Whitepaper (EN-US)
Quais são os nossos objetivos?
Last updated
Quais são os nossos objetivos?
Last updated
The iNAction project was originally developed to support web2, web3 artists, or those in transition, from one market to another or from one branch to another. Through a series of activities that would be co-created and done collaboratively, the collective itself would be built. From its documentation to mapping its journey (for prevention of present and future steps) the collective will be developed until it walks on its own. Our goal, as part of the same whole, is to make various types of artists + designers (both plastic and scientists) feel comfortable developing in the same ecosystem. Through a Discord channel and Dework, they themselves are fairly remunerated to fulfill their activities that would make the collective progress, linearly? No. But with a process that involves learning and interactions among various audiences. Among these projects, other collections and exhibitions would be developed, internally and with the collaboration of people who would already be engaged.
Having collective references of artists like Øxone, The Ronin Collective and SPEEDTEST RAVE we manage the community and the artists directly linked to the collective. What types of artists and designers, as mentioned earlier? They would be plastic artists, sound designers, designers, builders of NFTs and PFPs pieces and even, collectors and enthusiasts of the area so that they can learn together with other people in the market, having the people of the collective as inspiration or curator of their people or creatives. Remember that we are not only looking for visual artists, but musical and audiovisual ones. From the member who makes album covers, to someone who makes the album and who develops the visual identity and the concept of the album, with some concept art or design system made in 2D/3D with a theoretical inspiration of something that is found or that will revolutionize the market at once.
iNAction emerges as a group, which was created thanks to the boom of NFTs in 2021/22, with two people and the fundamental support of some gurus who were already flying in the market at that time. Since the creation of our first wallet, we are trying to solidify ourselves in this market, earning our place in the sun and making more people monetize their work, no matter what it is. Although it is a collective focused on art or humanities, we will also have room for a writer and a programmer. Ideas will have to be developed by themselves, with our support at the beginning and perhaps, without need of it in the future. We understand that micro and macro communities develop by themselves in the future, through conversations and contacts, we do not make a point of filtering all data but of using all that are possible and within reach to measure and identify our metrics.
Tokenization is currently on the rise, but it was adopted only by a small part of the professional market. With the popularization of DAOs (Decentralized Autonomous Organizations), in the translation to our Portuguese, OADs (Decentralized Autonomous Organizations), we made ours with our concepts that will be established by ourselves and with a certain property. For you who do not know decentralization, DeFi or DeSci, all this arises in an idea that ideas arise with disruption and not through a concept totally organized or developed through a hierarchy of values. In an autonomous organization, various utilities can be created by the public itself, including by the communities that make the idea itself survive. All this can be organized, re-organized, re-built, recycled and put into question in the same market that operates through many players that arise daily, wanting new ideas, breathing new air, investing and even diversifying various portfolios, including ours.
Over time, we intend to develop our own token and create an account on snapshot, so that the votes are fair and the economy feeds itself. Everything we did was done according to events abroad, the United States but with a base in Brazil. The contents are in English, to facilitate the propagation of all of them by the “4 corners” of the planet, attracting visibility, investments and reaching an audience, so that we do not keep hitting more of the same, in a vice that would be replayed, in a repetitive cycle. The goal would be to reach as many people as possible, but making them visualize the content and take good advantage of what is to be offered. Using texts, posts, scientific articles and works that are part of large collections that are world references. Observation would be trained, innovation and the implementation of new resources would be constantly discussed so that everything happened in the best way.
With love and dedication, iNAction.
Bibliographics sources:
COLLECTIVE, Øxone (comp.). Stream Øxone Collective music: listen to songs, albums, playlists for free on Soundcloud. Listen to songs, albums, playlists for free on SoundCloud. 2023. Informações retiradas do Soundcloud. Disponível em: . Acesso em: 06 ago. 2023.
⛉, ⛩ The Ronin Collective (comp.). Stream ⛩ THE RONIN COLLECTIVE ⛩ music: listen to songs, albums, playlists for free on soundcloud. Listen to songs, albums, playlists for free on SoundCloud. 2023. Informações retiradas do Soundcloud. Disponível em: . Acesso em: 06 ago. 2023.
RAVE, Speedtest (comp.). Stream SPEEDTEST RAVE music: listen to songs, albums, playlists for free on Soundcloud. Listen to songs, albums, playlists for free on SoundCloud. 2023. Informações retiradas do Soundcloud. Disponível em: . Acesso em: 06 ago. 2023.
FORSTER, Kurt W.. Aby Warburg's History of Art: collective memory and the social mediation of images. 1976. 9 f. Monografia (Especialização) - Curso de Arquitetura, Center For Art, Science & Technology, Massachusetts Institute Of Technology, Cambridge, 1976. Disponível em: . Acesso em: 14 ago. 2023.
LITERAT, Ioana. The Work of Art in the Age of Mediated Participation: crowdsourced art and collective creativity. 2012. 23 f. Monografia (Especialização) - Curso de Communication, University Of Southern California, Los Angeles, 2012. Cap. 6. Disponível em: . Acesso em: 14 ago. 2023.
PEARCE, Celia. Games AS art: the aesthetics of play. 2006. 23 f. Monografia (Especialização) - Curso de Design, University Of California, Los Angeles, 2006. Cap. 6. Disponível em: . Acesso em: 14 ago. 2023.
