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blog, English, KI, Neue Epoche, Neue Kultur, Social Design, Zukunft der Arbeit

Europe Is Fed Up. Catching Up Is Still Not a Strategy

Deutsche Fassung: Europa ist es leid. Technisch aufzuholen ist trotzdem noch keine Strategie

WIRED captures the European mood in a useful headline: “Europe
Is Fed Up and Wants Its Own AI”
. The impulse is understandable.
Europe wants less dependency, more compute of its own, its own models
and infrastructure that does not become nervous every time the
geopolitical weather changes.

Yet the reaction contains a dangerous narrowing. A continent can
catch up technically and still miss the actual transformation. A
European fab can produce chips. It does not decide how schools organise
learning, how public administrations assign responsibility, how
companies protect human judgement or how the public sphere deals with
synthetic powers of persuasion.

AI is not one technology sector among others. It acts simultaneously
on work, education, public administration, the public sphere, value
creation, power architectures and the organisation of judgement. It
changes not only how we work. It changes what will count as work,
competence, career, institution and human contribution.

Technical catch-up is therefore necessary but insufficient. The more
important task is to shape the paradigm shift.

Catching up is not a
direction

The European debate likes to count data centres, parameters, chips
and investment totals. That is not wrong. Infrastructure determines who
can act at all. Without compute, energy, networks, open models and
skilled people, sovereignty remains a conference term with excellent
typography.

But infrastructure does not answer where a society wants to go. A
continent can own a capable model and remain dependent on a single cloud
provider, a proprietary orchestrator, an opaque supply chain or a
handful of consultancies that are the only ones who know how the system
works. Ownership alone does not create agency.

From a New Work perspective, that is the decisive distinction.
Freedom does not emerge from an object located somewhere in Europe. It
emerges from capabilities, rights and real alternatives. People and
institutions must be able to understand, limit, change and challenge a
system. Otherwise we will have European hardware and imported
powerlessness.

Sovereignty begins with
exit capacity

A useful working definition follows: AI sovereignty is the ability to
make dependencies visible, limit them, switch providers and continue
critical work when a contract, an API or a political relationship
fails.

This is not a demand for autarky. Europe does not need to manufacture
every model layer, chip and tool itself. It does need exit capacity.
Data, prompts, evaluations, logs and workflows must be exportable.
Critical processes need a degraded mode. Interfaces must be replaceable.
The first exit test cannot take place on the day of the crisis.

Procurement often asks about price, accuracy and speed. Sovereign
procurement also asks: How long does exit take? Which capabilities do we
lose while operating the service? Who can inspect the system without the
vendor? What remains functional when the connection disappears?

That sounds less spectacular than “Europe’s own AI.” It is much
closer to a Tuesday morning when a public agency or a company actually
has to keep working.

A server location is
a fact, not a strategy

EU hosting can be useful and necessary in sensitive contexts. It does
not automatically resolve questions of corporate jurisdiction, key
control, access, subcontractors and provider switching.

The EU
Data Act
contains safeguards against unlawful third-country
government access and rules intended to make switching between
data-processing services easier. US law, meanwhile, can require covered
providers under specified conditions to disclose data within their
possession, custody or control regardless of whether the data is located
inside or outside the United States; the territorial principle appears
in 18 U.S.C. §
2713
.

Which obligation applies in a specific case is a legal question, not
a LinkedIn punchline. The architectural conclusion is still clear: a
Frankfurt postcode does not replace analysis of jurisdiction,
encryption, key ownership, the supply chain and the exit path.

What colibri actually proves

The open-source colibri project expands
the technical design space. It can run the 744-billion-parameter GLM-5.2
mixture-of-experts model on a machine with roughly 25 GB of RAM and no
GPU. Part of the model remains resident in memory, while expert layers
are kept on an SSD and streamed when needed.

That is remarkable. It is not fast. The project documents roughly 370
GB of storage, about 11 GB of disk reads for each cold token and
approximately 0.05 to 0.1 tokens per second during cold decoding. This
is not a citizen-service chatbot and it is not proof that every standard
laptop can now run a frontier model in production. It is a proof of
feasibility: “too large to run locally” is not an immutable law of
nature.

The practical lesson is not to install colibri everywhere. It is to
build more differentiated architectures. Sensitive tasks may run on
smaller open models locally when quality and risk allow it. Other tasks
may use an external frontier service. Between them, organisations need
gateways, evaluations and replaceable interfaces. Sovereignty lies in a
designed portfolio, not in a heroic all-or-nothing decision.

The organisation of
judgement

This is where the actual New Work question begins. If only an
external vendor or a small specialist team understands how an AI system
reaches and operationalises decisions, the organisation is not merely
renting compute. It is renting judgement.

Workers can then become final-stage validators for a machine whose
assumptions they are not allowed to change. They remain responsible for
outcomes but cannot access the rules, logs or escalation paths. This is
not relief from work. It is responsibility without agency.

A small study of AI-assisted writing, “Your Brain on ChatGPT”,
found lower neural connectivity and a lower sense of ownership among the
LLM group across 54 participants in its first three sessions. This is
not proof of general cognitive decline and certainly not a finding about
every occupation. It is a bounded warning: when systems are designed so
that people merely accept outputs, learning and judgement can disappear
from the work process.

Sovereign organisations do the opposite. Domain experts define error
and action boundaries. Operations teams can inspect logs and roll
systems back. Workers and their representatives have intelligible rights
to challenge and stop systems. Learning does not occur only in an annual
course; it happens in the real work of shaping the system.

A Monday-morning test

Before using the label “sovereign,” six questions should be
answered:

  1. Can we name the full technical and legal dependency chain?
  2. Can we export data, workflows, evaluations and logs in usable
    form?
  3. Can we replace the model or provider without reinventing the
    organisation?
  4. Can critical services continue in a degraded mode during failure or
    dispute?
  5. Can the people who carry responsibility inspect errors, contest
    decisions and stop the system?
  6. Does our own capability grow during operation, or only the vendor’s
    invoice?

This test connects technology, law and work. That is exactly what is
required for a transformation force that changes several social orders
at once.

Europe does not need a
victory pose

“Europe is fed up” can be a productive beginning. Fatigue does not
build an institution. A fab, a model and a European data centre can be
important freedom substrates. They do not replace the work of
redesigning education, public administration, co-determination, the
public sphere and the distribution of judgement.

Europe’s decisive capability is not to own everything. It is to set
direction together: to see dependencies, preserve alternatives, build
capability, assign responsibility and enable dissent both technically
and institutionally.

Then sovereignty becomes more than origin. It becomes practice. And
technical catch-up finally becomes what it should be: a tool for
societal design, not its substitute.

Further reading: New Work New Culture’s
Flowbook AI

Juli 14, 2026/von Ilja Weisz
https://newwork-newculture.dev/wp-content/uploads/2026/07/NWNC_Designsystem_praezisionalshaltung.png 768 1376 Ilja Weisz https://newwork-newculture.dev/wp-content/uploads/2020/07/NWNC_MASTERLOGO_HAND_ff0000_rot_format.png Ilja Weisz2026-07-14 08:28:572026-07-14 08:28:57Europe Is Fed Up. Catching Up Is Still Not a Strategy
blog, Deutsch, KI, Neue Epoche, Neue Kultur, Social Design, Zukunft der Arbeit

Europa ist es leid. Technisch aufzuholen ist trotzdem noch keine Strategie

English version: Europe Is Fed Up. Catching Up Is Still Not a Strategy

WIRED bringt die europäische Stimmung auf eine brauchbare
Schlagzeile: „Europe
Is Fed Up and Wants Its Own AI“
. Der Impuls ist verständlich. Europa
will weniger Abhängigkeit, mehr eigene Rechenleistung, eigene Modelle
und eine Infrastruktur, die nicht bei jeder geopolitischen
Wetteränderung nervös zum Fenster schaut.

Nur liegt in dieser Reaktion eine Verkürzung. Man kann technisch
aufholen und den eigentlichen Wandel trotzdem verpassen. Eine eigene Fab
kann Chips produzieren. Sie beantwortet noch nicht, wie Schulen Lernen
organisieren, wie Verwaltungen Verantwortung zuordnen, wie Unternehmen
menschliches Urteil schützen oder wie Öffentlichkeit mit synthetischer
Überzeugungskraft umgeht.

KI ist kein einzelner Technologiesektor. Sie wirkt gleichzeitig auf
Arbeit, Bildung, Verwaltung, Öffentlichkeit, Wertschöpfung,
Machtarchitekturen und die Organisation von Urteil. Sie verändert nicht
nur, wie wir arbeiten. Sie verändert, was künftig als Arbeit, Kompetenz,
Karriere, Institution und menschlicher Beitrag gilt.

Darum ist technisches Aufholen notwendig, aber nicht hinreichend. Die
wichtigere Aufgabe ist, den Paradigmenwechsel zu gestalten.

Aufholen ist keine Richtung

Die europäische Debatte zählt gern Rechenzentren, Parameter, Chips
und Investitionssummen. Das ist nicht falsch. Infrastruktur entscheidet,
wer überhaupt handeln kann. Ohne Rechenleistung, Energie, Netze, offene
Modelle und Fachleute bleibt Souveränität ein Konferenzwort mit sehr
guter Typografie.

Aber Infrastruktur beantwortet nicht, wohin eine Gesellschaft handeln
will. Ein Kontinent kann ein leistungsfähiges Modell besitzen und
dennoch abhängig bleiben: von einem einzelnen Cloud-Anbieter, einem
proprietären Orchestrator, einer undurchsichtigen Lieferkette oder
wenigen Beratungen, die als Einzige wissen, wie das System funktioniert.
Besitz allein schafft noch keine Handlungsfähigkeit.

Aus New-Work-Sicht ist das der entscheidende Unterschied. Freiheit
entsteht nicht durch ein Objekt, das irgendwo in Europa steht. Sie
entsteht durch Fähigkeiten, Rechte und reale Alternativen. Menschen und
Institutionen müssen ein System verstehen, begrenzen, verändern und ihm
widersprechen können. Sonst haben wir europäische Hardware und
importierte Ohnmacht.

Souveränität
beginnt mit Ausstiegsfähigkeit

Eine brauchbare Arbeitsdefinition lautet deshalb: KI-Souveränität ist
die Fähigkeit, Abhängigkeiten sichtbar zu machen, sie zu begrenzen,
Anbieter zu wechseln und kritische Leistungen auch dann weiterzuführen,
wenn ein Vertrag, eine API oder eine politische Beziehung ausfällt.

Das ist keine Forderung nach Autarkie. Europa muss nicht jede
Modellschicht, jeden Chip und jedes Werkzeug selbst herstellen. Es
braucht aber Ausstiegsfähigkeit. Daten, Prompts, Evaluierungen,
Protokolle und Arbeitsabläufe müssen exportierbar sein. Kritische
Prozesse brauchen einen reduzierten Weiterbetrieb. Schnittstellen müssen
austauschbar sein. Der Wechsel darf nicht erst am Tag der Krise zum
ersten Mal getestet werden.

Beschaffung fragt heute oft nach Preis, Genauigkeit und
Geschwindigkeit. Eine souveräne Beschaffung fragt zusätzlich: Wie lange
dauert der Ausstieg? Welche Fähigkeiten verlieren wir während des
Betriebs? Wer kann das System ohne den Hersteller prüfen? Was bleibt
funktionsfähig, wenn die Verbindung weg ist?

Das klingt weniger spektakulär als „Europe’s own AI“. Es ist dafür
näher an einem Dienstagvormittag, an dem eine Behörde oder ein Betrieb
tatsächlich weiterarbeiten muss.

Der
Serverstandort ist eine Angabe, keine Strategie

EU-Hosting kann sinnvoll und in sensiblen Kontexten notwendig sein.
Es löst aber nicht automatisch Fragen der Konzernzuständigkeit, der
Schlüsselkontrolle, des Zugriffs, der Subunternehmer und des
Anbieterwechsels.

Der EU
Data Act
enthält Schutzpflichten gegen unzulässigen staatlichen
Zugriff aus Drittstaaten und Regeln, die den Wechsel zwischen
Datenverarbeitungsdiensten erleichtern sollen. Das US-Recht verlangt
zugleich von erfassten Anbietern unter bestimmten Voraussetzungen die
Herausgabe von Daten in ihrem Besitz, ihrer Obhut oder Kontrolle,
unabhängig davon, ob diese Daten innerhalb oder außerhalb der USA
gespeichert sind; der räumliche Grundsatz steht in 18 U.S.C. §
2713
.

Welche Pflicht im konkreten Fall greift, ist eine Rechtsfrage, keine
LinkedIn-Pointe. Die architektonische Folgerung ist trotzdem klar: Eine
Frankfurter Postleitzahl ersetzt keine Prüfung von Jurisdiktion,
Verschlüsselung, Schlüsselbesitz, Lieferkette und Exit-Pfad.

Was colibri tatsächlich
beweist

Das Open-Source-Projekt colibri erweitert den
technischen Möglichkeitsraum. Es kann das
744-Milliarden-Parameter-MoE-Modell GLM-5.2 auf einer Maschine mit
ungefähr 25 GB RAM ohne GPU ausführen. Ein Teil des Modells bleibt im
Arbeitsspeicher, die Expertenschichten liegen auf SSD und werden bei
Bedarf gestreamt.

Das ist bemerkenswert. Es ist aber nicht schnell. Das Projekt
dokumentiert rund 370 GB Speicherbedarf, ungefähr 11 GB Lesezugriffe pro
kaltem Token und etwa 0,05 bis 0,1 Token pro Sekunde im kalten Lauf. Das
ist kein Chatbot für den Bürgerservice und kein Beweis, dass nun jedes
Standardnotebook ein Frontier-Modell produktiv betreibt. Es ist ein
Machbarkeitsbeweis: „Zu groß für lokal“ ist keine unveränderliche
Naturgrenze.

Die praktische Lehre ist nicht, überall colibri zu installieren. Sie
lautet, Architekturen differenzierter zu bauen. Sensible Aufgaben
können, sofern Qualität und Risiko es erlauben, mit kleineren offenen
Modellen lokal laufen. Andere Aufgaben können einen externen
Frontier-Dienst nutzen. Dazwischen braucht es Gateways, Evaluierungen
und austauschbare Schnittstellen. Souveränität liegt im gestalteten
Portfolio, nicht in einer heroischen Alles-oder-nichts-Entscheidung.

Die Organisation von Urteil

Hier beginnt die eigentliche New-Work-Frage. Wenn nur ein externer
Anbieter oder ein kleines Spezialteam versteht, wie ein KI-System
entscheidet, mietet die Organisation nicht nur Rechenleistung. Sie
mietet Urteil.

Beschäftigte werden dann leicht zu Endkontrolleuren einer Maschine,
deren Voraussetzungen sie nicht verändern dürfen. Sie tragen
Verantwortung für Ergebnisse, haben aber keinen Zugriff auf Regeln,
Protokolle oder Eskalationswege. Das ist keine Entlastung. Es ist
Verantwortung ohne Handlungsmacht.

Eine kleine Studie zum KI-gestützten Schreiben, „Your Brain on ChatGPT“,
fand bei 54 Teilnehmenden in den ersten drei Sitzungen geringere
neuronale Vernetzung und geringeres Eigentumsgefühl an Texten in der
LLM-Gruppe. Das ist kein Beweis für einen allgemeinen Verfall
menschlicher Kompetenz und schon gar keine Aussage über alle Berufe. Es
ist ein begrenzter Warnhinweis: Wer Systeme so gestaltet, dass Menschen
nur noch Ergebnisse abnehmen, kann Lernen und Urteil aus dem
Arbeitsprozess entfernen.

Souveräne Organisationen tun das Gegenteil. Fachleute definieren
Fehlergrenzen. Betriebsteams können Protokolle prüfen und zurückrollen.
Beschäftigte und Interessenvertretungen haben nachvollziehbare
Widerspruchs- und Stopprechte. Lernen findet nicht nur in einem
jährlichen Kurs statt, sondern in der realen Arbeit am System.

Ein Test für Montagmorgen

Vor dem Etikett „souverän“ sollten sechs Fragen beantwortet
werden:

  1. Können wir die technische und rechtliche Abhängigkeitskette
    vollständig benennen?
  2. Können wir Daten, Arbeitsabläufe, Evaluierungen und Protokolle in
    nutzbarer Form exportieren?
  3. Können wir das Modell oder den Anbieter ersetzen, ohne die
    Organisation neu zu erfinden?
  4. Können kritische Leistungen bei Ausfall oder Streit in einem
    reduzierten Modus weiterlaufen?
  5. Können die Menschen, die Verantwortung tragen, Fehler prüfen,
    Entscheidungen anfechten und das System stoppen?
  6. Wächst während des Betriebs unser eigenes Können oder nur die
    Rechnung des Anbieters?

Dieser Test verbindet Technik, Recht und Arbeit. Genau das braucht
eine Transformationskraft, die gleichzeitig mehrere gesellschaftliche
Ordnungen verändert.

Europa braucht keine
Siegerpose

„Europe is fed up“ kann ein produktiver Anfang sein. Müdigkeit allein
baut jedoch keine Institution. Eine eigene Fab, ein eigenes Modell und
ein europäisches Rechenzentrum können wichtige Freiheitssubstrate sein.
Sie ersetzen nicht die Arbeit an Bildung, Verwaltung, Mitbestimmung,
Öffentlichkeit und der Verteilung von Urteilsmacht.

Die entscheidende europäische Fähigkeit ist nicht, alles selbst zu
besitzen. Sie ist, gemeinsam Richtung geben zu können: Abhängigkeiten
sehen, Alternativen erhalten, Können aufbauen, Verantwortung zuordnen
und Widerspruch technisch wie institutionell ermöglichen.

Dann wird Souveränität mehr als Herkunft. Sie wird Praxis. Und
technisches Aufholen wird endlich zu dem, was es sein sollte: ein
Werkzeug für gesellschaftliche Gestaltung, nicht ihr Ersatz.

Weiterführend: Flowbook KI von New Work
New Culture

Juli 14, 2026/von Ilja Weisz
https://newwork-newculture.dev/wp-content/uploads/2026/07/NWNC_Designsystem_praezisionalshaltung.png 768 1376 Ilja Weisz https://newwork-newculture.dev/wp-content/uploads/2020/07/NWNC_MASTERLOGO_HAND_ff0000_rot_format.png Ilja Weisz2026-07-14 08:28:552026-07-14 08:28:55Europa ist es leid. Technisch aufzuholen ist trotzdem noch keine Strategie
Bildung, blog, Calling, Community Production, English, Netzwerk, Neue Kultur, Social Design, Zukunft der Arbeit

Token


Token also means memento

Zurück Zurück Zurück Weiter Weiter Weiter

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Neïl Beloufa

┻┳

On June 28th Vienna Secession will open the exhibition Pandemic Pandemonium by french artist Neïl Beloufa, in which he deals intensively and in a very exciting way with the potential of NFT’S and their communities as well as crypto economy as a whole. At the heart of the exhibition is a game that can be played both real and digitally, with both artworks and NFT’s to be won. In addition, three „master hosts“ (or „robots“) compete for the attention of visitors.

„Each master host has its own Twitter account (Red, Yellow, Blue), where their posts are spoken in real time by IRL robots. Each master host is controlled by 333 minihosts, which represent it. These 999 minihosts are live generative NFT artworks living on the Ethereum blockchain. Their holders are invited to choose, via a sole-access dedicated Discord channel, what the master hosts post on Twitter and, consequently, what the IRLs will say.“


Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology
Lecture and talk at the Academy of Fine Arts Vienna



Token also means memento

Participation in NFT artworks is much more about growing than dividing. With the DLT application of inscribing shares in a work of art in the blockchain, a community of practice is triggered. Participation in the form of a few pixels in the digital Genesis Token of the masterpiece `The Kiss` by Klimt was only the beginning of a process for the museum Belvedere. Nothing less than the concept of „legitimate peripheral participation“ as a kind of „bridge concept“ of the digital transformation of art, museums and knowledge was thus technologically reinforced.

Ex Machina 2.0

A conversation with Digital Cooperativist Thomas Schneider

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

┻┳
Social Design on Workᴺᶠᵀ
new social models with collective production and fair consumption of use value
WWTF Arts&Science, Prix Ars Electronica, Vienna Biennale,
┳┻|
code întuitif
newwork-newculture
artèQ


AVA – „to be able to observe people and their behavior at such an intersection „in the middle of life“.

Zurück Zurück Zurück Weiter Weiter Weiter


Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology



Token and Society

Digitization is going wrong in many respects. Taxi-driver are losing out to Uber, hotels to Airbnb, stores to Amazon.
In China, Tencent, Alibaba, and others are working closely with the government on total citizen control. The West is following.

Until now, digitization has run on a 20th century operating system. We need something new and decentralized. NFT, Crypto Commons, DAOs are a great tool set for that.

I spend a lot of time thinking about the future of society, and the development towards a hybrid digital-physical world is in full swing. In my opinion, it would be counterproductive to try to stop this, but it is better to shape the change offensively and the analog and digital will now inexorably become more closely intertwined with all the advantages and disadvantages. I am more concerned about the speed at which all this is happening and would prefer to install digital-analog braking systems. Anyway, NFTs are an important particle in this coding-biological transformation.

For myself, human nature and code have been important topics since the Ars Electronica days. Then in 2017, in the wake of the first blockchain applications, I founded code întuitif.

One of the nudges for this was actually a place that fascinates me. The global seed chamber in Svalbard. What few people know is that right next to the seeds are the GitHub code open source repositories stored for eternity.

There is something deeply fascinating and disturbing about seeds and code being buried underground so that we can reuse them in the future if a disaster wipes out all other known safety repositories.

Essentially, though, my NFT fascination is the living thing, that the digital never becomes solid, never dries, is actually a constant process, and NFT is lived community of practice.

Zurück Zurück Zurück Weiter Weiter Weiter

Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology



Apart from the fact that the digital has influenced art since a long time / e.g. Herbert Franke / there is a lot of cool digital art shit out there.

Herbert W. Franke (born 14 May 1927 in Vienna) is an Austrian scientist and writer. Die Zeit calls him „the most prominent German writing Science Fiction author“. He is also one of the important early computer artists (and collectors), creating computer graphics and early digital art since the late 1950s. Franke is also active in the fields of future research as well as speleology. He uses his pen name Sergius Both as this Avatar name in Active Worlds and Opensimulator grids. The Sergius Both Award is given for creative scripting in Immersionskunst by Stiftung Kunstinformatik, first time issued at Amerika Art 2022.

Another Pioneer; Titus Leber :

Titus Leber is an Austrian screenwriter and director of music feature films and is considered to be one of the creative pioneers of the transitional phase from the analogue to the digital age.  From 1984-1985 Titus worked as Research Fellow at the Center for Advanced Visual Studies (CAVS) at MIT. There he developed his „Image Reactor“®, an interactive Laser-Disc installation using complex permutative image-matrixes to simulate visual thinking. Early publications on artificial intelligence in the arts.

And there is far too often, unfortunately unnoticed, new superb original digital art in the field. One of my absolute favorites is Nikita Diakur

Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology



Exciting artistic as well as social aspects.

Entropies are NFT artworks that evolve each time they are transferred from one person to another. With each transfer of purses, an entropes inherits, blends,  and imprints its genomic history onto a visual canvas. Here, different layers interweave.

Originator Circle — Buyer Circle —

„When you buy an entropy, a circle is added and connected to the last circle in the chain. Each circle and connector has a unique genome based not only on the address of the buyer’s wallet, but also on the unique chain of previous owners.“

Let’s face it: The NFT space moves really fast. Considering how quickly things can change in the metaverse, a week in NFTs might as well be a month IRL. Don’t get us wrong — the more people onboarded into the space, the merrier.

Ex Machina 2.0

When people ‚make‘ something, these ‚products‘ and ’services‘ always emerge in a practical life context and through confrontations; very different people can be more or less actively involved: In the ‚making‘ of an NFT project, for example, not only programmers are involved, but also buyers, art mediators, advertisers, tour operators, clients, etc.

In the process, therefore, two things are produced: a product or a service and, at the same time, a social context.

In this perspective, the production process is no longer ‚only‘ a temporally limited production process that is only oriented towards a product: the production process is much more a complex context – similar in its structure to a landscape in which diverse relationships exist between different people/contexts. What emerges or develops in the process are not so much finished end products, but rather ‚productions‘ in the sense of artifactual constellations of meaning. The concrete product gains a different status: it becomes significant as a projection of social-cultural contexts. Seen in this way, in a concrete ‚product‘ – a ‚ledger‘ – different people with their abilities, skills, experiences, knowledge, feelings, their history, as well as work practices, means of work, material, work relations and work references are always present as human social potentiality. By entering into a relationship with this socially structured world, people are able to participate in the procedures and processes.

The perspective of participation is thus always to be understood in a relational dimension of meaning and as a movement of approach. At the same time, it becomes apparent that only by means of and through participation in a social practice can a relationship of the individual to the (life) world be established, formed and deepened. People take advantage of this possibility when they come together in informal practice contexts, meet, exchange and communicate. It therefore makes sense to understand the cultural practice of communalization from the perspective of the ‚changes‘ taking place in the process much more comprehensively as a digital transformation that shapes new cultural techniques.

Freedom! calls reason, freedom! the wild desire.  – Clearly, however, NFT is also very much about making a living with art.

Money is one of the oldest and most powerful memes — the cultural counterpart of genes, passed down generation to generation. Our culture would be entirely unrecognizable without money at its center — even something as fundamental as writing came about through the need for better accounting systems in 3500 BC. In more modern times, money is best understood by its three primary functions: store of value, unit of account and medium of exchange.

While the idea of fetching a six-figure payday for the latest trending digital art piece has been a major factor in the attention placed on the sector, the truth is that the cryptoindustry has only scratched the surface of what NFT technology is capable of.

Intellectual property and patents
NFTs are ideal for tracking intellectual property (IP) and patents as they take the current system of trademarks and copyrights to the next level by offering a way to prove ownership of any piece of content.
The data-keeping capabilities of blockchain technology allow for the entire history of a piece of IP to be tracked and timestamped, offering a way to provide undeniable ownership. Ticketing and rewards programs One use case for NFTs that is already being explored and implemented in entertainment venues around the world is in the creation of tickets or passes to events. The ability to create an unlimited number of unique NFTs allows venues like concert halls and sports arenas to issue tickets for entry as NFTs that can be easily verified or transferred. The prevalence of smartphones across society has made digital ticketing possible, and the integration of NFT technology will help to make this process more efficient and easier to track. Companies can set up rewards programs where participants are given NFTs that are used to track purchases or activities within the organization for rewards purposes. Instead of issuing physical cards or tracking activity by phone number, which exposes an important piece of personal information, activities can be tracked via an NFT that is scanned without revealing any other information. Exclusive memberships A final application of NFT technology is as a general utility token that performs a specific function, like verifying membership to an exclusive club or providing access to a certain service. This is a function that is already being employed by a number of NFT projects where they have a website or Discord group that can only be accessed after verifying ownership of an NFT from that particular collection. The applications of this idea are wide-ranging and run the gamut, from content creators offering fans exclusive access to songs if they hold an NFT released by that musician to secret societies allowing rare NFT holders to access their sacred libraries.


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Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology



motion nft

My contribution for #Fear4TEZ is actually pretty dark, don't you think so? But I like it! 😈

卩乇尺丂ㄖ几卂ㄥ 卄乇ㄥㄥ
50/130, 1 tezzie

🔊 sound on!!! (very important)

and check the original on @versumofficial please, it's a beautiful 4K video.
🔗👇 pic.twitter.com/miC7yrrxka

— Kika Nicolela (@kikanicolela) May 12, 2022

Omg, it's so amazing! https://t.co/Xth2IxJNr1

— no_mad. (@neon_based) May 12, 2022

https://twitter.com/i/status/1503013754648281088

NO.O34 pic.twitter.com/fXpW4dr4yW

— CUBE (@cube_nft) March 20, 2022

https://twitter.com/ProfessorJun_/status/1508509395839238145?s=20&t=ML-8RGaSJM8ZxK15GfEWww

https://twitter.com/ina_vare/status/1508778979829989376?s=20&t=ML-8RGaSJM8ZxK15GfEWww

https://muse0.xyz/

We think we are in control.
We believe that our conscious mind directs our thoughts and somehow controls our subconscious.
It was wrong.

Fractures Vol.1#NFTCollection

Sound on! 🔊

5 #NFTs 10/10 ed.
11-17 #XTZ pic.twitter.com/FRZfYZNE2P

— Dome.th (@DomVisionR) March 29, 2022

⭐️⭐️⭐️ PHOTOSENSITIVE WARNING ⭐️⭐️⭐️

👽🛸📺 I'LL BE RIGHT HERE… 📺🛸👽

*** 100% Analog Glitch – No Software Retouch ***

3 editions

I will be accepting the 3 highest offers on Wednesday at 9:30PM EST – 48 hours from now!

Link 👇 pic.twitter.com/AwE72o0gkL

— 📺⚡️PHOSPHOR OPERATOR⚡️📺 (@Pho_Operator) March 29, 2022

good nfts

Let's go! 💥
'Aquamarine Memories' #3 Night Thoughts (third of three-piece collection) out now on @KnownOrigin.io via@AdoptionNFT Gallery.

🔗https://t.co/KUklPKndYu

1 of 3 Editions • Now Available for Ξ 0.11#cryptoart #NFT #cryptoartist #ETH #AudioVisual #RetroFuture #SciFi pic.twitter.com/4jQKvvh1qW

— Railster (@Railster) December 3, 2021

https://twitter.com/jdotcolombo/status/1466723812037120001?s=20

Loving this new ASCII converter. ❤️‍🔥

Only 80×80 characters in resolution, but the fact that it follows the contrast lines really makes the details pop. 🙂🙃🔄

For sure going to make a new collection with it 👀 pic.twitter.com/59yiFlEI5o

— 1mposter (@_1mposter) April 18, 2022

Art by @andreasgysin pic.twitter.com/2iz00DFaEL

— ArtIsHack (@ArtIsHack) April 19, 2022

Token | Art | NFT

New Work, Social Token, Crypto Commons, The „greeness“ of DLT Technology



Entering the Metaverse

The metaverse is a lofty, nebulous concept. It’s also a violet-colored storefront on Franklin Street in New York.

The term Web3 is useless. What is different now is transparency on Blockchain, auditable smart contracts, decentralized decision making. All can enable entrepreneurs to create more productive and appealing Dapps.

NFTs are a simple example. Taking digital files, applying smart contracts to enable royalties/extractable info. Blockchain to publicly/transparently show provenance/trx history. Decentralized makes it more trusted than centralized

More advanced are trustless insurance policies via smart contracts using public standardized data like weather to simplify/speed up sales and pay outs

With Facebook, Twitter, and YouTube you invite your friends to participate, you generate content together, and the platforms make money.

With Web3 you invite your friends to participate, you generate content together, and you all make money.

The world is now more interested in APIs than atoms, and Web3 is redefining the internet and its activities. Take, for example, @subsquid, whose in-house Hydra protocol accomplishes in seconds what other query platforms take minutes to accomplish.

This space is obviously for everyone and it’s inclusive. I just want to see it built by us, for us. If the VCs want to show support then great! But I see opportunistic behavior as a turnoff. Passion is better.

1/ Y’all got it wrong. Web 2 is just the aggregate of all the websites that allow for users to contribute rather than the „consume only“ model of web 1. Web 3 is just the aggregate of the protocols that allow trading and usage of value. The most famous of which is Bitcoin.

2/ Structurally, web 3 runs on the same old ISP’s we’ve always used, centralized entities that control the gates of the internet. Web 4 will entail becoming your own ISP. #BULLISHv

NFT Pioneer Olive Allen Wants to Introduce the Art World to the Metaverse. Her Vision of the Future Looks Nothing Like Zuckerberg’s

At least that’s the idea behind Olive Allen’s new exhibition at Postmasters Gallery, which purports to recreate the Web3 world within the white cube. The title doubles as an ominous invitation: ​​”Welcome to the Metaverse.”

With its cheap, roller-rink lighting and glitchy soundtrack, Allen’s exhibition doesn’t actually capture the essence of the metaverse—at least not the utopian vision peddled by Mark Zuckerberg and other tech evangelists. But it does get at some of the affects we associate with the word in 2022: ‘90s nostalgia, corporate co-optation, video-game aesthetics, venomous reply-guy vibes.

NFTs Started ‘a Digital Art Renaissance.’ It’s Far From Over

As the .ART domain registry marks its fifth anniversary, digital artists hail a revolution in their industry.

Digital art was born in the 1960s, but the 2020s will surely go down as the era when the medium came into its own, and turned the art industry upside down in the process.

Technology, in the form of non-fungible tokens (NFTs) such as CryptoPunks, has played a key role in disrupting traditional art-market dynamics. Online marketplaces and platforms have enabled artists to dispense with gatekeepers, birthing a billion-dollar business that favors creators.

“The art landscape changed when CryptoPunks launched in 2017, and everyone realized art can be traded and exchanged through NFTs,” Singaporean digital artist Metalman, told Decrypt.

He and others describe a transformation that helped online art sales double in 2021, per a report by art organization Art Basel. Accelerating this shift online, platforms such as domain registry .ART—which marks its fifth anniversary this month—have enabled creators to anchor their collections, form communities and reach new audiences.

A new renaissance

“In the past five years, especially in the last two, the interest [in] and perceived value of digital art has dramatically increased,” according to Katelyn DeVan, a digital artist who’s used the .ART platform to reach a global audience from her Ohio studio.

“Blockchain technology, and NFTs in particular, have sparked what I describe as a ‚digital art renaissance,’” she asserts. “Digital art is no longer seen as merely a niche collectable, but also an investment.”

This transformation has been helped along by the pandemic, which led online art sales to surge from 9% to 25% of total global art sales in 2021, according to Art Basel.

„Blockchain technology, and NFTs in particular, have sparked what I describe as a ‚digital art renaissance.'“

—Katelyn DeVan

But the culture is changing too. With no middlemen, artists are able to form deeper connections with collectors—and NFTs have helped to instigate a shift from consumption to sharing, according to .ART founder Ulvi Kasimov.

Liberating artists from their modern-day garrets

“With NFTs, there is a better chance for every artist to become independent. Instead of working for a big corp, you can make a living producing art, it’s definitely a big factor,” says award-winning, Vancouver-based artist Tadeusz Chmiel.

Artwork by Tadeusz Chmiel.
Artwork by Tadeusz Chmiel.

A .ART user, Chmiel has worked in both the digital and physical spheres; as well as painting in oils, he’s created stunning digital work for Star Wars, Marvel and Disney films.

In recent years, he says, “creating digital art has become much more accessible and fun. The hardware is faster, the software is easier (and often free) and there is a video tutorial for almost everything you need.”

Ukrainian artist Stepan Ryabchenko is an early .ART adopter, and believes that “digital art has become a mass phenomenon due to the global trend of virtualization in all areas, including the gradual transition to digital currency.”

He argues that digital currency is the primary factor that led to the growth of interest in digital art, with NFTs bridging the transition and providing “the cultural component.”

This piece presents the concept of “Metaverse Cities”, as an exploration of how “crypto cities” and “crypto states” are melding with the physical infrastructure of cities to offer new potentialities in how people organize, work, rest, and play. It forms a contribution to a broader project by RMIT Blockchain Innovation Hub on “The Digital CBD”.

The Metaverse

The concept of “The Metaverse” refers to the linking of digital and physical spaces (Dionisio, et. al. 2013; Nabben, 2021) that seamlessly integrates the physical world with the virtual world. This allows avatars to carry out rich activities including creation, display, entertainment, social networking, and trading, hybridizing work, rest, and play between physical and virtual reality (Ynag, et. al. 2022). The Metaverse is not a singular place but any virtual reality (digital space) or augmented reality (physical space enhanced by a digital overlay) that is accessed through computer interfaces. This layering over of existing media forms establishes the immersive potential of a mixed media reality. The Metaverse introduces a new era in technology entrepreneurship and digital innovations, introducing new business models, and modes of work and leisure and cultural experience and expression (Momtaz, 2022). It is the next chapter for social, cultural, and economic practice across both digital and physical spaces.

In 2021, Seoul Metropolitan Government announced its intention to invest $3.3 million to become the first city to immerse itself in the metaverse, including hosting cultural events in the Metaverse to attract global tourism, a virtual city hall for citizens to interact with public officials and access services, and community recreation spaces (Seoul Metropolitan Government, 2021).

NFTs as a springboard to Web3

Artists praised the clean look of the .ART platform, and the benefits of using its domain registry. They chose .ART to showcase their portfolio as it reflects precisely what industry they are in and it gives a ‘prestigious’ feeling of being part of the art community.

It’s a community within an ecosystem that’s rapidly evolving and seeking out new platforms; I would highlight the need for a curated space where artists can meet, that’s better organized than Twitter, Instagram or Discord.

And I want to point to the challenges that still need to be overcome in “digital security, art theft and copyright law.”

The future of digital art

Not all the artists I spoke to are in agreement about the role of NFTs in the future.

Thomas Obermeir, a German digital artist who specializes in software as art, has worked in the digital field for decades, and said that “NFTs are overhyped and will eventually disappear.”

Ryabchenko, in contrast, believed that NFTs—this new “digital fever,” as he describes it—have plenty of room to grow. But he predicted that physical art and space will soon be increasingly in demand. After all, he argues, man is made of matter and is drawn to matter.

„Having a way to digitally sign and track sales of the artwork is huge.“

It serves to bridge the digital world with the traditional galleries, museums and auction houses, in a period of rapid transformation—where internet and blockchain technologies have invited comparisons with the role of the printing press and accounting ledger in the European Renaissance.

But there’s a vital difference: in the 15th Century, the Renaissance was restricted to Europe; what’s happening today is on a global scale, at an unparalleled velocity.

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________________

The 10 point life jacket against green bashing by NFT

┳┻|
┳┻| Version 2.0/5.4.2022  artèQ

1. propaganda with adventurously estimated numbers.
Zero Knowledge represents on the one hand a promising solution to an old problem in cryptography, but also the many scrambling critics of the NFT footprint. It is amazing what misinformation is spread about it. It may be well-intentioned (or maybe not), but arbitrary numbers and data are being conjured up to attack artists, art collectors, and museums for participating in a larger, democratic ecosystem of the future. The power for this ecosystem comes from billions of outlets, and so the numbers cannot be particularly realistically estimated, let alone accurately calculated. Consequently, based on still reasonably realistic calculations and estimates of electricity consumption, there are studies by hyper-accurate scientists regarding CO2 consumption that range from 1.2 to 130.5 megatons of CO₂ per year. Well, that’s about as accurate as it gets.

2. mines and transactions on the chain are different pairs of shoes.
Calculating the CO₂ footprint based on the number of transactions in NFT production is based on a fundamental misunderstanding of how Ethereum works. Any argument along these lines is inherently flawed because blocks are produced regardless of the number of transactions.

3. NFTs are a small subset of blockchain applications.
Moreover, the majority of activity on Ethereum has nothing to do with NFTs, but rather with DeFi, for example. Therefore, it does not make sense to attack this very small subset at the large crypto scene.

4. the NFT scene is working systemically towards a greener future.
Pure proof-of-work systems are being phased out. We have 50+ L2 solutions already NOW! While optimistic rollups (like @arbitrum) and SideChains (like @0xPolygon PoS chain) are incredible advances, it seems clear that the optimal mix of security and scalability will come from ZK rollups (Zero Knowledge Proofs).
This is something we have been working on for years. Ethereum has introduced the division into Execution Layer and Consensus Layer and at the moment is progressing step by step with `greener`while secure upgrades Beacon-Chain / Merge / Shard Chains. All major marketplaces are implementing L2s layers which completely mitigate all the allegations.

5. the problem concerns only the cryptology aspect.
It is also not possible to speak of an NFT problem, but one of the partial aspect of consensus mechanism and cryptology, which is permanently being worked on in order to make the function-critical data handling balanced, secure and energy-saving. The proof-of-work problem arises because this consensus mechanism currently still has its advantages in terms of security and decentralization. For particularly high-value usage scenarios, this form is still recommended, especially from a security perspective. Scaling a blockchain requires either a collective shift of mining activities to supercomputers, which contradicts decentralization due to expensive hardware requirements, or incremental software refinement, which is slow and tedious and always carries the risk of fragmenting communities. Examples include proof of stake and delegated proof of stake protocols, which significantly increase throughput and reduce power consumption, but require more complex game-theoretic security analysis. They risk undermining the security architecture of trusted distributed systems by reducing the redundancy and thus the power required to successfully attack the valid completion of a single task.

6. even in pure POW systems, power consumption does not correlate with the number of transactions.
For Proof of Work, the number of transactions has little to no impact on Ethereum’s carbon footprint. NFT’s are particularly „light“ in terms of number of transactions, but even that is actually irrelevant because block size has no correlation to carbon footprint. Blocks are created with 0 transactions or with high transaction capacities. The environmental cost remains exactly the same.

7. the art NFT market demands miners to be more green
The NFT scene within the blockchain community is extremely behind the fact that the footprint plays a central role, the only valid argument that they are also environmentally harmful is that participation in the art NFT market, increases activity overall and thus affects the price of mining. Therefore, this generally becomes more attractive and brings more miners to the start.

8. blockchain supports the development of sustainable energy infrastructure.
GPU mining spinning out at PROTOCOL level (e.g. ETH2.0) represents highly professional industrial mining mostly powered by geothermal energy surplus in Iceland, renewable energy surplus in wind power and by means of many other renewable energies.

9. how much energy does 5G or the US military eat? Consider proportionality!
There is a lot of justified criticism of the NFT and metaverses, for example on their general quality, design, or regarding unresolved plagiarism issues, and we generally welcome an informed discussion on this. The arguments in this regard span a huge arc between the assessment in the crypto commons scene that NFT and DAO’s have social revolutionary potential – „Let’s fix the World“ – (https://www.frontiersin.org/articles/10.3389/fbloc.2021.578721/full#footnote20 ) and blank scorn among skeptical nerd observers with the view that NFT’s are bare garbage (https://www.youtube.com/watch?v=YQ_xWvX1n9g).
We are happy to discuss this, but if the consumption of energy is not put in relation to the actual purpose of the application, and not in relation to other more or less useful technological applications such as our satellite network, SWIFT, 5G or streaming, it is simply extremely manipulative and unfair to talk about the environmental impact of NFT.

10. there are numerous sustainable projects that can only be implemented with crypto and NFT.
The UN has explicitly acknowledged the great potential of this technology to solve major unresolved value, logistics, and material problems. There are good arguments why it could be just the other way around: proof of work has extraordinarily green aspects. Linking a limited currency to power consumption, as is the case with Bitcoin and Ethereum, links a noncompromisable value system to energy. What do they think happens to the money that central banks print? I think it’s clear as day that it doesn’t save energy.

Even in the arts, this technology is already making it possible to rethink a lot of transportation miles and festival and conference flights. But the real benefit of digital transformation in the arts is storytelling, which is only in its infancy, and the possibilities of art communication over distant distances.

Juli 9, 2026/von Ilja Weisz
https://newwork-newculture.dev/wp-content/uploads/2022/05/10347095_840831222645477_9095852686095955441_nj.jpg 1483 1651 Ilja Weisz https://newwork-newculture.dev/wp-content/uploads/2020/07/NWNC_MASTERLOGO_HAND_ff0000_rot_format.png Ilja Weisz2026-07-09 21:43:082026-07-10 11:52:48Token
Bildung, blog, Calling, Community Production, Deutsch, Netzwerk, Neue Kultur, Social Design, Zukunft der Arbeit

Token

Küchengespräche. Ein Videoblog zu Kunst und Arbeit.
NANK Co:llaboratory ist ein Social Thinktank zum Thema Arbeit und beschäftigt sich seit 40 Jahren mit der Transformation des Lohnarbeitssystems zu etwas Besserem.

Ich genieße es, mit Freunden am Küchentisch zu sitzen. Meine Gedanken scheinen sich grundsätzlich nur in Gesprächen zu entzünden. Das gemeinsame Denken und Weiterdenken, auch die gemeinsame Stille, drückt für mich eine Teilnahme am Leben aus, die alleine nicht schaffbar ist. 
Ilja

Weiterlesen
Mai 18, 2022/von Ilja Weisz
https://newwork-newculture.dev/wp-content/uploads/2022/05/10347095_840831222645477_9095852686095955441_nj.jpg 1483 1651 Ilja Weisz https://newwork-newculture.dev/wp-content/uploads/2020/07/NWNC_MASTERLOGO_HAND_ff0000_rot_format.png Ilja Weisz2022-05-18 12:03:532026-07-10 11:53:32Token
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