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My Collectible Ass - Journal #85
Andy Warhol already understood this idea of the open exchange of ideas and ubiquity. After all, Warhol coined that phrase “fifteen minutes of fame.” Warhol mass-produced his art and appropriated popular images, leveraging the attention of the art world into multiple revenue streams and increasing the value of his individual pieces.
Cory Huff • How to Sell Your Art Online: Live a Successful Creative Life on Your Own Terms
With information effortlessly transferable at zero marginal cost and social platforms that blast content to the top of everyone’s feed, it’s difficult to for an ethics based on scarcity to sustain itself.
subpixel space • After Authenticity
The more a file is shared and seen online, the more cultural value it accrues. Consider the mass production of posters and t-shirts of Warhol imagery. With increase in notoriety, the concept of owning the canonical work becomes more thrilling, and more a marker of social status.
Jesse Walden • NFTs make the internet ownable — Mirror
Creative works are social objects in the fullest sense — they exist in a nexus of social, cultural, and legal links to other people and things, and they are only valuable to the extent they can fully participate in their whole context. Rights regimes restrict known rights, but also create rights if they are well designed, driving generativity.
studio.ribbonfarm.com • Magic Beans
In all of these cases, the “drop” is valuable because it is artificially scarce; fewer people would want it if everyone could have it.
Cherie Hu • Digital music’s new drop culture
8. Intellectual property will become less defensible in the short term but it is still cultural gold. From “my kid could do that” to “right click and save,” new media from the early 20th century onward has been poorly received. As W. David Marx writes of NFTs in Dirt, “whether or not this particular NFT bubble bursts, we should take them seriously ... See more