Decentralised art is grounded in the belief that Web 3.0 technologies will not only reshape our relationship with financial systems but also challenge and expand our understanding of language, science, psychology, and the arts. In a rapidly evolving landscape, decentralised art integrates a number of emerging ideas from various disciplines, aiming to use storytelling as a vehicle to illustrate their connected nature.

 

The crisis of masculinity, feminism, and mental health:

 

This form of art seeks to foster a culture of responsibility when it comes to mental health. The so-called crisis of masculinity reflects a cultural pushback against forms of masculinity that seek to ground and stabilise society in meaning and morality; favouring instead subjective perspective and individual freedoms. By utilizng blockchain technology, decentralised art revives the positive aspects of masculinity through decentralised stories that convey universal meaning and morality without confining society to a system of rigid rules. The outcome: individuals are encouraged to engage responsibly, with the potential outcomes being both improved mental well-being and opportunities for financial reward.

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​​​​At the core of this creative processes is the idea that we are now in a position to map and monetise what the psychologist Carl Jung described as the collective unconscious. Through narrative and storytelling, artists can make visible universal means through which humans acquire meaning and morality. This insight prompts a shift away from a postmodern perspective toward what cultural theorists call Metamodernism. Within this framework emerges the realisation that both language, meaning and human morality possess fundamental components; elements that are not simply invented or constructed, but discovered. 

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Decentralised art is inspired by the philosophical ideas of physicist Roger Penrose. Known for arguing that quantum mechanics is incomplete, insofar as it lacks a physical mechanism for describing wavefunction collapse, Penrose stresses the need for a non-algorithmic system. Structured like a Penrose triangle, decentralised art loops back to the creative collaborations between Penrose and M. C. Escher, while also bringing additional inspiration from figures in art history such as Marcel Duchamp and Joseph Kosuth.

This Formula emerged as an effort to extend and bring conceptual clarity to the Pod’lair model, founded by Thomas Chenault. This system complements both conventional Jungian typology and the work of Penrose and Hameroff by illustrating a deeper, physical and visual element to language, what philosophers call qualia, an element necessary to map fungible (money-like) properties in the process of storytelling.

Just as cryptocurrencies emerged from anxieties surrounding inflation and centralised monetary systems, decentralised art anticipates a similar concern around the economic dominance of increasingly sophisticated AI. While machine learning offers profound benefits by accelerating processes and increasing efficiency, it simultaneously poses an existential threat as a force capable of displacing human value, worth, and meaning. In response, decentralised art 'creates' artworks that can not only be monetised in a way that allows scientists and creators to operate outside centralised grant systems, but also give a broader audience the opportunity to invest in artworks that function as a safe haven from AI’s copycat tendencies.

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