The animations are exhibited at NFT. Are you also interested in
the fields of digital art and crypto art?
It all started when I spoke to Multi Culti, the label,
about the animated video Eli and Stav had made for the release of Zongamin’s O!
Versions EP, which I thought might be good for NFT. I
think the concept of NFT is interesting, but I
don’t pay much attention to what’s going on these days.
While I do not think NFT is very common in Japan yet, does the
concept of NFT have a foothold in Europe?
Last year, it was featured in the news, and auction houses such
as Sotheby’s handled it and became a hot topic. There were pros and cons,
including environmental issues, but recently I have an impression that it has
not been in the news, but I believe there is
still a scene. I think it was a concept like the fine art world where the
owner’s record is engraved every time it is resold, such as daring to give
value to media things that anyone can own with copy-paste, and increasing the
value when a famous collector buys it. Some of the
works had only one pixel, some had dumbfounding ideas, and others, such as the
idea of auctioning the music concert itself, and I had the impression of what
would stick and remain from all the different people’s ideas.
Digital distribution is becoming mainstream in music, but do you
think it will be difficult to make a living with just music alone?
Before the pandemic, music festivals grew to the point where I
felt there were almost too many. I think it developed in that direction from
difficulty for musicians to earn income from recordings due to digital
streaming. But now, the pandemic made the holding of music festivals difficult.
With the exception of a few large mega-events,
festivals and live concerts may become more local and smaller. There may be
more developments like NFT.