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Frances Liddell Exploring Blockchain in the Cultural Sector was an online conference that took place on 16th Octoberhosted by the University of Manchester. On the other hand, museum and technology musetech conferences have yet to recognise blockchain as a potential tool and I often find myself having to spend my time simply explaining what blockchain is.

So, this conference aimed to hover on the line between these two sectors, and, although I could not have predicted a global pandemic, taking the conference online opened up the event in more ways than I could have imagined. We had over registrants for the conference spanning from across the world including; India, Brazil, Canada, the U.

In what follows, I reflect on the five sessions of the day and summarise the key points from the conference. The project encouraged engagement through the use of stamps which were given to participants for reading and contributing stories.

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During the talk, the researchers mentioned that in the future these tokens could hold a potential redeemable value in local cultural organisations or as a form of governance and comerț kraken btc eur authority within the library.

They also noted how the participants developed a sense of ownership and purpose in gaining these stamps, which suggests that this approach helped to reinforce a sense of community. In this way, this project combines storytelling as a community practice with the use of tokens as a form of incentivisation and this facilitates the formation and strengthening of a community, and this indicates a potential use case of blockchain as a way to highlight the labour and investment of participants in cultural crowdsourcing projects.

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These very different economies are brought together in the work which can only be initiated by a pound coin inserted into a central and transparent machine, and this sets off the smart contract that converts this coin into crypto-currency and divides it among all the participants of the project.

In this way, the project advocates for a process of reimbursement that was non-hierarchical in nature. It was interesting to hear about the practicalities of this project, namely the movement of the physical pound coins collected during the exhibition and the human labour involved in this process.

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While the piece implies a flow of exchange from physical money to shared cryptocurrency, in fact, Helen and the gallery had to collect these funds and transfer it into a bank account and the smart contract had to be fitted with its own set of funds beforehand so that the process could work. While some of these DAOs are yet to be practically implemented, they all involve reconceptualising the ways artists and local communities work together and potentially replace age old institutions with flexible ones.

Like the two previous presentations, value was a key theme throughout with this need to make value visible and highlight the labour of artists.

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Time, money and effort are all treated as of equal value in each initiative and this re-evaluates what is considered meaningful in each of these organisations. This also promotes the human element as the critical part to these projects as DAOs do not fully automate everything, and as Aude mentioned, organisations are bitcoin mining în nigeria people working bitcoin rich povestiri and DAOs simply automate the organising aspect to this such as the process of governance.

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In this respect, all three presentations focused on this idea of hidden labour and forming alternative approaches to the renumeration and collaboration of people. In bitcoin este considerat o securitate bitcoin mining în nigeria, the participants are asked to invest in some way and this labour is both valued and made visible, indicating a non-hierarchal practice to value.

Of course, such ideas resonate with the cooperative movement, suggesting that blockchain is not creating anything new, however, it is about to what extent blockchain can make this process more effective and transparent for cultural and creative organisations, and in doing so, support a stronger sense of community.

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Session 2: Tokens The second session focused on the theme of tokens and considered the use of tokenisation as a way to reconceptualise value and critically examined the notion of the cryptocollectible. In other words, what other forms of value can we capture with tokenisation? His three case studies highlight this bitcoin mining în nigeria href="">bitcoin trader lahore for collaboration with audiences, an idea that resonates with the previous discussion on the shift from audience consumption to participant investment.

Of course, there are barriers to address, such as legalities and adoption, however, this need to re-evaluate what values are prioritised is a significant point when it comes to the creative and cultural industries, particularly in light of the economic climate and reductions in arts funding. This idea of value was also a prominent theme in my own presentation where I considered the use and implementation of cryptocollectibles at the National Museums Liverpool NML.

This case study, which is part of my ongoing PhD research, examines the notion of value in the context of connection and collaboration which I ground in museological discussions on shared guardianship and collective ownership. In doing so, I found that a layered ownership begins to form in which both the museum and the participant have a stake in the cryptocollectible and what it represents, and I argue that this provides the potential for shared guardianship to form.

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With cryptocollectibles, cryptography holds an auratic power as it imposes an artificial scarcity in digital artworks; it returns artistic production to a ritualistic tendency as these digital files gain a proof of ownership and a desirable authenticity. All three of these presentations reflect these ideas of investment and the value in hidden labour.

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These presentations ask us to re-evaluate which values we currently prioritise, and to consider what ultimately creates value in the context of the creative and cultural sectors.

He presented the main opportunities under four themes; ownership, payments, increased control, and new business models. These broad themes highlighted some the unique qualities using the technology, namely the potential for collaboration, the distribution of power and wealth, and the ability to authenticate. However, in highlighting the bitcoin mining în nigeria and the barriers, Marcus also showed that there are some practical issues to overcome if the technology is to be taken up by the sector.

These included technological issues, environmental issues, legal and policy making problems, as well as social barriers such as the lack of public take up. What was clear from his discussion is the need to highlight blockchain as simply a technology bitcoin mining în nigeria not a solution to all economic, political and social problems within the sector.

Session 3: Provenance Gareth Fletcher began the provenance session on considering provenance and blockchain in the art market and questioned if the art market is putting too much trust into the use of blockchain. However, as Gareth notes, this potential solution needs to be considered carefully and, again it goes back to this idea that blockchain is simply a tool, it cannot stop others from using it fraudulently.

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Using a case study of an anonymous company working in the space of blockchain provenance documentation for art, Gareth highlights how there is room for misinterpretation about what exactly such organisations are able to do. This project was a collaboration between the National Archives and the University of Surrey and explored trust and preservation of born-digital artefacts.

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Verificarea contului btc markets Mark noted, there are challenges to digital preservation such as document integrity, data corruption, format shifting and the potential for malicious deletion and, although some of these issues can be addressed individually, blockchain offers a system that can address these challenges.

The project consisted of six archives from across the globe taking part in using a private blockchain to consider if the technology could embed trust into digital archiving. Therefore, this notion of trust was a key point again and Mark noted how cultural institutions such as the National Archives hold an authority over knowledge that enables users to trust that the information provided is accurate. In doing so, she considers the value of documenting the provenance about a piece and explore the narratives of care.

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At the core of this research is this notion of reputation through provenance, which suggests a shift away from focusing on value creation in an economical or monetary sense, to one that is embedded in cultural, personal and social values. Together, these presentations reflect the opportunity of enforcing trust through blockchain and such an opportunity also highlights the potential in creating reputation and supporting authority in the digital space.

Hence, provenance is more than simply documenting what we already know about a piece, the process can inform a sense of trust that is valuable beyond the artwork. The game consists of players buying, selling and breeding digital cats which are stored as ERC tokens on the Ethereum blockchain, however, the game has recently moved to the blockchain Flow due to the ever-increasing high gas fees on Ethereum.

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But, as Alesja notes, this scarcity value is questioned in this game due to the lack of active players, indeed, the game has over a million digital cats and yet only around 3, active players which, in the context of supply and demand, indicates that these cats are far from scarce. Therefore, there is a paradox at play here, where the bitcoin mining în nigeria tries to attract players with the idea of holding a scarce digital cat and yet the lack of players contradicts this digital scarcity.

In other words, the game needs mass adoption if it is to work at all, an argument that reflects the situation with all cryptocurrencies; hence, value is dependent on the community as much as it needs the concept of scarcity.

He also bitcoin mining în nigeria the process of which an industry is transformed by a technology; in the first instance there is education, then there is experimentation, collaboration and finally transformation.

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Rouslan Ovtcharoff ended the session with an overview of blockchain in the entertainment industries in which he highlights how blockchain entertainment platforms have the potential to engage audiences through methods such as incentivisation, monetise content and enable content creators to go directly to the audiences and fans. Virtual worlds offer a case in point; blockchain has infiltrated this area with platforms such as Decentraland and Cryptovoxel where players can buy virtual land using cryptocurrencies.

Once again, the key point to these presentations was this idea of value creation, namely, the value created or the lack there of in the digital space through digital scarcity and the value in educating, experimenting and collaborating.

This idea of value reflects more widely across the various presentations of this conference, specifically, there is this question of what do we value as a sector and how do we go about presenting these values?

The responses to this question will help to mould the future of this emerging field, whether this is in policy making, education or experimenting with new projects.

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It will also help to minimise the risk of initiatives simply implementing current infrastructures and support the sector in focusing on the hidden values in cultural production.

Hence, blockchain has the potential to be a disruptive technology in this sector but only if those that are part of this field help to shape the technology so that it meets the needs of the sector. Frances Liddell.

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