Sources

[1]Osterwalder, A., & Pigneur, Y. (2010). Business Model Generation. Hoboken, New Jersey: John Wiley & Sons.

[2]Cultural and creative sectors. (o. D.). Culture and Creativity. Retrieved on the 24th of July 2023, https://culture.ec.europa.eu/cultural-and-creative-sectors/cultural-and-creative-sectors

[3]Cossu, A. (2022). Cultures of Digital Finance: The rise of the financial public sphere. International Journal of Cultural Policy, 28(7), 845–857. retrieved on the 24th of July 2023, https://doi.org/10.1080/10286632.2022.2137158

[4]Serpentine Galleries (2020, Februar). Future Art Ecosystems Issue 1. Art x Advanced Technologies. Cloudfront.net. Retrieved on the 24th of July 2023 https://d37zoqglehb9o7.cloudfront.net/uploads/2020/07/Future-Art-Ecosystems-1-Art-and-Advanced-Technologies_July_2020.pdf

[5]Tea Uglow, How Arts Funding Fails Artists. (2023). wepresent.wetransfer.com. Retrieved on the 24th of July 2023 https://wepresent.wetransfer.com/stories/tea-uglow-arts-funding

[6]The future of the creative economy. (o. D.). Deloitte United Kingdom. (June 2021). Retrieved on the 24th of July 2023, https://www2.deloitte.com/uk/en/pages/technology-media-and-telecommunications/articles/the-future-of-the-creative-economy.html

[7]Richard Misek, Adrian Leguina & Kadja Manninen. (2022, June). Digital access to arts and culture. Digital Access to Arts and Culture. Retrieved on the 24th of July 2023, https://digiaccessarts.org/report/

[8]The Sole Adventurer. (2021). Artificial Intelligence and Artistic Creation as Unfolding in Africa | By Delphine Buysse. The Sole Adventurer. Retrieved on the 24th of July 2023, https://thesoleadventurer.com/artificial-intelligence-and-artistic-creation-as-unfolding-in-africa-by-delphine-buysse/

[9]Posts, V. M. (2020, 16. September). Obstacles to developing digital-centric business models in the arts – Chris Unitt. Retrieved on the 24th of July 2023, https://www.chrisunitt.co.uk/2020/09/obstacles-to-developing-digital-centric-business-models-in-the-arts/

[10]Kate Rolfe & Marco Savo. (2021). What digital did next – How digital arts can unlock value and opportunity in a socially distanced cultural sector. MuseumNext. Retrieved on the 24th of July 2023, https://www.museumnext.com/article/digital-arts-socially-distanced/

[11]Endres, R. (2022, 16th of November). Art Archives - Page 2 of 4 - SuperRare Magazine. SuperRare Magazine. Retrieved on the 24th of July 2023, https://superrare.com/magazine/tag/art/page/2/

[12]Paula Berman, Victoria Ivanova & Matt Prewitt. (2023, 1. März). Rethinking Art Ownership. RadicalxChange. Retrieved on the 24th of July 2023, https://www.radicalxchange.org/media/blog/rethinking-art-ownership/

[13]A new digital landscape for the art sector. (2022, 22. Februar). Courier. Retrieved on the 24th of July 2023, https://mailchimp.com/courier/article/digital-art-technology-nfts/

[14]Serpentine R&D Platform, Alex Boyes, Tamar Clarke-Brown, Victoria Ivanova, Eva Jäger, Ben Vickers & Kay Watson. (2021, July). Future Art Ecosystems Vol 2. Art x Metaverse. futureartecosystems.org. Retrieved on the 24th of July 2023, https://futureartecosystems.org/FAE2_ArtxMetaverse_digital.pdf

[15]Rodeck, D. (2023, July 5). Top NFT Marketplaces Of July 2023. Forbes Advisor. Retrieved on the 24th of July 2023, https://www.forbes.com/advisor/investing/cryptocurrency/best-nft-marketplaces/

[16]Kim, V. (2022). Does it pay to stay bullish on cryptoart in a bear market? SuperRare Magazine. Retrieved on the 24th of July 2023, https://superrare.com/magazine/2022/09/20/does-it-pay-to-stay-bullish-on-cryptoart-in-a-bear-market/

[17]Krasteva, S. (2022). Everything Everywhere All At Once. The Curated TXT. Retrieved on the 24th of July 2023, https://webzine.thecurated.app/merlina-rani/

[18]Serpentine Galleries (2020, Februar). Future Art Ecosystems Issue 1. Art x Advanced Technologies. Cloudfront.net. Retrieved on the 24th of July 2023 https://d37zoqglehb9o7.cloudfront.net/uploads/2020/07/Future-Art-Ecosystems-1-Art-and-Advanced-Technologies_July_2020.pdf

[19]Ed Fornieles Studios. (2018). Retrieved on the 24th of July 2023, https://www.edfornielesstudios.com/balance

[20]Kathryn. (2022, 11th of July). Substrakt. substrakt. Retrieved on the 24th of July 2023, https://substrakt.com/journal/venues-of-the-future-a-conversation-with-ruth-mccullough-and-catherine-waddington/

[21]Theatre audiences with accessibility needs risk returning to pre-pandemic levels of exclusion. (2022, June 10). Loughborough University. Retrieved on the 24th of July 2023, https://www.lboro.ac.uk/media-centre/press-releases/2022/june/vulnerable-theatre-audiences-pre-pandemic/

[22]Misek, R., Adrian Leguina, & Kadja Manninen. (2022, June 7). Digital access to arts and culture. Figshare. https://repository.lboro.ac.uk/articles/report/Digital_access_to_arts_and_culture/20025731

[23]Team, A. L. (2023, March 7). The Rise of Metaverse Art: Exploring the Intersection of Art and Virtual Reality - Arte and Lusso. Arte and Lusso. Retrieved on the 24th of July 2023, https://arte8lusso.net/metaverse-2/metaverseart/

[24]Wiener, A. (2022, February 10). The rise of "Immersive" art. The New Yorker. Retrieved on the 24th of July 2023, https://www.newyorker.com/news/letter-from-silicon-valley/the-rise-and-rise-of-immersive-art

[25]LinkedIn Post, Sofie Hvitved, Futurist, Senior Advisor and Head of Media, Copenhagen Institute for Futures Studies, Retrieved on the 24th of July 2023, https://www.linkedin.com/posts/sofiehvitved_metaverset-er-erkl%C3%A6ret-stend%C3%B8dt-men-en-fremtidsforsker-activity-7070362379242332160-bTaU