“Those who want to make a living from their art shouldn’t have to live in a hysterical market”: focus on the Oxia Palus art project – BeinCrypto

BeinCrypto had the opportunity to meet the group of artists Oxia Palus during the Focus Art Fair event, which took place at the Carrousel du Louvre in Paris from September 1 to 4. The first collection of NFTs from this group was to save unknown paintings by famous painters.

We all know that throughout history artists have repainted their own works, either for lack of money and canvases or because they simply thought their paintings weren’t good enough. With the X-ray scanner, Oxia Palus was able to restore these paintings and turn them into NFT.

BeInCrypto (BiC): Can you introduce yourself and the project?

Oxia Palus (OP): Oxia Palus is made up of neuroscientist Anthony Bourached and physicist George Cann, both PhD students at University College London, as well as mathematician and artist Jesper Eriksson.

BiC: Where do you think this passion for the never-before-seen and the “long-lost” images comes from?

PO: From a reductive point of view, science is the most fundamental store of information that documents the fundamental and immutable rules governing the world. It is possible to assume that physics is at the bottom of the hierarchy of complexity within science, since we can solve many physical systems analytically and exactly.

This hierarchy then rises to chemistry, which studies molecules and their interactions, through biology, where molecules are assembled into organic matter. We then continue with neurosciences, the study of electrochemical interactions, then psychology, where the study becomes qualitative due to the complexity between the electrochemical components, which form complex actions. And, finally, we come to sociology, where units capable of complex individual actions form complex social systems.

However, the top of this hierarchy becomes so difficult to determine formally that we have to rely on evolutionarily driven means of storing information, such as emotion and culture. We believe that the primary storage of this information is art, due to its intrinsic relationship with culture and emotion, and is therefore the ultimate goal of complex modelling.

To paraphrase Turing: we need complex modeling to scientifically understand complex systems. Moreover, it is a beautiful component of the human condition that we have come to value in posterity. From a Darwinian perspective, then, we could argue that the continued preservation of valuable works of art across generations has acted as a long line of collective selection, for the most valuable storage of complex information.

In essence, the course of time has acted as a filter that selects only those artistic pieces that are richest in historical information, and which offer insight into the culture. In our view, the importance of studying and contributing to the history of art therefore turns into studying and contributing to the most complex model of reality.

BiC: After the big NFT hype, the trend now seems to be fading, and trading is down. Do you think this is just a temporary phenomenon and the market will go up? What are your hopes for this market?

PO: NFTs are a very important innovation for the artistic community because they have instilled a notion of ownership in the digital realm, and the potential of NFT technology is still in its infancy.

However, we don’t think it’s worth speculating on prices and market movements, as these factors are largely unpredictable and have little to do with the underlying value of the technology. What interests us most is the growing popularity of technological development in the field, and the fact that this development will have significant benefits for the democratization of art and the arts market globally.

Additionally, the boom and bust cycles we are currently experiencing appear to be doing more harm than good in the long term, and we hope this area will experience more stability and predictability in the future, as artists who want to living from their art should not be forced to live in a hysterical market.

BiC: Why is it so important for you to offer your art in NFT format?

PO: In the creative technology industry, there seem to be two major movements driving innovation, namely artificial intelligence and crypto. Oxia is primarily an AI-focused company, and our research focuses on developments in this sphere.

However, we are excited to partner with the crypto community and take part in its rapid evolution, as the two spheres will inevitably and inextricably be linked to define the future direction of the arts.

So our first initiative was to launch a new project called “TextMasters”. Throughout history, many important works of art have been completely lost, stolen, or destroyed with no visual representation left. In some cases, however, the textual documentation of the works still exists. So we pioneered the first AI resurrection of these works, leveraging text-to-image conversion models like OpenAI’s DALL-E 2.

Through these, we can use textual input in combination with classical artist catalog training to bring an otherwise lost work of art to life. The result of this process has been a new series of NFTs published on the KnownOrigin platform. So far, the series has resulted in resurrected works by Leonardo da Vinci, Titian, Velázquez and Giotto… Likewise, we are happy to have witnessed our first sale within this series; “Medusa” by Leonardo da Vinci, during our exhibition in Paris.

BiC: Do you have plans to exhibit in the future within the metaverse?

PO: We are intrigued by the idea of ​​hosting exhibits in the metaverse, as we would like our work of restoring ancient masterpieces to be accessible to everyone on the planet, not just those who can afford it. and freedom of movement to come to the Louvre. All art history should be accessible to everyone and if we could lower the bar of accessibility to that of an internet connection, we would be delighted.

However, we remain quite cautious about assigning too much importance to the idea of ​​a “metaverse” at this time. The initial notion was described as a decentralized and open-source phenomenon on a global scale, whereas today, major tech companies are devoting considerable funds and resources to developing their own virtual worlds. This is a good thing to accelerate the development of exciting and useful technologies, but it is far from the idea of ​​a real metaverse, since these companies will inevitably be the guardians. So calling current initiatives differently from a privatized virtual world is unfortunately a real misnomer.

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That said, what we can perhaps hope for is that the vast resources allocated to the projects of these companies will be used to develop useful technologies that, when aggregated, will help form an emerging metaverse in the truest sense of the word. It is with this in mind that we are enthusiastic about looking at possibilities for virtual exhibition, as long as they allow for greater accessibility.

BiC: What are your upcoming projects or news we should know about?

PO: Our biggest project is the TextMaster NFT project, which was launched recently. Otherwise, we are fully dedicated to refining our internal technology and pipeline to bring our product as close to perfection as possible.

Additionally, we are donating one of our resurrected works by Modigliani to the AI ​​Center at University College London, where we hope to inspire future students to pursue their ideas and passions.

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“Those who want to make a living from their art shouldn’t have to live in a hysterical market”: focus on the Oxia Palus art project – BeinCrypto


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