0xbe957a47…3e57sent to0xf790a5f5…1365·#24,223,327·view on Etherscan
@0x215D...03D7
Appreciate this perspective 🙏🏾... but I believe it conflates gatekeeping with legacy building.
While art is meant to be experienced, relying solely on lived participation means that once the Discord chat goes quiet, the history of the work disappears (exactly what we're seeing now with many of our best works). Season of Meaning isn't about imposing a top down authority. It’s about providing the context and documentation necessary for our culture to survive beyond hype cycles.
If we don't invest in our own discourse, we leave price as the only metric of success (again, we're seeing this play out right now). To move beyond speculation, we must build the intellectual infrastructure that gives our art lasting historical weight and paves the way to canonisation.
Shared thoughts on precisely this post Art Basel Miami... Worth a read https://x.com/Sonoflasg/status/2000462082542850508
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> In my experience, the long-standing race to legitimize art through academic criticism, historical references, and intellectual framing often tries to assign meaning to something that is fundamentally meant to be experienced. No art critic possesses inherently superior tools—beyond language, theory, and references—that make their experience of art more valid or valuable than that of any other person.
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> Because of this, I find the role of traditional art criticism—especially when applied to web3 art—largely redundant. In many cases, it attempts to wrap artistic practices in a mantle of intellectual legitimacy that ultimately distances people from engaging with art directly. Instead of inviting participation, it can introduce insecurity: the feeling that one needs the “right” knowledge, context, or approval to have a valid experience.
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> Web3-native art spaces have thrived precisely because they lower these barriers. They allow people to encounter, feel, remix, and relate to art without mediation. Introducing a centralized, top-down interpretive layer—especially one anchored in established art-world institutions—risks reimporting the same gatekeeping dynamics that many of us came here to move away from.
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> While documentation and dialogue are important, I don’t believe that meaning needs to be externally validated by professional critics in order to exist, compound, or become historical. Culture can—and often should—be articulated from within the community, through practice, conversation, and lived participation, rather than through commissioned authority.
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> For these reasons, I don’t support allocating DAO resources to this initiative.
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