Schlagwortarchiv für: Bildung

, , , , , , , ,

Token


Token also means memento

ZurückWeiter
ZurückWeiter
ZurückWeiter

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.


ZurückWeiter

ZurückWeiter

Token | Art | NFT

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



motion nft

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

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/

good nfts

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

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.

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.

ZurückWeiter
, , , , , , , , , , ,

New Culture Campus


New Culture Campus




Thinking school in entirely new dimensions

Where will tomorrow’s skilled people come from? Everyone who understands the world of New Work not merely as an experimental field, but as the reality of the future, must ask this question. The idea of the New Culture Campus describes an educational landscape that turns our understanding of school upside down.

In the major and important debates about New Work, one significant aspect is sometimes pushed into the background: the question of how preparation for it can begin as early and as holistically as possible. Until now, the youngest generation has hardly been included in the social upheaval currently underway with regard to a different world of work. It is the adults who are facing the transformation. They strive for agile organizations, flat hierarchies, more responsibility for the individual, and lifelong learning. Yet the necessary skills, technological knowledge, awareness of sustainability, and capacity for open cooperation are not given to school and university graduates as basic equipment. The idea of New Work therefore has to begin earlier – namely in education and in the values with which the following generations are to grow up.

The Campus of Longing

The idea of the New Culture Campus, born from philosopher and founder of the New Work movement Frithjof Bergmann, is a radical departure from today’s idea of school. In such an educational landscape, the process leads from daycare through primary school to university and the first steps of one’s own entrepreneurial activity. Instead of teaching and learning, the children’s and young people’s own experiences are at the center. They engage with art, technology, craft, and IT; they experience nature directly and develop a practical understanding of sustainability. „In the current classical school system, children are functionalized into performers chasing the best grades,“ explains Margret Rasfeld, whom Frithjof Bergmann brought on board for implementing the New Culture Campus project. „When people think of school, everyone is so stuck in old patterns that a revolution in education seems unthinkable. Instead, we work away at small improvements to the old system. That is why it is an important approach to first bring an idea like the New Culture Campus into the world so that it can be discussed.“ Margret Rasfeld, current managing director of the initiative „Schule im Aufbruch,“ has already gained experience as a school principal in setting transformative processes in motion. But New Culture Campus thinks beyond all the limits imposed by German school and curriculum obligations.

„Our New Culture Campus is still in the planning stage,“ explains Andy Mayer, friend and right hand of Frithjof Bergmann. „For the implementation of the project, we want to bundle the knowledge of several bright minds and use synergies from different directions.“ Another pioneer for the project is therefore Marcus Fink, managing director of the Kreisjugendring Münchner Land. He too criticizes the structures in which society and school move – faster, higher, further. He brings experience from extracurricular education and does not see the New Culture Campus as a distant utopia. „Since 2010, the Jugendbegegnungsstätte am Tower in Oberschleißheim has already been for youth work what the campus could become for education. A large site, workshops, proximity to nature, and technology. People interested in the idea can come to us and see how such a concept has already been implemented at least in parts. And if more and more people are convinced by the idea, realization can happen very quickly.“

The holistic education aimed for on the New Culture Campus equips learners with skills they will actually need in the world in which they will live. „Ninety-five percent of what children laboriously acquire in school today is forgotten,“ Margret Rasfeld makes clear. „We want to prepare them for a world of work that places the human being at the center, their potential, not the economy. With the new form of learning, they would have the chance to try things out and discover what suits them, what they burn for, what they want to carry into the world. They gain systems knowledge that opens up how everything is connected. And they learn meta-competencies, such as the ability to work in teams and the attitude that they are allowed to make mistakes.“ Marcus Fink adds: „It is no longer enough to memorize things in order to recall them in a world in which everything turns and changes every day.“

Transformation always begins with small steps. Similar approaches, though not with this degree of social radicality, have been pursued since 2017 by the learning center „Learnlife“ in Barcelona. Inspired by this approach, the campus „Life Hamburg“ is currently emerging. The project of mail-order heir Benjamin Otto aims to realize the vision of intergenerational learning.

For financing New Culture Campus sites, Margret Rasfeld can imagine a fund founded and maintained by companies, from which municipalities build such educational landscapes without any company being able to exert direct influence. However, it is not only funders who must be convinced by the revolutionary educational orientation for the new generation. There are the parents, whose advance trust such a school needs; the lawmakers, on whose approval such a far-reaching design depends; and the teachers, who will face entirely new challenges. „Of course, teacher training also has to change,“ explains Margret Rasfeld. „But we must not delay this too long. By 2030 we must have changed the world. The future does not wait for administration.“

INFO/LINKS

Jugendbegegnungsstätte am Tower

Learnlife Barcelona

Life Hamburg

Colearning Vienna


[custom-facebook-feed]

/von
, , , ,

Conversation Among Friends #1


Conversation Among Friends | Frithjof Bergmann and Gerd Neuner




Vol I – video



A conversation among friends – this is the motto under which the series begins with founding father and long-time companion Frithjof Bergmann. Also present:

Gerd Neuner & Michael Dolz

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





/von
, , , , ,

Kitchen Conversations #1


Kitchen Conversations | Berit Glaser




Do less be more .- video



NWNC Kitchen Conversations:
On constructive laziness, guinea pigs, and worn underwear for Instagram.

A conversation by Ilja Weisz with Berit Glaser

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

Berit Glaser

Waitress
Actress
Model
Set producer
Ghostwriter
Story One author
Social worker
Pole dancer

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





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

Kitchen Conversations. A video blog about work.
NANK Co:llaboratory is a social think tank on work and has been dealing for 40 years with transforming the wage-labor system into something better.

I enjoy sitting at the kitchen table with friends. My thoughts seem, as a rule, to ignite only in conversations. Thinking together and thinking further together, including shared silence, expresses for me a participation in life that cannot be achieved alone.
Ilja



/von
, ,

We Miss You – Obituary for Frithjof Bergmann


Frithjof, wir vermissen Dich



Ariel Bergmann, Jandy Bergmann, Luke Bergmann

Frithjof Bergmann, professor emeritus of philosophy, and beloved father to Luke Bergmann, Jandy Bergmann and Ariel Sankar-Bergmann, died May 23 in Ann Arbor at the age of 90.

Born to a mother who was Jewish and a father who was a Lutheran pastor, Frithjof grew up in the Austrian Alps during the darkest days of WW II, and although he spent his life in reflection, he was always ambivalent about it being his profession.

His identity as a philosopher and professor — he studied with Walter Kaufman at Princeton and was a faculty member in the University of Michigan’s philosophy department for close to half a century — meant an enormous amount to him. But these were designations he often presented to his audiences and readership as if they were weighted garments that he somehow was able to overcome.

„Despite being a philosopher,“ he would say with a wry smile „I am trying to do something useful!“

It was in part a restlessness with the customs of academic philosophy that led Frithjof from his earliest writing on Hegel (whose work he, in any case, seemed forever to value most) to the aphorisms of Nietzsche and other existentialist philosophers who wrote novels and plays. His most conventional book of philosophy, “On Being Free,” published in 1977, is noted for its stunning brilliance and also for the fact that it has no footnotes.

It was more pointedly a sense of urgency in action, an understanding of the interplay of being and doing — „really doing something!“ he might say — that made Frithjof such an exquisite teacher, as evinced by many awards for his instruction and by countless testimonies from his students, who include some of the preeminent Continental philosophers of the last 50 years.

Robert Soloman, who as a student was so moved by Frithjof’s lectures on Nietzsche that he abandoned plans for a career in medicine and later became one of the best known philosophers in the US, insisted throughout his long career that Frithjof was the best teacher of philosophy anywhere.

Frithjof aimed not only to instruct but to move his students, out of a conviction that there was much to do, that the world could be made beautiful and humane, and that we should expect as much of ourselves. These were his hopes when he helped to organize the first teach-in during the war in Vietnam. And these were his hopes during the generational recession of the early 1980s. Frithjof threw himself into this catastrophe, emerging with a new way of thinking about jobs and human labor. He called this collection of ideas “New Work,” and in articulating it he drew from his whole breadth of experience — from reading Hegel to chopping firewood in frozen wintertime. He withdrew from academia in the decades following this commitment and traveled the globe to where work and quality of life were most perversely out of whack: Johannesburg and Soweto, Mumbai, among indigenous communities in British Columbia, and the impoverished neighborhoods of Detroit. Frithjof talked incessantly about “New Work.” He preached and proselytized. He damaged and even lost some relationships in the maelstrom of his global effort. But particularly over his last 10 years his work and life became more gratifying than ever before. He published his final book, “New Work New Culture” in 2019, and especially in Germany, “New Work” has become the foundation for a broadly adopted and celebrated set of intellectual, design and organizational efforts. In addition to his three children, Frithjof is survived by six grandchildren. For those who would like to make a gift in his memory, Frithjof’s family asks that they send donations to https://www.gofundme.com/f/frithjof-bergmann-memorial-service.