NFT Culture Contents and Hyperréel Community: Focusing on Banksy and the Case of

Abstract

The purpose of the study is twofold. First, we would like to propose the concepts of “NFT contents” and “NFT culture contents” by identifying the characteristics and characteristics of contents produced using NFT (non-replaceable tokens). Second, the identity of the enjoyment community formed in the process of consuming NFT culture contents will be named a derivative real community and the implications of the “imaginative communication space” will be explained. According to the results of the study, simply defining “NFT contents” can be said to be content that has proven ownership with NFT technology, and there are various types. Determining the value of NFT contents is not the original value of real objects, but the symbolic value of virtual objects transferred on the web. In particular, if NFT content issued with non-replaceable tokens is NFT culture contents by embodying tangible and intangible cultural elements, it can cover concepts such as “NFT art” and “NFT culture and artistic contents.” It can also acquire the possibility of reconsidering culture contents terms that are already being used on a new technology basis. Today, NFT culture contents is expanding the possibility of interaction through imaginary preference values in the production and distribution process, which is an important reference point for discussing the utility of NFT contents. It is noteworthy that in the case of NFT culture contents, the value of the “imaginative communication space” is confirmed by the storytelling effect of the enjoyment community derived around it. Accordingly, this paper explained the power of the “imaginative communication space” driven by the NFT culture contents in the term “Hyperréel Community.” Based on these theoretical discussions, this article analyzes two representative examples of NFT contents. The series of NFT contents work attempted by Banksy and the ‘Hunminjeongeum Haeryebon’, published as an NFT by the Kansong Museum of Art, are examples of the nature of the “imaginative communication space” and the flowing power of the “Hyperréel Community.” These works have something in common as consumer goods with a new imaginary context, erasing the boundaries between the web and the real world. On the other hand, it was found that there was a difference in the process of creating imaginary preference values and the supermediated aspect of the derivative real community.