Crypto Collectibles, Museum Funding and OpenGLAM: Challenges, Opportunities and the Potential of Non-Fungible Tokens (NFTs)
Crypto Collectibles, Museum Funding and OpenGLAM: Challenges, Opportunities and the Potential of Non-Fungible Tokens (NFTs)
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DOI：
10.3390/app11219931
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发表时间：
2021-10
期刊：
影响因子：
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通讯作者：
Foteini Valeonti;Antonis Bikakis;Melissa Mhairi Terras;Chris Speed;A. Hudson-Smith;K. Chalkias
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文献类型：
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作者：
Foteini Valeonti;Antonis Bikakis;Melissa Mhairi Terras;Chris Speed;A. Hudson-Smith;K. Chalkias
不可替代的代币（NFT）使数字资产在技术上可以被拥有和交易，首次在数字领域引入了稀缺性的概念。由于这种技术的发展，本文提出的问题，他们提供了一个机会，为画廊，图书馆，档案馆和博物馆（GLAM），通过出售其收藏品的数字副本的所有权筹款？尽管当前格式的NFT于2017年首次发明，作为游戏玩家交易虚拟商品的一种手段，但它们在2021年成为主流，当时佳士得拍卖行举办了有史以来首次专门针对NFT的销售。数字图像，最终以创纪录的6900万美元成交。NFT通过有效地销售数字图像的加密签名副本，为艺术家和博物馆带来可观收入的潜力（类似于现实世界的限量版，这是签名和编号的副本，给定的艺术品），引发了兴趣的财政贫困博物馆和遗产部门与世界知名的机构，如乌菲兹美术馆和冬宫博物馆，为了筹集资金已经雇佣了NFT。围绕区块链技术对环境影响的担忧以及恶意项目的兴起，利用以前通过OpenGLAM许可提供的数字化遗产内容，引起了对该技术投机性使用的批评。在本文中，我们介绍了与NFT和文化遗产部门有关的现状，确定了挑战，同时强调了它们为创收创造的机会，以帮助解决画廊和博物馆日益增长的财务挑战。
Non-fungible tokens (NFTs) make it technically possible for digital assets to be owned and traded, introducing the concept of scarcity in the digital realm for the first time. Resulting from this technical development, this paper asks the question, do they provide an opportunity for fundraising for galleries, libraries, archives and museums (GLAM), by selling ownership of digital copies of their collections? Although NFTs in their current format were first invented in 2017 as a means for game players to trade virtual goods, they reached the mainstream in 2021, when the auction house Christie’s held their first-ever sale exclusively for an NFT of a digital image, that was eventually sold for a record 69 million USD. The potential of NFTs to generate significant revenue for artists and museums by selling effectively a cryptographically signed copy of a digital image (similar to real-world limited editions, which are signed and numbered copies of a given artwork), has sparked the interest of the financially deprived museum and heritage sector with world-renowned institutions such as the Uffizi Gallery and the Hermitage Museum, having already employed NFTs in order to raise funds. Concerns surrounding the environmental impact of blockchain technology and the rise of malicious projects, exploiting previously digitised heritage content made available through OpenGLAM licensing, have attracted criticism over the speculative use of the technology. In this paper, we present the current state of affairs in relation to NFTs and the cultural heritage sector, identifying challenges, whilst highlighting opportunities that they create for revenue generation, in order to help address the ever-increasing financial challenges of galleries and museums.