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The Return of the Aura Through NFT: Crypto Art in the Digital Age

Year 2022, Volume: 9 Issue: 1, 48 - 63, 18.07.2022

Abstract

NFTs, which are gradually expanding the volume of trade in the crypto currency markets, are a virtual investment tool that serves to digitally certify works of art.These digital assets, which bring their users in “uniqueness” by encrypting works their using the blockchain technology use, have brought up Walter Benjamin's argument about works of art in the reproduction process again. Benjamin mentioned the influence of the technologies of the period in which he was engaged on works of art. He suggested that the artwork reproduced by means of technology has lost its special atmosphere (aura). NFT, which is a technology of the digital world today, seems to have the qualities that can restore the uniqueness and aura that Benjamin claims is now lost. Benjamin mentioned the influence of the technologies of the period in which he was engaged on works of art. He suggested that the artwork reproduced by means of technology has lost its special atmosphere (aura). NFT, which is a technology of the digital world today, seems to have the qualities that can restore the uniqueness and aura that Benjamin claims is now lost.In this study, it will be researched whether these digital artworks produced as an NFT form “thanks to technical possibilities” have broken away from the ch aracteristics and historical context of the art work, taking into account the indicators pointed out by Walter Benjamin, have regaıned theır lost aura.

References

  • Bauman, Z. (2005). Liquid Life. Cambridge: Polity Press.
  • Benjamin, W. (2002). Pasajlar. İstanbul: Yapı Kredi Yayınları.
  • Cafer, Ş., Çatıkkaş, Ö., & Ulucan Özkul, F. (2020). Bitcoin madenciliğinin vergilendirilmesi / Taxation of Bitcoin mining. Vergi Sorunları Dergisi, 43(382), 42-51.
  • Christie's. (2018, 11 12). David Hockney’s Portrait of an Artist (Pool with Two Figures). New York.
  • Christie's. (2021). 25 Feb - 11 Mar 2021 | Online Auction 20447. 6 26, 2021 tarihinde Christie's: https://onlineonly.christies.com/s/first-open-beeple/beeple-b-1981-1/112924 adresinden alındı.
  • Deleuze, G. (2021). Nietzsche ve Felsefe. İstanbul: Norgunk.
  • Dowling, M. (2021). Fertile LAND: Pricing non-fungible tokens. Finance Research Letters. Ferscha, A., Hechinger, M., Mayrhofer, R., Rocha, M., Franz, M., & Oberhauser, R. (2004). Digital Aura. Advances in Pervasive Computing(176), 405-410.
  • Girão, L. M., & Santos, M. C. (2019). The Historical Relationship Between Artistic Acrivities and Technology Development. Brüksel: European Parliamentary Research Service. 9 17, 2021 tarihindehttps://www.europarl.europa.eu/thinktank/en/document.html?reference=EPRS_IDA(2019)634439 adresinden alındı.
  • Holmes, H. (2021, 4 5). David Hockney is Skeptical About NFTs and Thinks Beeple’s Work Looks ‘Silly'. 8 5, 2021 tarihinde Observer: https://observer.com/2021/04/david-hockney-nfts-beeple/ adresinden alındı.
  • Hope, C., & Ryan, J. (2014). Digital Arts: An Introduction to New Media. London: Bloomsbury Publishing.
  • Jasper, M. (2017). Deleuze on Art: The Problem of Aesthetic. Newcastle upon Tyne: Cambridge Scholars Publishing.
  • Kardaş, S. (2019). Blokzincir Teknolojisi: Uzlaşma Protokolleri. Dicle Üniversitesi Mühendislik Fakültesi Mühendislik Dergisi, 10(2), 481-496.
  • LeWitt, S. (1969). Paragraphs on Conceptual Art. Art-Language, 0-9.
  • Riccioni, I. (2008, 8 2). Art and Creativity. Bolzano. 9 17, 2021 tarihinde http://magazin.cultura21.de/piazza/english/art-and-creativity.html adresinden alındı.
  • The Times. (2021, 4 4). David Hockney brushes off ‘crooks and swindlers’ of digital art. 8 5, 2021 tarihinde thetimes.co.uk: https://www.thetimes.co.uk/article/david-hockney-brushes-off-crooks-and-swindlers-of-digital-art-bwjvlhp7l adresinden alındı.
  • Valkealahti, J. (2015). Liquid art: Embracing Temporary Aesthetics (Master's Thesis). Aalto: Aalto University.

NFT Eserler ile Auranın Dönüşü: Dijital Çağda Kripto Sanat

Year 2022, Volume: 9 Issue: 1, 48 - 63, 18.07.2022

Abstract

Kripto para piyasalarındaki ticaret hacmini giderek genişleten NFT’ler, sanat eserlerini dijital olarak sertifikalandırmaya yarayan sanal bir yatırım aracıdır. Kullandığı blokzincir teknolojisi vasıtasıyla eserleri şifreleyerek kullanıcılarına “biriciklik” vaadinde bulunan bu dijital varlıklar, Walter Benjamin’in yeniden üretim sanat yapıtları hakkındaki savını tekrar gündeme getirmiştir. Benjamin, -içinde bulunduğu dönem için- teknolojinin sanat eserleri üzerindeki etkisine değinerek, teknoloji vasıtasıyla yeniden üretilen sanat eserinin özel atmosferini (aurasını) yitirdiğini ileri sürmüştür. Bugünün bir teknolojisi olarak sunulan NFT ise, Benjamin’in artık yitip gittiğini ileri sürdüğü biricikliği ve aurayı yeniden geri getirebilecek niteliklere sahipmiş gibi gözükmektedir.

Bu çalışmada teknolojik imkanlar “sayesinde” NFT formu olarak üretilen bu dijital sanat eserinin, Walter Benjamin’in işaret ettiği göstergeler ile tarihsel bağlamdan ve sanat eseri özelliklerinden kopup kopmadığı, bununla birlikte ise kaybolan aurasını yeniden kazanıp kazanmadığı konusu araştırılacaktır.

References

  • Bauman, Z. (2005). Liquid Life. Cambridge: Polity Press.
  • Benjamin, W. (2002). Pasajlar. İstanbul: Yapı Kredi Yayınları.
  • Cafer, Ş., Çatıkkaş, Ö., & Ulucan Özkul, F. (2020). Bitcoin madenciliğinin vergilendirilmesi / Taxation of Bitcoin mining. Vergi Sorunları Dergisi, 43(382), 42-51.
  • Christie's. (2018, 11 12). David Hockney’s Portrait of an Artist (Pool with Two Figures). New York.
  • Christie's. (2021). 25 Feb - 11 Mar 2021 | Online Auction 20447. 6 26, 2021 tarihinde Christie's: https://onlineonly.christies.com/s/first-open-beeple/beeple-b-1981-1/112924 adresinden alındı.
  • Deleuze, G. (2021). Nietzsche ve Felsefe. İstanbul: Norgunk.
  • Dowling, M. (2021). Fertile LAND: Pricing non-fungible tokens. Finance Research Letters. Ferscha, A., Hechinger, M., Mayrhofer, R., Rocha, M., Franz, M., & Oberhauser, R. (2004). Digital Aura. Advances in Pervasive Computing(176), 405-410.
  • Girão, L. M., & Santos, M. C. (2019). The Historical Relationship Between Artistic Acrivities and Technology Development. Brüksel: European Parliamentary Research Service. 9 17, 2021 tarihindehttps://www.europarl.europa.eu/thinktank/en/document.html?reference=EPRS_IDA(2019)634439 adresinden alındı.
  • Holmes, H. (2021, 4 5). David Hockney is Skeptical About NFTs and Thinks Beeple’s Work Looks ‘Silly'. 8 5, 2021 tarihinde Observer: https://observer.com/2021/04/david-hockney-nfts-beeple/ adresinden alındı.
  • Hope, C., & Ryan, J. (2014). Digital Arts: An Introduction to New Media. London: Bloomsbury Publishing.
  • Jasper, M. (2017). Deleuze on Art: The Problem of Aesthetic. Newcastle upon Tyne: Cambridge Scholars Publishing.
  • Kardaş, S. (2019). Blokzincir Teknolojisi: Uzlaşma Protokolleri. Dicle Üniversitesi Mühendislik Fakültesi Mühendislik Dergisi, 10(2), 481-496.
  • LeWitt, S. (1969). Paragraphs on Conceptual Art. Art-Language, 0-9.
  • Riccioni, I. (2008, 8 2). Art and Creativity. Bolzano. 9 17, 2021 tarihinde http://magazin.cultura21.de/piazza/english/art-and-creativity.html adresinden alındı.
  • The Times. (2021, 4 4). David Hockney brushes off ‘crooks and swindlers’ of digital art. 8 5, 2021 tarihinde thetimes.co.uk: https://www.thetimes.co.uk/article/david-hockney-brushes-off-crooks-and-swindlers-of-digital-art-bwjvlhp7l adresinden alındı.
  • Valkealahti, J. (2015). Liquid art: Embracing Temporary Aesthetics (Master's Thesis). Aalto: Aalto University.
There are 16 citations in total.

Details

Primary Language Turkish
Subjects Communication and Media Studies
Journal Section Articles
Authors

Gökhan Kaya

Nimet Önür 0000-0002-5821-9465

Early Pub Date July 6, 2022
Publication Date July 18, 2022
Published in Issue Year 2022 Volume: 9 Issue: 1

Cite

APA Kaya, G., & Önür, N. (2022). NFT Eserler ile Auranın Dönüşü: Dijital Çağda Kripto Sanat. Maltepe Üniversitesi İletişim Fakültesi Dergisi, 9(1), 48-63.