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Geçmişten günümüze sosyal ve ekonomik faaliyetlerimizi en kolay ve en hızlı şekilde yerine getirebilmek için teknolojiyi yoğun bir şekilde kullanmaktayız. Teknolojinin ilerlemesi ve çağımızın gerekliğiyle birlikte geleneksel iş modellerinin de değişmesi zorunlu hale gelmiştir. Bunu örneklendirmek gerekirse, önceden fiziki olarak transfer edilebilen nakit paralar, daha sonrasında dijital para, sanal para ve en son kripto para olarak değişmiştir. Günümüzde eşler (internet ortamındaki iki kişi/iki makine/iki bilgisayar) arasında merkeziyetsiz olarak kurulan bir ağ oluşturulabilmektedir. Kripto paraların altyapısını oluşturan blockchain (blok zincir) teknolojisi ile dijital sanat alışverişi de yapmak mümkün hale gelmiştir. 21 Mart 2006 yılında Twitter CEO’su Jack Dorsey’in attığı ilk “tweet” (Twitter üzerindeki gönderilere verilen isim) olan “just setting up my twttr” NFT ile satışa sunulduğunda ‘NFT’ teriminin farkındalığı da artmaya başlamıştır. Popülerliği artmaya başlayan bu yeni kavramı Amerikalı sanatçı Mike Winkelmann’ın bu zamana kadar ödenen en yüksek bedel olan 69.3 milyon dolarlık satışı ile en üst seviyelerine çıkmıştır. Winkelmann bu çalışmada Mayıs 2007 yılından itibaren her gün düzenli olarak ürettiği görsellerin tek bir ‘jpeg’ dosyasında birleştirmiş ve satışa sunmuştur. Kripto sanat olarak adlandırılan bu dönem içerisindeki eserler, sanat eserinde de aranan yegâne özellik olan biriciklik ile birlikte yeniden gündeme gelmiştir. Aynı zamanda bu teknoloji ile birlikte sanat eserlerinin diğer özelliklerinden biri olan dijital mülkiyet hakkı kavramı da gündeme gelmiştir. Bu araştırmada NFT’nin mülkiyet hakkı biçimi mi yoksa mülkiyeti ticarileştirme aracı mı olduğu tartışılacak, aynı zamanda blok zincir ve NFT kavramları nelerdir, hayatımızdaki yeri, sanatın içindeki yeri, bu kavramların temsil sorunları, olumlu ve olumsuz yönleri irdelenecektir.
From the past to the present, we are using technology intensively to make our social and economic activities the easiest and fastest possible. With the advancement of technology and the need for our age, the change of traditional business models has become imperative. For example, cash currencies that can be physically transferred in advance have later changed to digital currencies, virtual currencies, and the latter cryptocurrencies. Today, a network that is uncentrically established between spouses (two people/two machines/two computers in the internet environment) can be created. The blockchain (blockchain) technology that forms the infrastructure of cryptocurrencies has also become possible to do digital art trading. On 21 March 2006, the first “tweet” by Twitter CEO Jack Dorsey, “just setting up my twttr”, was launched with NFT, and the awareness of the term “NFT” began to increase. This new concept, which has begun to grow popularity, has reached its highest levels with the $69.3 million sales, the highest price paid to date by American artist Mike Winkelmann. In this study, Winkelmann has combined and presented the images he has produced regularly every day in a single 'jpeg' file since May 2007. The works in this period called crypto art have been reorganized along with the unique characteristic that is also sought in the art work. In addition, the concept of digital property rights, which is one of the other features of art works, has also emerged along with this technology. This study will discuss whether NFT is a form of property rights or a means of commercialization of property, and will also discuss what the block chain and NFT concepts are, the place in our lives, the place in the art, the representative problems of these concepts, the positive and negative aspects.
From the beginning to the present, we have relied heavily on technology to carry out our social and economical operations in the most efficient and timely manner possible. It has become imperative to change traditional business models with the advancement of technology and the necessity of our age. To exemplify this, cash that could be physically transferred in the past has changed to digital money, virtual money, and lastly, cryptocurrency. Nowadays, a decentralized network can be established between peers (two people/two machines/two computers on the internet). Exchanging digital art has also become possible with blockchain technology, which forms the infrastructure of cryptocurrencies. On March 21, 2006, when Twitter CEO Jack Dorsey’s first “tweet” (a post made on Twitter), “just setting up my twttr”, was offered for sale with NFT, awareness of the term ‘NFT’ began to increase. This new concept, which started to gain popularity, reached its peak with the sale of American artist Mike Winkelmann of 69.3 million dollars, the highest amount ever paid. In this study, Winkelmann combined the images he regularly produced every day since May 2007 in a single ‘jpeg’ file and offered them for sale. The works in this period, called crypto art, have come to the fore again, although they are unique, the only feature sought in the work of art. At the same time, the concept of digital property rights, which is one of the other features of works of art, came to the fore with this technology. This research will discuss whether NFT is a form of property right or a tool for commercializing property. It will also be discussed what the concepts of blockchain and NFT are, where they fit into our daily lives and how they fit into art, the representation problems associated with these concepts, and their positive and negative aspects.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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