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dc.contributor.authorLewicka, Barbara
dc.date.accessioned2025-03-10T10:34:28Z
dc.date.available2025-03-10T10:34:28Z
dc.date.issued2025-02-28
dc.identifier.urihttp://hdl.handle.net/11089/54915
dc.description.abstractIn 2020–2021, along with the growing interest in NFT art, some structures of the traditional art world were reproduced in the virtual space. They might be called CryptoArt world. This study investigates the state of the CryptoArt world in that period compared to the conventional art world. The aim is to classify CryptoArt world entities, specify their roles, characterize their internal and external relationships, and, finally, to indicate that the classic perspective of the production of culture is suitable for analyzing contemporary phenomena in art, such as NFT creativity. The analysis is based on the primary and secondary sources. These results show that the traditional art world was reproduced in the CryptoArt world in five areas: institutionalization, the acquisition of the privilege to legitimate art, hierarchization and polarization, centralization, and the emergence of ideological conflict. The results fill the gap in the NFT art qualitative analyses and expand the conclusions of previous papers on that subject.en
dc.description.abstractW latach 2020–2021 doszło do wzrostu zainteresowania sztuką NFT i jednocześnie do reprodukcji niektórych struktur klasycznego świata sztuki w przestrzeni wirtualnej. Tę nowo powstałą rzeczywistość można określić mianem świata kryptosztuki, który porównano w artykule z klasycznym światem sztuki. Celem opracowania była klasyfikacja podmiotów świata kryptosztuki, określenie ich ról, scharakteryzowanie relacji wewnętrznych i zewnętrznych, wreszcie wskazanie, że klasyczna perspektywa produkcji kulturowej jest adekwatna do analizy współczesnych zjawisk artystycznych, takich jak twórczość NFT. Badanie oparte było na analizie źródeł pierwotnych i wtórnych. Wyniki wskazują, że klasyczny świat sztuki został odtworzony w świecie kryptosztuki w pięciu obszarach: instytucjonalizacji, legitymizacji, hierarchizacji i polaryzacji, centralizacji, konfliktu ideologicznego. Wyniki wypełniają lukę w jakościowych analizach sztuki NFT i poszerzają wnioski z poprzednich prac na jej temat.pl
dc.language.isopl
dc.publisherWydawnictwo Uniwersytetu Łódzkiegopl
dc.relation.ispartofseriesPrzegląd Socjologii Jakościowej;1pl
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectNFTpl
dc.subjectświat sztukipl
dc.subjectświat kryptosztukipl
dc.subjectsocjologia sztukipl
dc.subjectperspektywa produkcji kulturowejpl
dc.subjectNFTen
dc.subjectart worlden
dc.subjectCryptoArt worlden
dc.subjectthe sociology of arten
dc.subjectthe production of culture perspectiveen
dc.titleŚwiat kryptosztuki w latach 2020–2021. Reprodukcja znanej rzeczywistościpl
dc.title.alternativeThe CryptoArt World in 2020–2021: The Reproduction of the Knownen
dc.typeArticle
dc.page.number76-97
dc.contributor.authorAffiliationUniversity of Silesia in Katowicepl
dc.identifier.eissn1733-8069
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dc.contributor.authorEmailbarbra.lewicka@us.edu.pl
dc.identifier.doi10.18778/1733-8069.21.1.04
dc.relation.volume21


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