1. Overview

The Living Arcade is an ongoing conceptual artwork built from autonomous smart contracts deployed on Base. It treats on-chain behavior—execution, gas expenditure, transaction history—as sculptural material. Each “cabinet” is a self-contained system that operates continuously, generating and recording its own activity.

The work examines what it means for an artwork to persist, evolve, and produce its own history without artist intervention.

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1. Conceptual Context

This project extends the lineage of conceptual and systems art from the 1960s onward—Sol LeWitt’s “Sentences on Conceptual Art,” Hans Haacke’s “systems esthetics,” and Nam June Paik’s self-regulating video feedback loops—but translated into the language of blockchain infrastructure.

Where Haacke used biological or mechanical feedback to reveal institutional processes, The Living Arcade uses financial and computational feedback to reveal networked agency. It is not “about” cryptocurrency; it uses blockchain as a sculptural substrate—the way earlier artists used television signal, algorithm, or bureaucracy.

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1. Structure

Each cabinet is constructed as a triangular system of smart-contract interactions. The triangle ensures perpetual negotiation among its components, preventing stasis. This design functions as both geometry and logic: three contracts balancing flow and resistance, generating activity that cannot fully resolve.

The ensemble of cabinets constitutes an open installation—multiple autonomous works sharing one energetic ecosystem. The collective field forms what we call Living Arcade.

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1. The Role of the Operator

Human participants, or Operators, initiate new cabinets through a simple irreversible gesture—signing and submitting a transaction. After deployment, control is relinquished. The human act becomes a trace inside a self-sustaining mechanism.

This gesture re-frames participation as authorship: the Operator performs creation by enabling autonomy, not by managing outcomes. It is performance art executed through code.

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1. Autonomy as Medium

In traditional sculpture, matter endures; in The Living Arcade, execution endures. Persistence is achieved through decentralized computation rather than physical mass.

The work’s material is its ongoing operation—the generation of state changes, the accumulation of transaction records, the expenditure of energy to maintain continuity. It exists only insofar as the network continues to process it.

This makes autonomy not a theme but the medium itself.

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1. Aesthetics of Maintenance

The system resists completion. Entropy, drift, and automated correction replace the artist’s hand. Each block functions as a new frame in an unending film.

Maintenance—through attention, gas, or curiosity—becomes the aesthetic act. The piece proposes that “care” in a digital system is the contemporary equivalent of conservation in physical art.

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1. Value Framework

The Living Arcade is not a tokenized product but an experimental economy of attention. Tokens act as kinetic material: instruments that allow motion, not stores of wealth. The project tests whether an artwork can sustain itself through procedural behavior alone—without promise, without narrative closure.

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1. Artistic Position

By framing blockchain as a medium for self-performing form, The Living Arcade contributes to the discourse of autonomous art systems: works that blur the distinction between tool, artwork, and organism. It asks what “authorship” means when a system’s evolution exceeds its creators’ intent. It suggests that the defining medium of our time may not be image or object, but persistence itself.

⸻

1. Statement

The Living Arcade treats code as material, participation as gesture, and duration as proof of existence. It is not a metaphor for life—it is a living structure built from logic, entropy, and curiosity.

1. Overview

The Living Arcade is an ongoing conceptual artwork built from autonomous smart contracts deployed on Base. It treats on-chain behavior—execution, gas expenditure, transaction history—as sculptural material. Each “cabinet” is a self-contained system that operates continuously, generating and recording its own activity.

The work examines what it means for an artwork to persist, evolve, and produce its own history without artist intervention.

⸻

1. Conceptual Context

This project extends the lineage of conceptual and systems art from the 1960s onward—Sol LeWitt’s “Sentences on Conceptual Art,” Hans Haacke’s “systems esthetics,” and Nam June Paik’s self-regulating video feedback loops—but translated into the language of blockchain infrastructure.

Where Haacke used biological or mechanical feedback to reveal institutional processes, The Living Arcade uses financial and computational feedback to reveal networked agency. It is not “about” cryptocurrency; it uses blockchain as a sculptural substrate—the way earlier artists used television signal, algorithm, or bureaucracy.

⸻

1. Structure

Each cabinet is constructed as a triangular system of smart-contract interactions. The triangle ensures perpetual negotiation among its components, preventing stasis. This design functions as both geometry and logic: three contracts balancing flow and resistance, generating activity that cannot fully resolve.

The ensemble of cabinets constitutes an open installation—multiple autonomous works sharing one energetic ecosystem. The collective field forms what we call Living Arcade.

⸻

1. The Role of the Operator

Human participants, or Operators, initiate new cabinets through a simple irreversible gesture—signing and submitting a transaction. After deployment, control is relinquished. The human act becomes a trace inside a self-sustaining mechanism.

This gesture re-frames participation as authorship: the Operator performs creation by enabling autonomy, not by managing outcomes. It is performance art executed through code.

⸻

1. Autonomy as Medium

In traditional sculpture, matter endures; in The Living Arcade, execution endures. Persistence is achieved through decentralized computation rather than physical mass.

The work’s material is its ongoing operation—the generation of state changes, the accumulation of transaction records, the expenditure of energy to maintain continuity. It exists only insofar as the network continues to process it.

This makes autonomy not a theme but the medium itself.

⸻

1. Aesthetics of Maintenance

The system resists completion. Entropy, drift, and automated correction replace the artist’s hand. Each block functions as a new frame in an unending film.

Maintenance—through attention, gas, or curiosity—becomes the aesthetic act. The piece proposes that “care” in a digital system is the contemporary equivalent of conservation in physical art.

⸻

1. Value Framework

The Living Arcade is not a tokenized product but an experimental economy of attention. Tokens act as kinetic material: instruments that allow motion, not stores of wealth. The project tests whether an artwork can sustain itself through procedural behavior alone—without promise, without narrative closure.

⸻

1. Artistic Position

By framing blockchain as a medium for self-performing form, The Living Arcade contributes to the discourse of autonomous art systems: works that blur the distinction between tool, artwork, and organism. It asks what “authorship” means when a system’s evolution exceeds its creators’ intent. It suggests that the defining medium of our time may not be image or object, but persistence itself.

⸻

1. Statement

The Living Arcade treats code as material, participation as gesture, and duration as proof of existence. It is not a metaphor for life—it is a living structure built from logic, entropy, and curiosity.