if they’re also earning in Bitcoin.”

“I think as we see how Bitcoin has shaped up over the years and proven itself as a store of value and it’s provided more inspiration in many different ways for artists to take from it. It’s great to look at the work here on display at the conference from different people in different parts of the world and see what Bitcoin means to them because it might not be the same for everyone.” – cryptograffiti

By using a pseudonym and having the ability to remain anonymous, cryptograffiti was able to find a path towards sovereignty through Bitcoin. “First of all, the self-sovereignty thing, where I just want to be able to take my ideas, bringing them to life and not have to work for anyone else to do exactly what I want. Bitcoin has allowed me to do that.”

Decentralized identity can mean different things and it’s likely we are still only beginning to scratch the surface of what that looks like. For some, the first steps are the ability to use a pseudonym. As society moves further into the Bitcoin Renaissance, we may see more markers of decentralized identity, such as the Detsentraliseeritud identifikaatorid poolt uuritakse Läbimatu.ai või isegi viise veebisaitidele sisselogimiseks LNURL-auth, mis kasutab avalikku võtit ja ei anna isikut tuvastavat teavet. Seda renessansi pusletükki uuritakse endiselt ja trajektoori on põnev näha.

Järeldus

The Bitcoin Renaissance gallery demonstrates how Bitcoin as decentralized money can inspire a new kind of decentralized communication and identity through art, paving the way for a new vision of the future and the means to make it a reality.

“The art in the Bitcoin Renaissance gallery is not simply visuals or a way to express wealth, but rather a means to express agency and instantiate a new world via recreation. What we experience in this gallery is identity, coordination and sovereignty. The media endemic to the nature of this technology, the value of Bitcoin, inextricably linked with its meaning. The Bitcoin Renaissance is not another renaissance, but a new kind of recreation — a revolution of renaissances … Art resists, toppling failing institutions.” –Rosenthal

While we are most likely still going through times analogous to the late Medieval period, Bitcoiners are bearing witness to the early stages of a new Bitcoin Renaissance. Historians will look back on this time period of failing institutions, debased fiat money and a misaligned incentive structure with incredulity. We are currently going through major changes in the structure of society, with most people unaware.

Rosenthal lõpetas oma kõne, öeldes: "Inimesed, kes on kõige suuremates muutuste perioodides, märkavad neid kõige vähem."

It’s time to look closely at the art and envision the new reality we can create — thanks to Bitcoin.

See on Craig Deutschi külalispostitus. Avaldatud arvamused on täielikult nende omad ja ei pruugi kajastada BTC Inc. või Bitcoin ajakiri.

• Münditark. Euroopa parim Bitcoini ja krüptobörs.
• Platoblockchain. Web3 metaversiooni intelligentsus. Täiustatud teadmised. TASUTA PÄÄS.
• CryptoHawk. Altcoini radar. Tasuta prooviversioon.
• Source: https://bitcoinmagazine.com/culture/the-role-of-art-in-the-bitcoin-renaissance