English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113148/144119 (79%)
Visitors : 50709422      Online Users : 314
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    政大機構典藏 > 商學院 > 資訊管理學系 > 學位論文 >  Item 140.119/141048
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/141048


    Title: 面向元宇宙之基於非同質化代幣(NFT)區塊鏈智能合約之藝術品媒合平台
    A Matching Service Platform for Artwork Based on Non-Fungible Token Aided Smart Contract and Blockchain towards Metaverses
    Authors: 魏千芃
    Wei, Chien-Peng
    Contributors: 姜國輝
    劉文卿

    Chiang, Guo-Huei
    Liu, Wen-Ching

    魏千芃
    Wei, Chien-Peng
    Keywords: 社群媒合拍賣
    高價再製品憑證化
    藝術品
    區塊鏈
    智能合約
    Social media auctions
    High-priced reproduction vouchers
    Artworks
    Blockchain
    Smart contract
    Date: 2022
    Issue Date: 2022-08-01 17:26:05 (UTC+8)
    Abstract: 在傳統的藝術品交易市場中,最大的困難點是真偽的辨識以及價值的鑑定,雖然透過拍賣的方式,可以對價格獲得一定程度之解決,但真假辨識仍然是難題。對藝術家而言,每次轉售藝術品時應可持續獲得利潤,然現實中常常因無法追溯交易紀錄而導致無從求償。此外,藝術品交易通常涉及大量資金流,故時有資金需求。區塊鏈具無法竄改的特性,透過可公開查詢的藝術品交易紀錄,可對真偽性提供最具公信力的保障,甚至可以形成藝術品履歷。同時,因其具有公開透明性,透過追溯每筆轉手的交易紀錄,可保障原創作者的權益,確保每次轉賣得到應有利潤。然而,投資者仍時常需抵押藝術品方得融資。
    綜上所述,本研究是基於區塊鏈技術,應用加密貨幣,以提供藝術品的複製品或衍生品交易的服務,不只可以讓使用者線上參與藝術品的拍賣,同時結合多種拍賣方式及功能,如三拍落槌或延後結標等機制,供賣家制定商業策略,或因應標的特性,選擇合適的方式進行拍賣。同時,區塊鏈具有加密性質,所有交易均可安全執行。在藝術品的種類,我們提供藝術衍生品交易,並透過智能合約運行的驗證機制,達成公平公開的交易;亦提供複製品交易,透過數位貨幣的技術發行限量的複製品,使其保有其價值。應用區塊鏈公開透明的特性,確保藝術家可以獲取版稅利潤,保障其著作權,也保證該複製品的絕對來源。另一方面,複製品亦可進行再創作,其二創帶來的歷史意義,能使其具有如真品般的價值。在資金需求方面,我們結合了P2P借貸平台,且背後由智能合約運行,用戶可簡易的享有快速安全的融資服務。而買家亦可直接選用借貸下標,除了可以把握在拍賣時限內挑選自己喜愛的商品,同時也可降低買家融資的負擔。平台內所有的交易過程,中間皆不經平台控制,均由智能合約自動執行,此可為使用者帶來更有保障且公正的服務,並結合了借貸功能,為使用者提供一站式的服務。
    Traditionally, the problem of art trading is authenticity identification and price recommendation. The price can be solved to a certain extent through auction, but the problem of authenticity is still a difficult problem. For artists, they should continue to make a profit when they resell their artworks, but in reality, they often have no way of recourse because they cannot trace the transaction records. In addition, art transactions often involve significant capital flows. With cannot be modified feature of blockchain, and provide the best guarantee for the authenticity and transaction records of artworks, even form artwork resumes. At the same time, because of its openness and transparency, it is expected to protect the rights and interests of original authors and ensure that a certain profit will be recorded for each resale. However, investors still often need to collateralize artwork to get financing.
    To sum up, this research is based on the technology of blockchain. It provides a platform for auction of derivatives and reproductions of artworks through cryptocurrencies, allowing users to participate in the auction online, and combines various auction methods, such as dropping the hammer or delaying the closing to allow sellers conduct auctions according to the characteristics of the target. At the same time, the blockchain is encrypted which means all transactions can be executed securely. In the category of artworks, we provide art derivatives, and achieve fair and open transactions through the verification mechanism run by smart contracts; we also provide replica transactions, which use digital currency technology to issue limited copies to keep their value. Applying the open and transparent features of the blockchain, it ensures artists can protect their copyrights and ensure the absolute source. On the other hand, replicas can also be recreated, and the historical significance can make them as valuable as the real ones. In terms of capital requirements, we have combined a P2P lending platform with smart contracts running behind it, so users can easily enjoy fast and secure financing services. Buyers can also directly use borrowing to bid, not only can they bid within the auction time limit, but also reduce the burden on buyers of financing. All transactions in the platform are carried out by smart contracts and are not controlled by the platform that users can enjoy fair services. With combined the loan function, it provides users with one-stop services.
    Reference: Allyn, B. (2021, March). What`s An NFT? And Why Are People Paying Millions To Buy Them?. NPR.
    Baldwin, C. Y., & Woodard, C. J. (2009). The architecture of platforms: A unified view. Platforms, markets and innovation, 32, 19-44.
    Bamakan, S. M. H., Nezhadsistani, N., Bodaghi, O., & Qu, Q. (2021). A Decentralized Framework for Patents and Intellectual Property as NFT in Blockchain Networks.
    Bano, S., Sonnino, A., Al-Bassam, M., Azouvi, S., McCorry, P., Meiklejohn, S., & Danezis, G. (2019, October). SoK: Consensus in the age of blockchains. In Proceedings of the 1st ACM Conference on Advances in Financial Technologies (pp. 183-198).
    Barclay, P. (2012). The evolution of charitable behaviour and the power of reputation.
    Bartoletti, M., & Pompianu, L. (2017, April). An empirical analysis of smart contracts: platforms, applications, and design patterns. In International conference on financial cryptography and data security (pp. 494-509). Springer, Cham.
    Brenner, M., Moore, T., & Smith, M. (Eds.). (2014). Financial cryptography and data security. Springer.
    Buchanan, J. M. (1962). The relevance of Pareto optimality. Journal of conflict resolution, 6(4), 341-354.
    Buterin, V. (2014). A next-generation smart contract and decentralized application platform. white paper, 3(37).
    Chiang, J. K. (2021, March). Optimization of ICT Common Wealth Planning and Sharing based on Organic Economic Ecology and Theory of Knowledge Value Transformation. In Proceedings of the International Symposium on Grids & Clouds.
    Chiang, J. K., Lin, C. L., Chiang, Y. F., & Su, Y. (2021). Optimization of the Spectrum Splitting and Auction for 5th Generation Mobile Networks to Enhance Quality of Services for IoT from the Perspective of Inclusive Sharing Economy. Electronics, 11(1), 3.
    Hackl, C. (2021, February 28). Non-Fungible Tokens 101: A Primer On NFTs For Brands And Business Professionals. Retrieved March 20,2022, from https://www.forbes.com/sites/cathyhackl/2021/02/28/non-fungible-tokens-101-a-primer-on-nfts-for-brands--business-professionals/?sh=2c28db69725f
    Howcrof, E. (2021). NFT sales volume surges to 2.5 bln in 2021 frst half. Reuters 6, 66.http://www.forbes.com/sites/abrambrown/2014/03/03/forbes-billionaires-full-list-of-the-richest-americans/
    Dean, S. (2021). $69 million for digital art? The NFT craze, explained. Los Angeles Times.
    Debré, Elena; Mak, Aaron. (2021, March) How in the World Did a “Digital Artwork” Sell for $69 Million at Christie’s?. Slate.
    Fortunato, S., Bergstrom, C. T., Börner, K., Evans, J. A., Helbing, D., Milojević, S., ... & Barabási, A. L. (2018). Science of science. Science 359, eaao0185.
    Franceschet, M., Colavizza, G., Smith, T. A., Finucane, B., Ostachowski, M. L., Scalet, S., ... & Hernandez, S. (2021). Crypto art: A decentralized view. Leonardo, 54(4), 402-405.
    Franceschet, M. & Braidotti, C. (2020). Enhancing art with information: the case of blockchain art. Ass. for Comp. Mach.
    fungible.(2011). In Merriam-Webster.com. Retrieved March 20, 2022, from https://www.merriam-webster.com/dictionary/fungible
    Garay, J., Kiayias, A., & Leonardos, N. (2017, August). The bitcoin backbone protocol with chains of variable difficulty. In Annual International Cryptology Conference (pp. 291-323). Springer, Cham.
    Garay, J., & Kiayias, A. (2020, February). Sok: A consensus taxonomy in the blockchain era. In Cryptographers’ track at the RSA conference (pp. 284-318). Springer, Cham.
    Gawer, A., & Cusumano, M. A. (2002). Platform leadership: How Intel, Microsoft, and Cisco drive industry innovation (Vol. 5, pp. 29-30). Boston: Harvard Business School Press.
    Gervais, A., Karame, G. O., Wüst, K., Glykantzis, V., Ritzdorf, H., & Capkun, S. (2016, October). On the security and performance of proof of work blockchains. In Proceedings of the 2016 ACM SIGSAC conference on computer and communications security (pp. 3-16).
    Gilad E., & Lauren, G. (2021, March). WTF Is an NFT, Anyway? And Should I Care?. Wired. ISSN 1059-1028
    Ginsburgh, V. A., & Van Ours, J. C. (2003). Expert opinion and compensation: Evidence from a musical competition. American Economic Review, 93(1), 289-296.
    Harris, J. (2013). Gatekeepers, poachers and pests in the globalized contemporary art world system. Third Text, 27(4), 536-548.
    Johnson, R., & Bourdieu, P. (1993). The field of cultural production: Essays on art and literature. Cambridge: Polity.
    Kenney, M., & Zysman, J. (2015, June). Choosing a future in the platform economy: the implications and consequences of digital platforms. In Kauffman Foundation New Entrepreneurial Growth Conference (Vol. 156160). sn.
    Kenney, M., & Zysman, J. (2016). The rise of the platform economy. Issues in science and technology, 32(3), 61.
    Lamport, L., Shostak, R., & Pease, M. (2019). The Byzantine generals problem. In Concurrency: the Works of Leslie Lamport (pp. 203-226).
    Lee, L. H., Braud, T., Zhou, P., Wang, L., Xu, D., Lin, Z., ... & Hui, P. (2021). All one needs to know about metaverse: A complete survey on technological singularity, virtual ecosystem, and research agenda. arXiv preprint arXiv:2110.05352.
    Mason, J.(2021, March 10) What Is Going on With Cryptocurrency, NFTs, and Fan Art?. The Mary Sue.
    Moazed, A. (2016). Modern Monopolies. Macmillan. p. 30.
    Mystakidis, S. (2022). Metaverse. Encyclopedia, 2(1), 486-497.
    Nakamoto, S. (2008). Bitcoin: A peer-to-peer electronic cash system. Decentralized Business Review, 21260.
    Nanda, K., & Kaur, M. (2016). Financial inclusion and human development: A cross-country evidence. Management and Labour Studies, 41(2), 127-153.
    Newton, C. (2021). Mark Zuckerberg is betting Facebook’s future on the metaverse. The Verge.
    Palmer, G. H. (1919). Altruism: Its Nature and Varieties; the Ely Lectures for 1917-18. C. Scribner`s sons.
    Pega, F., Náfrádi, B., Momen, N. C., Ujita, Y., Streicher, K. N., Prüss-Üstün, A. M., ... & Woodruff, T. J. (2021). Global, regional, and national burdens of ischemic heart disease and stroke attributable to exposure to long working hours for 194 countries, 2000–2016: A systematic analysis from the WHO/ILO Joint Estimates of the Work-related Burden of Disease and Injury. Environment international, 154, 106595.
    Robertson, I. (2005). The international art market. Understanding international art markets and management, 13-36.
    Salmon, Felix.(2021, March 13). How to exhibit your very own $69 million Beeple. Axios. Retrieved March 13, 2021, from https://www.axios.com/beeple-crypto-nft-art-a4c631d1-d173-46a5-b514-9732b2fcecaf.html
    Schreier, Jason.(2021, March 9) Gaming Crypto-Artists Court Controversy While Cashing in on NFTs. Bloomberg. Retrieved March 12, 2021, from https://www.bloomberg.com/news/articles/2021-03-09/gaming-crypto-artists-court-controversy-while-cashing-in-on-nfts.
    Sharma B. (2018, May 1). ERC865: A case for more user-friendly tokens [Online forum comment] Retrieved from https://medium.com/coinmonks/erc865-a-case-for-more-user-friendly-tokens-eb68e62a986
    Sompolinsky, Y., & Zohar, A. (2015, January). Secure high-rate transaction processing in bitcoin. In International Conference on Financial Cryptography and Data Security (pp. 507-527). Springer, Berlin, Heidelberg.
    Steinberg, D. (2010). Altruism in medicine: its definition, nature, and dilemmas. Cambridge Quarterly of Healthcare Ethics, 19(2), 249-257.
    Szabo, N. (1996). Smart contracts: building blocks for digital markets. EXTROPY: The Journal of Transhumanist Thought,(16), 18(2), 28.
    Tapscott, D., & Tapscott, A. (2016). Blockchain revolution: how the technology behind bitcoin is changing money, business, and the world. Penguin.
    Taylor, J. (2017). Visual Arts Management. Routledge.
    Taylor, J., & Sloane, K. (2021). Art markets without art, art without objects. Garage J. Stud. Art Museums Cult, 2, 152-175.
    Vasan, K., Janosov, M., & Barabási, A. L. (2022). Quantifying NFT-driven networks in crypto art. Scientific reports, 12(1), 1-11.
    Velthuis, O. (2004). An interpretive approach to meanings of prices. The Review of Austrian Economics, 17(4), 371-386.
    Wang, D. & Barabási, A.-L. (2021). Te Science of Science. Cambridge University Press.
    Wood, G. (2014). Ethereum: A secure decentralised generalised transaction ledger. Ethereum project yellow paper, 151(2014), 1-32.
    Whitaker, A. (2018). Artist as owner not guarantor: The art market from the artist’s point of view. Visual Resources, 34(1-2), 48-64.
    林聖祐(2017)。比特幣是什麼?讓發明人中本聰的論文告訴你。關鍵評論網。取自https://www.inside.com.tw/article/9464-bitcoin-a-peer-to-peer-electronic-cash-system-i。
    林啟禎 (2011年3月5日)。利他教育的反思【部落格文字資料】。取自https://blog.xuite.net/mark62lin/twblog/151004189 。
    張元朋(2018)。區塊鏈智慧合約於P2P借貸平台的應用與實作。大同大學資訊經營學系(所)碩士論文,台北市。 取自https://hdl.handle.net/11296/v9t58u。
    陳恭 (2017)。智能合約的發展與應用。財經資訊季刊 第90號。
    陳懿文(2019)。普惠金融助非洲小農貸款。取自https://tw.appledaily.com/property/20191222/XVDWBVMBSUWDD7LI67QBEATO6E/。
    慕智(2019)。一個基於區塊鏈之拍賣平台。國立清華大學資訊系統與應用研究所碩士論文,新竹市。 取自https://hdl.handle.net/11296/9d7fv8。
    Elponcho(2020)。什麼是ERC-1155? Enjin技術長:可代表NFT或錢的多重代幣標準。鏈新聞。取自https://www.abmedia.io/what-is-erc-1155。
    Yahsin Huang(2018)。不可不知淺談ERC721與 ERC20。區塊客。取自 https://blockcast.it/2018/04/07/erc721-erc20-ethereum-token-standard/ 。
    Description: 碩士
    國立政治大學
    資訊管理學系
    109356046
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0109356046
    Data Type: thesis
    DOI: 10.6814/NCCU202201061
    Appears in Collections:[資訊管理學系] 學位論文

    Files in This Item:

    File Description SizeFormat
    604601.pdf3450KbAdobe PDF20View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback