Home » “We sell the Colosseum as NFT”

“We sell the Colosseum as NFT”

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Five years ago a novel imagined the sale of the Colosseum, decided by the Italian government after the provocation launched in a newspaper had gone around the world, attracting the attention of investors also due to the growing financial instability in which Italy had ended up. and the consequent need to ensure substantial new revenue in the state coffers. A sheikh offers one trillion euros, the stock exchanges are growing, the investment banks are already thinking about repeating the operation with other cultural assets such as the Tower of Pisa. Meanwhile, the sheik has placed a condition at the time of purchase: he will dismantle and reassemble the Colosseum in his home. He is the new owner and intends to dispose of it as he sees fit.

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The provocation of selling the Colosseum is much older than this novel by Marcello Sorgi, and it returns regularly, as if it were a superstition that needs to be recalled from time to time to prevent it from ever coming true. Within this dystopian imaginary, how much effort we have made in recent years to ensure even the restoration of the Colosseum by a private individual – Tod’s owner Diego Della Valle.

Today, however, there is an extraordinary opportunity to actually sell it. Without touching a single stone, and clearly leaving the property to the Italian State. Does it sound illogical and contradictory? Only if we limit ourselves to considering the physical dimension of our assets. It sounds much less illogical if we instead observe everything that in the light of technological progress is happening to art and culture.

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In recent months, the phenomenon of the so-called Non Fungible Tokens (NFT) has exploded, i.e. the possibility, thanks to tokenization (blockchain), to certify the authenticity of a digital file. Artists around the world have begun to produce natively digital works for sale on platforms where wealthy collectors have begun to buy them paying mainly in cryptocurrencies such as Bitcoin or Ethereum. In March, auction house Christie’s sold its first NFT work, Everydays by artist Beeple, for $ 69.3 million. And tomorrow all this will be able to invest every type of art, figurative or performative. With the NFT of a painting, a sculpture, a historic residence, a live performance by our favorite singer, but also a cooking recipe from a starred chef! The NFT will protect the owner against fakes, and the work can also be divided, recombined, transformed into another work of art, to make a new NFT in turn to sell, buy, collect. We thus discover that the digital that seemed to take away the meaning of things can also create new value without affecting the pre-existing one in the least. By offering endless possibilities to our creativity, it allows us to make more art, more culture.

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Inevitably, it questions us about new questions. How to make all this use of blockchain technology sustainable, which consumes a lot of energy and therefore produces CO2 emissions? Or again: how will the transaction taxes relating to the sale of digital art be paid? The Revenue Agency has been urged with a ruling proposing to consider these transactions as permanent transfers of copyright, and based on how the market responds, it may or may not develop in certain directions.

How to create an NFT

Then there is the protection and enhancement of the public heritage through its digital reproduction, such as the one offered by the Cinello company, which has risen to the headlines in recent weeks thanks to the sale, in agreement with the Uffizi, of the digital copy of the Tondo. Gifts of Michelangelo, and who knows that soon there will be new technology to go even beyond the 3D reproduction of Michelangelo’s David that Italy will exhibit in its pavilion at the Dubai Expo, to make an impalpable copy, totally dematerialized in the form of a hologram indistinguishable from the original. The potential here too is enormous. Digital certified copies, exclusive or limited in number, could feed a parallel market, where on the one hand private individuals could buy their Michelangelo and on the other hand the public could have copies to be given on loan for exhibitions and installations on the other side. of the world with practically no transport costs and reducing insurance costs.

We imagine everything that a country with our art, with our heritage, with our culture could do if it intercepted and guided everything that is in turmoil thanks to the technological avant-garde, if a framework of norms and rules adequate to the production of a new culture, to the hybridization between art of the past and new artists, between physical heritage and digital arts? We summarize it like this: from the Italy of display cases to the Italy of techne.

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As if this era were not already sufficiently complex and chaotic, Covid-19 has closed us at home leaving us only the digital to keep open for months a glimmer of human relationship to live through a screen.
In the intolerance, in the slowness of these months, we have discovered how much each of us is the product of every gesture we make. Each of these gestures we make in the real or digital world counts, contributes to the creation or demolition of the meaning of our life. A life that in the next few years will turn into a hybrid and phygital model that we will have to know how to interpret to have access to a future that is still exciting and full of new and extraordinary opportunities. A future in which the digital will stop being perceived as what had alienated us from the world by subtracting meaning from our existences, and will become what will have helped us to rebuild and relaunch these existences.

Today we are still only at the beginning of a new era, but as has always happened in the past, art is suggesting us a path of what could await us, and we see hybrid and immersive concerts that give light to the emotions of artists and fans generating unexpected revenues for a supply chain on its knees; we see online history lessons selling tens of thousands of tickets; we see remote access to archaeological sites to visit as we are taken back in time; we see digital files that if yesterday were indistinguishable from any selfie today acquire artistic and economic value thanks to NFTs; we see the canvases of Italian painting reproduced on screen and exhibited in museums all over the world. We see this new offer, and above all we see a new demand for art and culture, more widespread, more accessible. More democratic.

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We are a group of artists, philosophers, curators, entrepreneurs, politicians. We want to fight to know, disseminate, regulate to encourage the hybridization between arts and digital. We want to fight for what would help restore meaning to our lives and launch Italy towards a different future, first of all in the existential and economic enhancement of what we have more than any other country: heritage, landscape, art everywhere. The beauty that we have been and that we can still be.

We are, above all else, researchers.

Who study, translate, strive to anticipate; and who want to convey the sense of discovery and urgency they feel today. Because we have already found something: a way to accompany the growth of a new generation of artists, to produce new culture, to enhance our collective heritage. A way to fuel the next cultural and creative industry across the country.

With an NFT, a digital file can make new sense. With NFTs and many other new digital uses, we would be able today to enhance the Italian artistic heritage, without moving it an inch, without vexatious clauses imposed by who knows which sheikh, and increasing the experience of reality with digital emotion.
We have just started doing this, but now we need a big push. Of artists, collectors, researchers, entrepreneurs and investors, of those who guide and work in public institutions.

Now we need a great proposal, which also goes around the world but without making us run any risk. A proposal that attracts the attention of all Italians and of the many bright eyes abroad.

We use the most powerful icon we have to make our determination credible in wanting to go back to being a guide in what we have been able to do best over the centuries: to produce beauty, and enchantment. Let’s make the digital twin of the Colosseum the beginning of a new economic and cultural history.

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