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Home»Analysis»AI flattens creativity. The blockchain is the way we save it
Analysis

AI flattens creativity. The blockchain is the way we save it

April 19, 2025No Comments
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Disclosure: the views and opinions expressed here belong only to the author and do not represent the views and opinions of the editorial of Crypto.News.

Our deadlines were filled with a bunch of ghosts from Pastel Miyazaki. Ghibli-style Studio-style AI generations have become the new favorite aesthetics of the Internet. PFPs and marketing campaigns are reborn all night in the watercolor heat of Spirited Away. Selfies went like soot sprites.

The results are charming but deeply disturbing. For what? Because Hayao Miyazaki did not draw them – and no one asked permission. It is not only a copyright problem. It is a problem of authenticity where there is an increasing inability to see, trace or understand the origins of the content that shapes our culture.

In the chaos of images and mecoins generated by AI, we look at creativity flattening, obscured paternity and erased property. If it looks like a plague, it is because it is.

The unhindered waste unleashed by the generative AI caused a powerful use case so that the blockchain emerges: proof of provenance and verifiability of onchain for agency creation. By anchoring the content to public and immutable books of books, the blockchain allows creators to prove paternity, the originality of horoditing, the license work by program and to follow the derivatives through the network – without relying on centralized guards.

With blockchain tools, creators can participate in more equitable and more transparent ecosystems that reward origin and empower open-source and composable content systems.

The collapse of creative clarity

Studio Ghibli was not the only target. At the end of 2024, Philip Banks created Chill Guy, a meme of relaxed dog who exploded in a half-milliard of dollars on Solana. But banks have never given permission. His accounts were hacked. An agreement of false licenses has been forged. When the truth surfaced, the token crashed 45% in 30 minutes.

Now imagine this story that takes place on all supports, on a global scale. This is exactly what is happening with the recent Openai co -op in the IP of Studio Ghibli. Now, AI tools can imitate any voice, style or aesthetics – trained on non -dismissed data scratched from the Internet and any support it can consume.

Amazon replaces the actors of the voice with AI. The location of manga is outsourced to machines. The proceedings of the artists of the New York Times, Getty and independent accumulate. A major problem is that the application cannot keep the pace of reproduction. The systems we are counting to manage the content – from cloud readers to social platforms – can tell you where something comes from.

They fail to prove the provenance and, in turn, fail the creators whose livelihoods depend on the rights of intellectual property. We build the next generation of digital culture on a basis of assumptions, not guarantees.

Creative authenticity requires a new blockchain infrastructure

We don’t need more IP proceedings. We need new rails. Authenticity, even lucidity – the ability to see clearly and act honestly – is not only a philosophical idea. In a generative world, it is a technical requirement. If we want to preserve creative integrity in the AI ​​era, we need an infrastructure that makes origin, attribution and authorship cryptographically native of each digital asset.

Using storage and Merkle tree structures in content addressing, creators can hay their work and save it to a public channel. This hash becomes a permanent digital imprint of the original content. Intelligent contracts can define license conditions, automate fees and even govern remix rights.

Each derivative, an event of use or a change of property is recorded with immimum – creating a verifiable calendar of the creation, the modification and the transaction. This does not only protect artists. It also improves machines. With the blockchain, creators can record their work cryptographically at the time of creation. Each change, license or remix is ​​part of a transparent and unexpected chronology. Intelligent contracts can automate fees. The attribution becomes verifiable. And use becomes traceable – whether it is a social position, a set of data or a derivative generated by AI.

It is not only to threw media. It is a structural passage from conjectures to guarantees, from hearing to the hasd.

Without that, the artists will continue to be erased. Investors will continue to become robust. And confidence in the creative economy will continue to corrode.

Build a truthful internet

Freedom of communication and property rights are fundamental principles in the canon of Western philosophy. We know that the open communication channels and the rule of law to protect private property are the frameworks for creating a free company.

However, today, our creative systems are plagued by black box models, closed source platforms and data training systems without audit trails. We have confused this flow of content with an abundance of creativity when, in fact, it is a kind of great kind – which undermines the creative people he imitates.

If we want a future where new Miyazakis, Picassos and Myriad Creators are possible – where artists can take risks without being scratched in the next owner model – we must build systems that protect them by design.

Blockchain is the way we integrate paternity into the content, how we stop whitening aesthetics and how we let creativity prosper without erasing. These are not only bad actors. It is bad architecture. And the remedy is not unworthy – this is provenance. Authenticity is no longer a luxury. It’s a blockchain.

Nirav Murthy

Nirav Murthy

Nirav Murthy is a co-founder of Camp Network and has previous experience as an investment bank and in growth shares in the Raine Group. Before that, Nirav worked as a brand ambassador at CRV. Nirav holds a Baccalaureate of Sciences in Business Administration of the University of California in Berkeley, a Haas business school and a baccalaureate in economics from the University of California in Berkeley.



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