On Friday, Kevin Abush, an Irish concept artist who was one of the first to use blockchain technology as an intermediary, reported that a stupid leverage was committed on one of his sites – an image of an Ethereum wallet called “Stealing the contents of this wallet.” Crime “(2018).

In a tweet, the artist, whose work is featured in The Hermitage, said that CryptoKitty was animated from a freely available address:

“Content plagiarism” is one of what Abush calls “social experiences that challenge value systems” – a conceptual framework especially suited to the world of cryptography. The Content Stealing … part included tokens placed in a wallet from his I Am Coin (2018), in which Abush coded himself in a process using the artist’s own blood to distribute 10 million tokens using IAMA. …

He described “stealing” as a mutual playground for researchers, and participants generally responded in good faith and with humor: seasoned Ethereum art lovers played subtle blood token effects – such as moving 0.666 IAMA to and from Theft. .. “wallet, including jokes.

“I think people just wanted to communicate with art in some way, and thus they became part of art,” Abush said.

It was these ideals that made the Friday heist so cruel. Even for a room full of crooks, charlatans, and villains, CryptoKitty, not named after his work, seemed unusually sinister from a freely available wallet.

However, when asked in an interview if he was worried about being robbed, Abuosh started laughing.

“I already stole it,” he admits.
Distorting digital scarcity
Abush explained to Cointelegraph that a friend told him that the cat put it in his wallet, he named it “IAMA Kitty” and suggested that it was a personalized gift for him from Dapper Labs.

He said, “I thought, ‘I have to understand this.’

However, Ebosch made it clear that burglary would not be the start of an NFT group or a large art community. When the conversation moved to the state of the art blockchain, he actually expressed his displeasure at a number of current trends, starting with the fact that digital art appreciation is rooted in its scarcity.

He said: “I find something hostile to the lack of technology.”
He explained that bronze sculptures are rare because sculptors can only afford a certain amount of bronze – with real art there are resource constraints. On the other hand, digital scarcity is completely artificial.

Likewise, the current wave of artists publishing their work as non-innate icons (NFT) is not impressive.

He said, “Many artists known as NFTs are legends, but they only use blockchain technology as a tool to create scarcity and as a platform to sell their work.” “I am not making a qualitative assessment of the work – I just dispute the title. Of course, there are artists objectively working with cryptocurrency technology and blockchain technology […] who seem to be more appropriate for the concept of cryptocurrency. ”

What really fascinates him are products that use technology in a more innovative way, ”he continued.

“What interests me the most is the parts where blockchain technology is a method where the spirit or flesh of the parts is integrated into the blockchain,” he said. “NFT only communicates with a platform that makes currency exchange and sales easier.”
The wave of bears and collectors shifting to NFT-sponsored art also seemed to be uncomfortable for him.

“I believe people buy art for one or more of three reasons: because they really want to experience work as a form of social proof or as an investment opportunity.”

It has been suggested that very few people bought art for the sake of experience.

He lamented that among artists and buyers, today’s encrypted art scene has recreated the ugliest features of the oldest art world – what he called “one of the most corrupt industries on the planet” – driven by greed, selfishness and hype.

A new generation of collectors
While Abosch’s complaints may seem to some like the roar of an old man’s head dominating a new generation, he sees a bright spot among the NFT art craze: an impending community of art lovers focused on serial work.

“I wonder when cryptocurrency holders discuss the intangible nature of art, and if they delve into the philosophical implications of material and property value,” he grew up. “There is a much younger generation of people who don’t seem to cling to flesh, even though they still look like they’re rare.”

He went back to a more sarcastic tone and went on to say that collectors like it better as well, as they can still get stuck in their purchases at current prices.

He said that many people buy as an investment, hoping to resell later, amid the NFT craze.

“I don’t think there’s a lot of money coming in,” he warned.

Source: CoinTelegraph