Author :
Abstract
Hakkında her geçen gün daha da fazla konuşulan ancak henüz çok yeni bir mecra olduğundan tam olarak algılanabilmesi için biraz daha zaman gerektiren NFT’lerin özellikle sanat eseri pazarlaması ve WEB 3.0 dünyasının ortaya çıkmasına katkıda bulunduğu sahiplik ekonomisi bağlamındaki rollerine yönelik önemli bir literatür eksikliği bulunmaktadır. Bu eksikliği kısmen de olsa gidermeye yönelik bir çaba olan bu çalışma NFT’lerin tanımı, temel özellikleri ve işleyiş ilkelerinin sanatçı ve koleksiyoncular arasındaki ilişkinin ve sanat eseri sahipliği olgusunun nasıl hızla dijitalleşip dönüştüğünü incelemeyi amaçlamaktadır. Çalışmada bu dönüşümden en çok etkilenen bileşenlerden biri olan sanat eseri pazar yeri kavramının NFT’ler sayesinde nasıl daha erişilebilir hale geldiği ve sahiplik ekonomisi modelinin önemli bir aracı olduğuna da değinilmektedir. Bu süreçte sanatçı NFT’ler aracılığıyla bir satıcı haline gelmekte, eserlerinin üzerinde her zaman bir sahipliği bulunmakta ve bu sayede de eserlerinin ikinci kez satışından doğrudan pay alabilmektedir. Bir alıcıya dönüşen koleksiyoncular ise satın aldıkları eserlerin özgünlüğünü ve bu eserler üzerindeki sahipliklerini NFT’lerin doğasında bulunan kriptografik algoritmalar ile kanıtlanabilir ve kalıcı olarak belgeleyebilmektedir. Böylece sanat ve sanat eseri pazarlaması adeta aynı potada eriyerek birbirlerine karışmaktadır. Betimsel bir kaynak taraması yöntemiyle gerçekleştirilen bu çalışma, NFT’lerin bu karışım sürecindeki işlevine odaklanarak yukarıda sözü edilen merkeziyetsiz WEB 3.0 dünyasında sanatın ve sanat eseri pazarlamasının geçirmekte olduğu dönüşüme dair literatür eksikliğini bir ölçüde tamamlamayı amaçlamaktadır.
Keywords
Abstract
There is a significant lack of literature on the roles of NFTs, which are getting more and more popular every day, but require a little more time to be fully perceived as they are still a very new medium, especially in the context of art marketing and the ownership economy, whose emergence they have contributed to as well as that of WEB 3.0. This study, which is an effort to partially fill this deficiency, aims to examine the definition, basic features and operating principles of NFTs, the relationship between artists and collectors, and how the phenomenon of ownership of artworks is rapidly digitized and transformed. In the study, it is also mentioned how the concept of the art marketplace, which is one of the components most affected by this transformation, has become more accessible thanks to NFTs and is an important tool of the ownership economy model. In this process, the artist becomes a seller through NFTs, he always has an ownership over his works, and thus he can directly get a share from the sale of his works for the second time. Collectors, who become a buyer, can document the authenticity of the works they buy and their ownership of these works provable and permanently with the cryptographic algorithms inherent in NFTs. Thus, art and artwork marketing are almost melted in the same pot and mixed with each other. This study, which is carried out with a descriptive literature review method, focuses on the function of NFTs in this mixing process and aims to fill the lack of literature on the transformation of art and art marketing in the aforementioned decentralized WEB 3.0 world.
Keywords
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