A £55m project to help deliver state-of-the-art digital connectivity in the Swansea Bay City area is starting to move forward, executives said. It is one of nine draft municipal agreements for the area – and was described as a ‘golden thread’ running through them all at a meeting of the Swansea Bay City Area Joint Committee.

The Digital Infrastructure Program, as the project is known, has three key objectives: widespread fiber broadband coverage in urban and growing areas, the expansion of connectivity in underserved rural areas, and the deployment of as much 5G wireless technology as possible.

Although it may sound technical, the premise is that good digital connectivity helps a region gain a competitive advantage, drive innovation, and drive economic growth. And the Swansea Bay City area, according to a report presented to the Joint Committee, has suffered from a lack of commercial investment in this regard. The region covers Swansea, Carmarthenshire, Neath Port Talbot and Pembrokeshire.

READ MORE:A cocaine dealer broke both legs jumping off the roof while fleeing from police

Gareth Jones, the project manager, said the aim is to sustain connectivity in the region for at least the next 25 to 30 years. He added: “Our project, in all honesty, is not enough to achieve this on its own. We need to work with the UG Government, the Welsh Government, our local authorities, the wider public sector and of course , the most important private sector and industry.”

Mr Jones said poor digital coverage in rural areas was becoming more prominent as fiber broadband builders penetrated further into urban areas. But he said there were now six fiber builders in the region – three specializing in rural areas – compared to just two a few years ago.

Cllr Steve Hunt, the leader of Neath Port Talbot Council, said he was one of those underserved customers and that some people and businesses in the five valleys of the county were struggling with the problem. He asked for assurances that Mr Jones and his colleagues would continue to press the central government for a better provision.

One element of the project will see an investment of over £12m in super-fast digital infrastructure for public sector buildings in the region.

Mr Jones said it would create the basis for a “fiber spine” in the area. He added: “Probably, more importantly, it will spur significant private sector investment in building additional fiber.”

He said he and his colleagues were working out which public sector buildings would benefit from the £12m outlay.

The four participating councils will recruit two staff members to help move the project forward, liaising with businesses and the public. This will include providing Public Health England’s latest guidance and advice on 5G – the next iteration of the wireless network.

“There’s a lot of misinformation and information out there,” said Cllr Rob Stewart, the head of Swansea Council.

The project aims to establish 5G networks, which could lead to new and better business applications.

Mr Jones said: “The excitement behind 5G is not about mobile phones. It’s the ultra-fast wireless offshore connectivity for your wind farms. It’s about private high-speed connectivity on a dairy farm. This is the network that will control autonomous vehicles in the future.

Cllr Stewart said: “The digital program is a golden thread that runs through us and helps us achieve even more on our other projects.”

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teamLab is generally known for its ethereal installations that often immerse visitors in an otherworldly setting. Made up of a team of architects, engineers, programmers and artists, the collective’s latest exhibition is noticeably different. For the first time, teamLab will present works in Geneva and distill their scope in the field of digital art.

Housed in the Swiss outpost of Pace Gallery, Exist in infinite continuity imagine life as an uninterrupted flow of energy. Presented on a series of digital monitors, the work meditates on the unrecognized continuity between our existence and the world – whether it’s a flock of birds flying in unison or simply the movement of our own bodies when we interact with our environment. Instead of depicting humans or birds themselves, teamLab visualizes movement through countless tiny lines that flow sporadically at varying densities on the surrounding airflow.

In addition, from June 20 to July 3, teamLab will visualize Giacomo Puccini’s last opera Turandot to Grand Theater of Geneva. This is the first time that the collective has worked in an opera setting and will immerse the public in a sculptural space of light.

Exist in infinite continuity opened earlier this month and will be viewable at Rhythm Geneva until July 2.

On the theme of exhibitions, the Michael Werner Gallery presents Peter Saul: New Works.

rhythm gallery
Quai des Bergues 15,
1201 Geneva, Switzerland

According to Wikipedia, the first known non-fungible token (NFT) was established in 2014 and the first NFT project was launched at the end of 2015. It took a few more years and more projects for the concept to spread into the mainstream consciousness, and then a few more for the massive investments in NFTs follow.

2020 and 2021 have seen hundreds of millions of dollars spent on NFT. The boom was obvious but baffling to many, as buying an NFT of a piece of digital art – a song, photo, video, in-game collectible, etc. – does not mean that you obtain any copyright, intellectual property, or other legal rights in the digital asset that the NFT represents.

So what is the appeal of NFTs?

We asked Satnam Narang, Research Engineer at Tenable, to shed some light on the issue for the uninitiated and offer security tips for those who have already invested in it.

Why do buyers use NFTs?

“Most commonly associated with digital art, NFTs are considered the modern equivalent of an art collection. Only a certain number of NFTs are produced for a project and they have a variety of characteristics, which can contribute to an NFT’s value from a rarity perspective,” Narang explains.

“Most of the popular NFT projects are what are called PFP (Profile Pictures) projects like CryptoPunks or Bored Apes. Buyers acquire them and use them as profile pictures on social media because social media has become our digital art gallery.While it’s true anyone can right click and save a PFP from one of these projects and claim it for themselves because it’s When it comes to blockchain-based projects, there is a way to verifiably prove ownership.Twitter recognized the value of NFTs as PFPs, which is why they started offering cryptocurrency enthusiasts the opportunity to verify ownership of their NFTs on the blockchain in a more transparent manner.

He attributes the recent popularity of NFTs in part to the fact that, for many cryptocurrency enthusiasts and investors who missed the early days of Bitcoin and Ethereum, NFTs have become another investment vehicle and potential earning opportunity. .

Several noteworthy projects have seen the value of their NFTs skyrocket over the past year, even as the broader cryptocurrency market has entered a bear markethe underlined.

However, it should be noted that the NFT market has cooled a bit since.

How are they secured?

NFTs are bought and sold on NFT marketplaces (e.g. OpenSea).

“NFTs are typically stored in hot wallets: cryptocurrency wallets that are easily accessible over the Internet through browser extensions like MetaMask. This allows users to easily access their NFTs for sale,” Narang explains.

“Some power users may choose to store their NFTs in cold wallets, which are offline wallets (physical devices) that are not connected to the internet. Cold wallets include hardware wallets like Ledger or Trezor, which require a user to securely store a private key offline in order to access their funds or NFT in their cold wallet.

NFT: a treasure trove for scammers

As documented by software engineer Molly White in her Web3 Is Going Great project, NFT projects obtain compromise has become an almost daily occurrence, and cover drawn on dodgy NFT projects have also been known to occur.

It is difficult for those looking to buy NFTs or have the ability to mint them to be absolutely sure that they are not being fooled.

“There is often a window of opportunity offered to scammers to target NFT projects that are trying to add more value for their holders. These projects will do things like offer token airdrops that are only granted to holders of NFTs or plan to pivot to things like the metaverse, where holders of these NFTs can get the first dibs on a piece of digital land in the project’s metaverse,” Narang explains.

“If users miss these airdrops or opportunities to procure digital land deeds, they are more likely to be scammed by unexpected offers. Scammers are also really exploiting the urgency factor, claiming that an NFT project only reopens airdrops or only grants access to obtaining digital land deeds for a limited time or for a certain number of years. users.

Beware of phishing

Scammers can sue NFT owners via imitations of different projects or by generalized cryptocurrency phishing that gives an attacker control of the victim’s wallet.

Skepticism is an NFT collector’s best friend, Narang notes. “Unsolicited social media posts claiming you can partake in an NFT airdrop or mint are more likely to be scams. If you are unsure, you should visit the respective NFT projects’ social media accounts or Discord to validate these claims, but I can assure you that in 9 out of 10 cases, these are simply scams designed to steal your digital wallets.

Better to miss out on a potential upcoming NFT project than to have all your cryptocurrencies and NFTs stolen from your wallet, he believes, and advises NFT owners to consider using storage cold for their NFTs and other digital assets.

The Logitech Crayon is a stylus for iPad, and easily one of the best alternatives to Apple’s Apple Pencil 2 stylus. In fact, the Logitech Crayon has the rare distinction of being an Apple-approved stylus – and even uses much of the same technology as the Apple Pencil.

This means that, unlike unapproved styluses, the Logitech Crayon pairs instantly with an iPad, and Logitech promises “zero noticeable lag” while you draw. The pause between a stylus stroke and what appears on screen can be annoying and distracting for digital artists, which makes the Logitech Crayon very tempting. The same goes for the price. At around £60, it’s almost half the price of the Apple Pencil.

Logitech Crayon review: Design

While the Logitech Crayon packs Apple Pencil technology on the inside, on the outside this stylus is markedly different. While the Apple Pencil is sleek, thin, and minimalist, the Logitech Crayon is bigger and brighter. As their names suggest, think of the difference between a pen and a pencil.

If the ‘Pencil’ part of the name has you worried that this is a kid’s device, then don’t worry. This is a solidly built tool for digital art, and if the orange highlights in the design seem a bit too much, you can also get it in silver/grey.

The wider design, with flat sides, is comfortable to hold and draw. If you found the Apple Pencil too thin to hold, then the Logitech Crayon is definitely worth considering. However, if you prefer smaller, thinner styluses, you might find the Logitech Crayon too large.

The Logitech Crayon’s replaceable nib is quite thick, so not great for fine detail, but it glides easily across the iPad screen. On the other end is a power button and a removable cap that gives you access to a Lightning charging port.

Logitech Crayon review: Performance

As an Apple-certified stylus, there’s no need to pair the Logitech Crayon with an iPad. As long as you have a reasonably recent iPad from 2018, the Logitech Crayon will work with the device right out of the box. This is incredibly useful for people who just want to draw and not mess with settings.

As promised, in most apps we tried, the Logitech Crayon was incredibly responsive. Apple’s Scribble tool, which turns handwritten notes into editable text, worked brilliantly, managing to choose words accurately despite our terrible handwriting.

Drawing and painting, which are probably of most interest to creatives, were also handled very well. Using a mix of Apple’s own apps, alongside Adobe Illustrator and Photoshop, the Logitech Crayon performed brilliantly. With these more intensive apps, using more complex paint effects, there was sometimes a slight lag, but that was more down to the iPad than the Logitech Crayon. If you have a modern and powerful iPad, like the iPad Pro, this shouldn’t be a problem.

The Logitech Crayon comes with tilt sensitivity, which gives you better control over what you’re drawing, and with pressure sensitivity, it does a great job of making line weighting look natural.

There’s also palm rejection, so if you accidentally touch the iPad screen with your palm or hand while drawing, it doesn’t register as a brushstroke, for example.

Overall, we were very impressed with the performance of the Logitech Crayon, which gave us a responsive and responsive experience similar to what we’re used to from the Apple Pencil, but for less money.

Logitech Crayon review: Charging and battery life

Logitech claims the Crayon’s battery life is 7.5 hours of active writing time, and we found that to be overall accurate. To help preserve the battery, it turns off after 30 minutes and a simple press of the power button turns it back on. A small LED light lets you know if the battery needs to be recharged.

Charging is handled by plugging a Lightning charger into the top of the pen, whose charging port has a removable cover to keep it away from dust and debris.

There’s no included charger or cable, which is a shame, but since it uses the same Lightning charger as an iPad, you should already have one to use. If you don’t, or want to charge your iPad and the Logitech Crayon at the same time, you’ll need to purchase a second charger.

Logitech Crayon review: Price

You can buy the Logitech Crayon for around £60 ($80), which is expensive for a stylus. However, as Logitech is keen to point out, this is not a passive stylus, but a battery-powered stylus with Apple Pencil technology. And, given that the Apple Pencil retails for between £90 and £120, depending on which generation you choose, that makes the Logitech Crayon a very strong value proposition.

Although it shares many of the same features as the Apple Pencil, some are still exclusive to Apple’s stylus. So it doesn’t magnetically clip to the side of the iPad, or charge wirelessly like the second-generation Apple Pencil does. If you don’t mind missing out on those features, the Logitech Crayon is a great cheaper alternative.

Logitech Crayon review: Should you buy it?

If you’re a digital artist who likes to work on an iPad, but think the Apple Pencil is too expensive, then the Logitech Crayon is definitely worth considering. It pairs instantly with an iPad and works great, offering some of the same functionality as the more expensive stylus.

It is comfortable to hold and its battery has excellent battery life as well. The lack of a charging cable is a shame, but most iPad owners shouldn’t find that a problem

However, if you want something smaller and more portable, the big Logitech Crayon may not be for you. This is also for iPad users – if you have a Windows or Android tablet, this isn’t for you. Not only will you miss almost all of its features, but you will also have to purchase a Lightning cable separately.

Related article:

Welcome back to Chain reaction.

Last week we talked about layoffs and rock gods Winklevoss. This week we are looking at a new layer of crypto disaster.

Get this newsletter delivered to your inbox every Thursday by subscribing to TechCrunch’s newsletter page.

redux crash

We’ve talked about crypto crashes a few times before in the short lifespan of this newsletter, but this week’s selloff scared crypto insiders in a very different way. Things are happening so quickly right now that even seasoned crypto investors seem to feel uneasy about it.

Although crypto winters have arrived before, they have never aligned with the harbingers of a broader prolonged recession. Things have already plunged so quickly on the signal of a recession that insiders fear a long bear market could hit the crypto much harder than expected – tearing the tokens to levels well below the highs of the 2017 bull run.

This means hard things for the tokens, but also more brutal realities for the whole ecosystem.

This week we saw the interconnectedness of major institutions as crypto lending protocol Celsius stuttered and drove down Ethereum prices with it as investors feared a price crash caused by seemingly over-leveraged players like 3 Arrows Capital . Despite crypto’s decentralization philosophy, the potential for cascading failures seems just as possible for the crypto world as it is for traditional financial markets.

If things fail harder and faster than before, the question is how quickly young startups and crypto communities can adapt to changing fortunes. Few companies have to deal with the stress of crypto markets and public markets like Coinbase which laid off more than 1,100 people this week, but many startups have staged mega-towers in 2021 to theoretically future-proof their businesses. For DAOs and protocols with treasuries sitting at ETH, many have seen their budgets for community efforts and extended projects decimated, threatening their survival.

With no promise of wealth or reduced interest in blockchain-based exclusivity, where will consumer demand go? Will governance communities become more motivated and more concerned with short-term goals as their groups go from being filled with millionaires to seeing their profits vanish into thin air? How much worse are things going to get?

the last module

Someone Call 911. Celsius Crypto Lending Protocol Doesn’t Burn, But It Did freeze all customer withdrawals last weekend, citing concerns about its own liquidity in “extreme market conditions.” Since then, the company, which claimed to have 1.7 million users before the break, has seen its own token plummet (then recover, and then plummet again), and send the already struggling crypto markets into a tailspin. a free fall. We explained what was wrong with the Celsius network and how it surprisingly relates to the rest of crypto.

Regulators are seizing this moment of the recession, when web3 already looks pretty dodgy and investors are pissed off about losing money, to crack down on some companies in the space. From BlockFi to Binance.US, some of the biggest names in crypto are facing lawsuits and/or fines for their practices.

The billionaire tech brothers are still doing well, for better or for worse. Block’s Jack Dorsey announced this week that he was ready to cancel Web3 and move on to his vision for the internet, which he calls “Web5”. Elon Musk also weighed in with a particularly creative proposal, which we discussed in this week’s episode.

Our guest, Aaron Levie, built a successful SaaS business in Box, and now he’s on a mission to step up — respectfully — with web3 stans all over Twitter. Levie told us how he manages to cross the line of being a crypto critic without landing in the bad bulls books.

Subscribe to Chain Reaction on Apple, Spotify or your alternative podcast platform of choice to follow us weekly.

follow the money

Where startup money is moving in the crypto world:

1. Indonesian fintech platform Flip raised a $55 million Series B extension led by Tencent with participation from Block (formerly known as Square) and existing backer Insight Partners.
2. Starting the NFT infrastructure PortNFT raised a $26 million Series A round led by Atomico.
3. ScienceMagic.Studiosa branded studio focused on digital assets, secured $10.3 million in pre-seed investments from investors including Liberty City Ventures, Digital Currency Group and Coinbase Ventures.
4. A Words With Friends co-founder raised $46 million in a Paradigm-led Series A for their gaming startup Web3, The WildCard Alliance.
5. Moleculea platform where DAOs can support medical research projects, secured $13 million in seed funding led by Northpond Ventures.
6. Metaverse gaming and earning business Atmos Laboratories grossed $11 million in a seed round led by Sfermion.
7. Creator-focused website3 builder Tellie secured $10 million in Series A funding from investors including Malibu Point Capital, Galaxy Digital and Dapper Labs.
8. Crypto payment platform Number raised $2 million in a pre-seed round led by Sequoia India.
9. Dutch fintech Stock Pieceswhich offers crypto rewards, raised €4.2 million in its funding round from Keen Venture Partners, Yellow Accelerator and others.
10. Starting a Decentralized Trading Infrastructure Ordered network raised $20 million in Series A funding from investors including Three Arrows Capital, Pantera Capital and Dragonfly Capital.

the week in web3

Crypto markets were down last week (although admittedly it has only been down since then). But temperatures rose in Austin, Texas, as 20,000 people from the crypto community gathered to discuss how to navigate their industry, looking like it could be on fire. Anita was lucky enough to attend the conference, so she’s back with some thoughts from the field:

I have lots of friends and acquaintances who aren’t as deep into crypto as I am, and one question I’ve heard over and over again in recent weeks is whether this downturn in digital asset markets is the death knell. from web3. In other worlds, now that the music has stopped, is the party really over?

I shared my two hundred/two Satoshis about it on Los Angeles Public Radio this week (check it out), but I want to use this space to highlight some thoughts I have after hearing from industry folks at Consensus. In short, I don’t think this is the end of crypto, but it will definitely be a tough time for the space.

During a panel on how to invest in web3 in a turbulent market, Arca Chief Investment Officer Jeff Dorman made an interesting point about what makes web3 so different from most other industries, at least as defined by financial markets.

“I don’t even think digital assets [are] an asset class. I think it’s a technology that now wraps all asset classes,” Dorman said. In trading, investors can specialize by product (eg debt, equity, derivatives) or sector (eg industrials, retail, real estate). But in web3, these categories haven’t been clearly defined, because blockchain technology has been used in so many different ways, from storing files to selling digital art, to tracking money transfers. between peers.

This is partly why I think we can’t lump “crypto”, “web3” or “blockchain technology” into the same bucket – even these three terms all have slightly different meanings. This may also be why the mood at Consensus was surprisingly positive despite market turbulence. Every project is so different, and every builder believes that their own blockchain use case makes sense and isn’t like all those other projects that lose value or look like scams. In a time of so much uncertainty, the most important thing journalists and analysts can do is look at this industry with nuance and assess each project on a case-by-case basis. It’s going to be a wild ride, but I believe that at least parts of web3 are here to stay, and I consider it my job not just to shed light on what applications of this technology work and don’t , but also to try and understand why.

TC+ analysis

Here are some of the crypto analyzes from this week that you can read on our TC+ subscription service (written by TC’s Jacquelyn Melinek):

As Celsius Accelerates Crypto Selling, Who Pays the Price?
This week, the global crypto market capitalization fell below $1 trillion for the first time since January 2021 after one of the largest centralized crypto lenders, Celsius, landed in hot water after suspended all withdrawals, exchanges and transfers for users. The driver of his freeze is not yet entirely clear, but it has resulted in another bank management scenario similar to what we saw last month with the UST and LUNA situation – and it is causing the market to drop further. of cryptography.

Hedge funds plan to buy more crypto amid bear market and potential regulatory clarity
What seemed like a rare sector is now gaining popularity as the number of specialized crypto hedge funds has grown to more than 300 worldwide, according to PwC’s Global Crypto Hedge Fund report. These funds are “looking for alpha” to beat benchmarks and are ready to try something new and different, John Garvey, global director of financial services at PwC, told TechCrunch. Even though markets are highly volatile, two-thirds of all hedge funds surveyed that are currently investing in the space plan to deploy more capital to the market by the end of 2022, he said.

As the DAOs continue to bloom, here’s how to keep yours from withering
The past year has been a big growth spurt for DAOs (Decentralized Autonomous Organizations), but not everyone in the space is convinced that they’re trained properly or in a way that ensures success. But what happens when the hype wears off? People stop voting, treasuries can wither and be abandoned, dead communities turn into “DAO graveyards”. To prevent this from happening, some say there needs to be a restructuring of how DAOs are trained.

Thanks for reading and you can get this newsletter delivered to your inbox every Thursday by subscribing to TechCrunch’s newsletter page.

Lucas and Anita

Jump straight to content

The Metropolitan Museum of Art, Upper East Side, Manhattan

Exhibition dates: from June 14 to October 23, 2022

The juried exhibition showcasing the creativity of New York City public school students will be accompanied by a digital presentation of selected works in Times Square

The Metropolitan Museum of Art hosts the 20th anniversary edition of PS Art: Celebrating the Creative Spirit of NYC Kids, a juried exhibition of artwork by New York City public school K-12 students in all five boroughs. The display marks the 15th consecutive PS-Art exhibition organized by The Met and will be on view through October 23, 2022 at the Met Fifth Avenue at the Ruth and Harold D. Uris Center for Education. There will be an opening ceremony for students, parents and teachers at 5 p.m., with remarks at 5:15 p.m., Tuesday, June 14, during the city’s Museum Mile Festival.

Selected by a panel of distinguished members of New York’s artistic community, including Met staff, the 122 works on display were chosen from more than 800 submissions spanning media such as painting, mixed media and sculpture. The works and accompanying student statements attest to the resilience of teachers and students working in remote, onsite and hybrid learning environments over the past two years in the wake of the COVID-19 pandemic.

PS Art 2022: Celebrating the creative spirit of New York’s children is a project of the New York City Department of Education and Studio in a School NYC.

“For the past 15 years, the Met has had the privilege of presenting these extraordinary works of art in an exhibition that pays tribute to the emerging voices and talents of young artists from New York’s public schools,” said Heidi Holder, Frederick P. and Sandra P. Rose Chair in Education at the Met. “This is an important anniversary, at an important time, as we increasingly rely on art to help us make sense of a complex and uncertain world. We are proud to play a role in fostering the city’s next generation of artists, and the schools, teachers, families and communities that inspire and support them.

In conjunction with the exhibition, Times Square Advertising Coalition (TSAC) will hold a four-day digital art presentation of 48 works from the exhibition, displaying digital reproductions of the artworks on the iconic Sherwood Outdoor display at 2 Times Square at Duffy Square. The launch event is scheduled for June 17 and will include remarks by city officials and student artists. Selected works in Times Square will be presented twice per hour until June 20.

David C. Banks, Chancellor of the New York City Department of Education, said, “Thank you to the Metropolitan Museum of Art for their support PS-Art and sponsoring this beautiful exhibit and thanks to Studio in a School NYC for their continued support and collaboration. PS Art is a great example of the power of partnership. Our vibrant New York public school community, a world-renowned cultural treasure and exemplary arts organization have together created PS Art 2022.”

Alison Scott-Williams, President of Studio in a School NYC, LLC, added, “Visual arts education remains more vital than ever, as it encourages students’ social and emotional growth and gives them an outlet to share their vision. of the world. The vision and strength of the works presented in PS Art 2022 is undeniable. On behalf of Studio in a School, I would like to congratulate the student artists in this year’s show. I would also like to thank the New York City Department of Education and the Metropolitan Museum of Art for being inspiring partners and supporters of PS Art 2022.”

To further support the creativity and education of New York City students, The Met will provide museum passes to all student artists featured in the exhibit to encourage them to return frequently for the duration of the exhibition. spectacle. During the 2020-2021 school year, The Met provided free tours to more than 10,000 New York City public school students; in addition, more than 1,500 New York City public school teachers and administrators participate in professional development workshops at the Museum.

All of the works in the exhibition will also be featured on the Met’s website, as well as on Facebook, instagramand Twitter using the hashtag #PSArt2022.

Related

Riyadh — The Ministry of Culture (MoC) has signed a Memorandum of Understanding (MoU) with the Diriyah Gate Development Authority (DGDA), marking a new milestone and strengthening the collaboration between the MoC and its affiliated commissions and the DGDA.

The protocol covers a detailed program encompassing the coordination, development and implementation of projects, initiatives and events in the cultural sector. The MoU was signed by Culture Minister Prince Badr Bin Abdullah Bin Farhan and Ahmed Al Khateeb, Secretary General and Board Member of DGDA.

The agreement will also include the provision to jointly implement cultural and heritage initiatives and develop educational assets under the Diriyah Gate master plan, including academies for creative writing, performing arts, music , architecture, Arabic calligraphy, culinary traditions, in addition to a museum for digital art as well as a museum of contemporary art.

“We are delighted to sign this MoU with Diriyah Gate Development Authority; a clear statement of the synergies and strong collaboration between our two teams. Partnerships like these are fundamental to our collective mission to support the development and preservation of the cultural ecosystem here in Saudi Arabia,” Prince Badr said.

He added: “Today we are entering the next stage of development where we add value to this valuable historic site while protecting the cultural heritage and identity of its people. Our agreement with the DGDA reflects our shared commitment to preserving Diriyah’s unique history and creating opportunities to promote and celebrate this national treasure.

“This would not have been possible without the unwavering support of our leaders, the Custodian of the Two Holy Mosques, King Salman and Crown Prince Mohammed Bin Salman. We will continue to work with our partners at DGDA to achieve the goals of this memorandum of understanding with a plethora of ongoing cultural and heritage events, activities and mega-projects aimed at attracting investment and ensuring short and long-term sustainability,” the Prince pointed out.

Commenting on the partnership, Al-Khateeb said, “We are honored to sign this MoU with the Ministry of Culture covering various aspects of Diriyah’s development. This partnership is a key achievement in our ongoing efforts to transform the historic city into a major tourism and cultural destination, capitalizing on the Department’s many initiatives to achieve Vision 2030 goals of building a vibrant society, a thriving economy and a ambitious nation. .”

Thanking the Custodian of the Two Holy Mosques, King Salman, and Crown Prince Mohammed Bin Salman for their great support to Diriyah, Al-Khateeb added, “This partnership will take Diriyah’s cultural and heritage events and activities to the next level. . They will be unique and diverse, reflecting its distinctive identity and rich heritage. It will also create a solid platform for investment opportunities by attracting businesses of all kinds.

“It is with great ambition that we look forward to making Diriyah Gate a tourist attraction that combines a historic atmosphere with modern features to become the biggest gathering place. We will work with our partners in the Ministry of Culture to make this strategic objective a reality.

Further strengthening this partnership, Diriyah, the Arab Capital of Culture for 2030, will host the headquarters of the Ministry of Culture. The partnership will also allow the two entities to collaborate in the establishment of awareness programs as well as events and marketing initiatives for film, music, visual and performing arts, literature, gastronomy and the design.

These heritage and cultural activities will also extend to education, research, training and development initiatives.

By signing this agreement, the Ministry of Culture and the DGDA aim to attract and promote investment opportunities by creating incentives to support the private sector, implement various cultural activities and connect them to the historical depth of Diriyah, thus strengthening the position of Diriyah as a global cultural tourism. destination.

© Copyright 2022 The Saudi Gazette. All rights reserved. Provided by SyndiGate Media Inc. (Syndigate.info).

I was inspired to attend SOFT CENTER by its poster – a figure in armor delicately suspended among shards of crystal, against the backdrop of a desolate landscape. Below is a long list of artists, including Sam Rolfes, Loppy B and Rainer Kohlberger. Not a single name was familiar to me, but I figured there was nothing electronic music could throw at me that I couldn’t handle.

I was unprepared for the reality that met me at Carriageworks.

For those who may be as misinformed as I am, SOFT CENTER is an annual one-day festival of cutting-edge music and art. In terms of genre, the music included trap, hardcore, gutter techno, post-music, noise and more – all firmly within the realm of experimental. In the hallowed interior of Carriageworks, artists painted scenes using only light, sound and bodies.

These scenes unfolded and evolved over SOFT CENTER’s eight-hour runtime. In the mid-afternoon light, the venue’s lobby was hazy from a mixture of fog machines and vapes, the full-length windows of Carriageworks making the space look eerily bare in the cold light of the day. With the setting sun, the space was transformed. A pulsating, ever-changing red-white mist shrouded the hearth, while a crowd formed a large circle in its center.

Within this circle, the first artistic performance of the night began. Makeda, a Melbourne-based performer, sang on skates while two other performers performed a roller figure skating routine around her. The skaters pushed and pulled against each other in a mesmerizing dance of tension, only stopping to hand roses to the crowd. Above, Sam Whiteside’s changing lights Contact the installation sets the scene.

Performances continued throughout the evening, including a particularly terrifying performance by Red Rey, who, clad in sprawling sculptural armor by Leeroy New, roamed the hall in search of victims. I use the word “roam” much like I would a lion, with Rey crawling towards and stalking viewers, creating a level of suspense and tension in their art. I lived in fear that this performance would turn into an ironclad sprint towards me. Wytchings, a West Sydney mood composer who provided the soundtrack for this hunt, wrote of their collaborative work Manila Aliens that “We hope we pissed you off a little!” Hehe

Beyond the foyer, in the closed hangars of bays 17 and 20 of Carriageworks, the festival raged and raved. tracks, a live audiovisual performance by DBR, Cypha, Brigitte Podrasky and Joan Shin, was an otherworldly visual spectacle. DJs obscured behind semi-transparent sheeting played a hypnotic set, while projected before them was a live visual rendering that ebbed, flowed and zoomed with the music through an ever-changing grainy field of lines and shadows. . Many sets throughout the day placed the visuals as an equal participant alongside the music rather than simply as a backdrop. Experiencing such artistic harmony between visual and auditory spaces was deeply awe-inspiring, especially considering the unique trance music and performance of tracks‘ fractal-like visuals. tracks it was like exploring the inside of an HR Giger alien, and having it unfold on a crowded dance floor felt like raving about an evil screensaver.

Leaving tracks looking for more variety, I came across a set from Plea Unit, including beautiful visuals from the artist behind the SOFT CENTER poster: Endless Prowl. As an exciting high-energy rap and punk-inspired set unfolded on stage, the screen behind showed a stunning, tranquil scene of an underwater cave. Populated with semi-organic crystalline structures and rising bubbles, the claustrophobic environment projected from floor to ceiling and consumed the performance space, lined with fractal-like metallic shards. The dissonance and scale of the audio and visual elements made me want to decode the artistic connection between the two – but my only conclusion is that both are really cool.

The following performance greeted me with a visual and auditory wall courtesy of Berlin artist Rainer Kohlberger. Kohlherger’s Rainbows included layers of noise and light stretching for what felt like an eternity, filling the cavernous space as well as entering my brain and shaking things up. Standing in bay 17 experiencing his set was mesmerizing as the buzzing noise and static of the AV experience made it feel like he had wrapped me in tin foil and put me in a mic -waves. I admit that I needed a little break from this set.

By the time Sam Rolfes and Lil Mariko took the stage, I was thrilled to hear a steady beat, not to mention the words. My relief was short-lived, as the pair’s VR performance was plagued with dizzying technical difficulties, including clipping cameras, rotating perspective, and a few exits to restart the scene in Blender. Despite this, their first of RULE 3-2-1 makes me desperately want more. The artwork is comprised of Lil Mariko’s iconic hyperpop-screamo hits, framed by the tale of a memory bounty hunter who accesses minds through a digital world, all presented in a live VR performance. RULE 3-2-1 was incredibly cool to experience and makes me really excited for the future of digital art.

Joshua Wells and Karina Utomo quickly brought me back to earth with a terrifying techno/screamo set. The pair brought something very dark to Bay 20, throaty moans filling the space as patrons continued to nod and sway in the dark. Utomo’s vocal performance was genuinely chilling, backed by an improvisational electronic beat that heightened the discordant atmosphere.

The final performance of the evening was a stunning collaboration between Gamilaraay DJ Creschendoll and pole dancing collective Club Chrome. Creschendoll’s set was a breath of fresh air, bringing hyperpop and electronic hits alongside his own beats to infuse the crowd with energy and movement. By the time the Club Chrome performers took to the poles, the audience was completely thrilled. This set was an amazing way to end the night, and I’ll definitely be keeping an eye out for another chance to see Creschendoll perform around Sydney.

SOFT CENTER was everything I could hope for from Sydney’s cultural scene: art, music and performances that provoke, intimidate and experiment. Pushing things hard enough to break is an incredible feat for any artwork, whether you’re pushing the support or the viewer. I wasn’t the target audience for many of these works, there’s a lot I didn’t understand and I’m not sure I’ll ever fall for the hard noise. But it was incredible to be challenged by art.

On World Environment Day, The Art of Living has announced key initiatives, as part of Azadi Ka Amrit Mahotsav celebrations, that would go a long way in building a sustainable, peaceful, strong India. and green. Under the river rejuvenation project, 49 rivers (streams) in 5 Indian states are being revived by constructing over 41,000 recharge structures and planting 656,944 trees. Over 81 million trees have been planted worldwide by The Art of Living volunteers. The Art of Living has set up 52 skill development centers and 22 in prisons across India. It has also solar electrified 145 schools, including 20 in border villages.

As a continuation of this, as part of the Azadi Ka Amrit Mahotsav celebrations, The Art of Living will rejuvenate 75 rivers; plant 75,000 trees; deployment of 75 skills development centres; 75 digital literacy centers in prisons; and solar electrification of 75 schools in border villages. “On this Environment Day, as we celebrate Azadi ka Amrit Mahotsav, let us take the Sankalpa to keep water, air and land pure. Let’s save every drop of water,” said Gurudev Sri Sri Ravi Shankar, Global Humanitarian and Founder of The Art of Living, “Our organization has taken on the responsibility of reviving and rejuvenating 75 rivers. We must also support and encourage the use of solar and wind energy.” The Art of Living Social Projects team has strived to offer holistic solutions to the social, economic and environmental challenges facing the country is facing. It does this by establishing and maintaining partnerships with local communities and through collaborations with businesses, governmental and non-governmental organizations, development agencies and foundations. “The Art of Living has been working in crucial areas of sustainability for 40 years and the results are there for everyone,” said Mr. Prasana Prabhu, President, Vyakti Vikas Kendra India (The Art of Living). “Not only are we rejuvenating rivers and raising the water table, but we are also building and empowering local communities. Our river rejuvenation projects have so far benefited over 34.5 million people already in over 12,000 villages. Agriculture, skills development, free schools, disaster relief, women’s empowerment, rural development, prisoner rehabilitation and peace initiatives.

In natural farming, about 22,00,000 farmers have been trained across India. Of these, 1,15,000 farmers belonged to suicidal districts. From 2018 to 2020, 24,959 farmers were trained, 28.8% of them women. Young people have also been trained to become farm managers. The collective efforts have resulted in an 80% reduction in costs per acre compared to chemical farming, while 56,157 acres of land have been converted to climate-resilient farmland.

(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)

The illustrator of an article on women’s reproductive rights must be wary of the tropes and clichés of female imagery: the body, the hourglass, the hourglass body, the fetus, the coat hanger, the woman. When the editors of the Review decided to illustrate our colloquium on the new threat to access to abortion posed by Judge Alito’s draft opinion in Dobbs v. Jackson Women’s Health Organization, my first thought was Vivienne Flesher. Her lines are supple, but there’s a dark, jagged stain that undermines what might otherwise be mistaken for soft femininity. His drawings seduce even when they depict the violence of domesticity and the law. Her babies can be cute while grimacing; his naked women communicate their power.

In addition to having drawn fourteen illustrations for the series of essays on the end of deer, Flesher contributed a painting that served as the cover for our June 9 issue. I emailed him this week asking about abortion, drawing women, and Rodin.

Leanne Shapton: Can you tell me where you grew up and what led you to paint and draw in the first place?

Vivienne Flescher: Growing up in suburban Long Island, I struggled in school, with math and spelling, but I could draw and ride horses. So my options seemed very clear to me: be an artist or join the circus. I ended up studying at Parsons and stayed in New York for many years before ending up in San Francisco. I’m still a New Yorker at heart.

I wanted to work with you on this series not just because I thought abortion might be an issue close to your heart, but because we needed so much footage so quickly, and I know how fast you can think and draw. Where were you when I asked you if you were available? And had you heard of the draft notice at the time?

I knew this was coming, I think we all know that since Trump and Mitch McConnell cheated to put anti-abortion justices on the Supreme Court. I was away from my studio when I saw your email on my phone. I couldn’t read it well because of the sun and I didn’t have my glasses. I immediately said yes to your project – anything to fight for abortion rights – but I had no idea you wanted so many drawings in such a short time until I went back to my studio, and that I can correctly read your message. I mostly painted during the Covid years and wasn’t sure I still had what it takes to work as a full time illustrator.

Did any of the fourteen essays resonate with you?

Many of them moved me. I thought I knew this material; I feel passionate about it. But I learned so many things that I didn’t know before. Each writer conveyed something that I had not experienced or felt before.
Christine Henneberg was powerful and moving. I’m older than you and I was personally struck by Liza Batkin’s article. In my youth, men often behaved as if their word was sacrosanct. The dishonesty and dishonesty of Judge Alito’s reasoning is explained in Batkin’s essay.

The two previous illustrations you did for us were portraits of Patricia Highsmith and Hannah Arendt. You drew them both smoking cigarettes. Very few writers are photographed smoking these days – I guess I want to ask you where your visual dark side comes from. I especially like the way you describe women because of this trend.

I’m glad you appreciate my dark side. I guess we all have that lurking inside of us. As an illustrator, most of my clients didn’t want to see it. But my work for you and my own painting is where I can let it out. Although smoking is a vile and dangerous habit, it is a magnificent accessory – just look at classic black and white films or photographs from the turn of the 20th century.

Have you deliberately reduced your full-time illustration job to paint?

I was bored with the illustration, and when Covid hit I thought, Why am I still doing this, if it doesn’t make me grow or it doesn’t interest me anymore? When I was starting out as an illustrator, the art and editorial departments were equal but separate entities. Over time, editorial and marketing took over. Ads, book jackets, even most publications aren’t as visually exciting anymore. Like so many others, I was looking for something to get through the Covid years. My love of solitude and my art have sustained me, more than that, they have brought me joy. Right now I’m obsessed with creating digital art from drawings, paintings, photographs. I love what Photoshop brings to the process. These files can be reproduced at any scale.

Are you reading more non-fiction or fiction lately? And do your readings inform your personal paintings?

I’ve just finished The hungry road, by Ben Okri, and used fragments of his sentences as titles for an exhibition of paintings. His writing is like getting lost in a dream. I mostly watched movies. I will be photographing moments from movies and incorporating them into my new computer work. As you know, when you’re an artist, there are times when everything becomes your art, and it’s exciting to follow that.

I’m curious about the cover image. What’s the story behind it all? I really like the crossed arms of the figure. This gesture reminds me of something in the balance, a pause or a defense.

When I had time, I made small paintings for myself. Sometimes these paintings depicted the people I met on my travels; I did a series about the wonderful people I met in Papua New Guinea when I spent a month there years ago. Sometimes these small paintings represent friends or objects in my life. I don’t remember specifically but I think the one on your cover is from a book I was looking at during the pandemic. I like what you see in his posture and I believe art is about what the viewer sees in a painting. For me, the less revealed the better, unless I’m illustrating; so my work has to convey something quick and tangible. I much prefer mystery.

Your paintings, at least many of those we selected for the cover, made us think of Rodin, his Cambodian dancers and his erotic studies. Are you a fan of him? What figurative work do you like or watch?

I love Rodin’s watercolors. They are so elegant. Recently, I discovered the Asafo flags, made by the Fante people of Ghana. I’m not sure they find their place in my work, but I love looking at them. My husband, Ward Schumaker, is also an artist, and we constantly inspire each other. Which is a good thing, since we’ve been locked up together during this weird time.

NFTs and tattoo culture are two hot markets, but there is generally no significant overlap between them. Indelible, a new startup launched by Mike Amoia, merges the two worlds.

Indelible is a community-centric NFT company that bridges the gap between tattoo culture and Web3. The company is the first of its kind to help NFT owners use their intellectual property rights by adding watermarks to their profile pictures, or PFPs.

Amoia sees the tattoo industry as a source of untapped NFT potential. Indelible will tattoo one of the biggest collections of up-and-coming PFP characters with insect tattoos for a one-of-a-kind collaboration set. Each bug will have unique powers and stories to tell.

Mike Amoia

You may not know Mike Amoia’s name but I assure you he doesn’t blend in with the crowd and if you saw him in public you would remember him. He is a producer, musical director, business visionary, financial specialist and philanthropist.

Tattoos are no longer taboo as they once were. They’ve definitely been accepted by the mainstream in today’s culture, but even people with lots of tattoos would see Mike and be like, “Shit. That’s a lot of tattoos. Mike got a head-to-toe tattoo as a unique form of therapy to overcome his fears dating back to childhood abuse. It has the unique characteristic of holding the Guinness World Record for most insect tattoos– with 864 representations of insects permanently inked on its body.

Mike is also a music investor and promoter. He is co-founder of mibe music, a music publishing agency that offers over 100,000 custom music tracks across 34 genres. Their music has been featured in films, television and commercials, including the opening theme for the NBA Finals and Monday Night Football.

Indelible

Indelible is the first NFT company to merge real tattoos made by some of the most influential artists and virtually brand a PFP character for a limited NFT collaboration collection. Individual NFT holders can monetize their IP rights by virtually tattooing their NFT characters with an indelible artist and owning an additional NFT. Members will have access to utilities that will serve the distribution process.

For the genesis drop, Indelible is partnering with a top notch NFT collection and offering them a royalty on the sale. The first drop will center on Mike’s Guinness World Record and his insect tattoos. Customers will be able to purchase an Indelible NFT tattoo machine, allowing them to have their PFP tattooed with rare artistry by some of the world’s top tattoo artists.

Indelible works with three renowned tattoo artists: Mike Rubendall of Kings Avenue Tattoo, specialist in Japanese-style tattoos, Matt Skinny, of Made to Last Tattoo, specialist in black and gray realism, and BJ Betts of State Street Tattoo. Rubendall and Skinny tattooed Amoia in real life, and Betts did the logo design for Indelible.

For a bright future

The mission of this first NFT tattoo drop from Indelible is to raise awareness and funds for a non-profit organization that Amoia cares about and is personally involved with—For a bright future. For a Bright Future helps underrepresented and disadvantaged children through health, education, youth leadership and the power of storytelling.

Amoia said his discord manager is in remission from cancer and one of his community managers has cerebral palsy. So there are plans to donate a portion of the proceeds to their charities of choice as well.

When cultures collide

I had the chance to speak with Amoia about Indelible and the goals he has for this NFT project. We talked a bit about tattoo culture in general. I have a few and plan to have many more (nothing close to Amoia).

We talked about how tattoos have been widely accepted by the general public, but they are still considered objectionable by a large portion of white collar or corporate America. There are many jobs that have specific rules stating that you cannot have visible tattoos while you are on the job. This is completely stupid and irrational because having a tattoo inked on your body literally has no impact on your ability to do a job, but many people in leadership positions are still stuck in an outdated mindset in regarding tattoos.

The NFT culture is emerging. Frankly, I still don’t really understand. I know that Beeple made $69 million selling a collection of his art as NFTs, and a lot of money is changing hands for digital anime collectibles on the NFT marketplace. Amoia and I explained that this is just one facet of NFTs, which only scratches the surface. Due to the nature of NFTs and blockchain technology, there are many other potential use cases and benefits, but for now it appears to be primarily a market for niche collectibles.

Amoia intends to demonstrate that the tattoos – which many believe would deter him from finding a job and earning money – can be monetized and will soon be available for purchase to help children in need. .

One of the public artworks to be installed as part of the $3.6 billion Queen’s Wharf Brisbane project has been unveiled.

The heritage-listed Printery Office, which was built in 1874 to print and store Queensland government documents, will become a giant canvas for 52 different digital light projections, one for each week of the year.

Created by Queensland husband and wife projection art duo Alinta Krauth and Jason Nelson, the artwork will be projected onto the north face of the building.

Called A Cottage Year, Ms Krauth said the digital art time machine was “an artistic throwback to the surroundings of the Brisbane Commandant’s Cottage in the early 1850s and 60s, around the when it was demolished to make way for The Printery Office”.

“There will also be a full-fledged augmented reality artwork, where visitors can explore even more of the court’s history.”

Ms. Krauth and Mr. Nelson live in the Scenic Rim and have exhibited across the world in countries including Germany, America, Ireland and Norway.

Mr Nelson said it was ‘wonderful to be part of this cultural hotbed that is taking place in our own backyard’.

“Usually these kinds of artworks are temporary. All over the world you see examples of digital art on giant screens or buildings like in Times Square or at festivals. They appear for a short time, then disappear,” he said.

Dean Prangey of the Royal Historical Society of Queensland said the printing office building had also housed a science centre, the state’s register of births, deaths and marriages and would soon be a center for restoration and Entertainment.

“It’s a perfect example of how to preserve the past using the present,” he said.

Work chosen to highlight the space

One of Australia’s best-loved artistic figures, Philip Bacon AO, who heads Queen’s Wharf’s specialist arts advisory board, said heritage buildings had been preserved at great expense, “so art needs to be a complement appropriate”.

“The vision for the printing and yard office is a beautiful, active place that will appeal to locals and attract visitors from across the country and around the world,” Bacon said.

“A large static piece of art would be a barrier to the flow of people, but A Cottage Year, while not only beautiful on its own, will amplify the mood and magic of the place.”

The first of the site’s signature artworks was announced in February. It will be an eight-metre-high, eight-tonne bronze sculpture by world-renowned artist Lindy Lee, which will be installed at the George Street entrance to the resort grounds.

An oversized mosaic mural depicting an Australian lungfish by local artist Samuel Tupou was unveiled in April.

The digital artwork will be in place for the development’s planned opening from the second half of 2023.

Arad, Romania, May 27, 2022 (GLOBE NEWSWIRE) — Genius assets, a one-stop solution for all investment problems, has launched the GeniuX Era competition where users have a chance to win exciting prizes by completing a few simple tasks. Genius Assets diversify users’ portfolio by investing in various assets and help create a steady flow of funds through active and passive means. Why should one keep his assets when he can grow them.

Unlike other contests, the GeniuX Era contest offers a great chance to win rewards. First prize is $10,000 IUX (~$4500), second is $7,500 $IUX (~$3375), third is $5,000 IUX (~$2250), while those who place between 4 and 10 on the leaderboard will receive 2500 $IUX (~$1125 ), and holders of position 11-20 will win 1000 $IUX (~$450). All related information is available on the contest page and can be accessed from the link posted above.

Genius Assets is also hosting the presale of its native $IUX token where users can buy it and be part of the revolution. The sale is live on the platform, so don’t miss this great opportunity to invest in the future of investments. All that needs to be done is to complete the KYC verification to become part of the ecosystem.

Genius Assets plans to revolutionize the way of investing. It offers a wide range of investment options covering all sectors, and each of them offers attractive rewards. Some of these options are:

• Real Estate Engineering: Invest in real estate, one of the fastest growing markets in the world. With prices constantly rising, there couldn’t have been a better time.

• Air Engineering: Invest in private jet charters and earn regular income from chartering.

• Engineering Highway: Motorway construction has experienced unprecedented growth in recent years. Invest in its construction across Europe and earn taxes.

• Genius Art: Digital art or NFT has been all the rage around the world with the most expensive reaching nearly $92 million. And that rage doesn’t seem to be going away anytime soon. Use Genius Assets to invest in NFTs and grow assets exponentially.

• Engineering Sports: Invest in sports teams and earn with dividends. Genius Assets wants to digitize the value of sports teams, and this is the first step towards achieving the goal.

To ensure the long-term stability and growth of the platform, Genius Assets has designed a tokenomics that takes into account all critical aspects, tries to overcome commonly encountered problems and eliminates factors that could hinder its growth. The total supply of the GeniusX or $IUX token is capped at 1,000,000,000, with 31% up for grabs from the three sales. Moreover, the value of the token is bound to increase as new projects are created on the platform.

Investors can trade these tokens for Genius Assets on the platform’s in-app marketplace, which is compatible with computers and mobile phones. It will make real estate trading much simpler, faster, safer and cheaper.

In addition, Genius Assets will also offer unique fractional ownership solutions to investors. It will launch the first regulated fractional ownership project in Malahide, near Dublin, around Q4 2022. Various marketing strategies will be incorporated over the period to promote it, including client presentations and roadshows. The project is ready to offer a high return on investment to investors.

So, if someone is looking for a great platform to diversify their investments and get a consistent high return, Genius Assets will not disappoint. The knowledgeable and experienced team behind this platform is determined to make it a success.

To learn more about Genius Assets, visit the official website https://genius-assets.com/

Immediately join the Telegram community to learn more and chat directly with the team.

For all social links and info, check out: https://taplink.cc/geniusassets

Twitter: https://twitter.com/GeniusAssets

Instagram: https://instagram.com/genius.assets/

Facebook: https://www.facebook.com/genius.assets

YouTube: https://www.youtube.com/channel/UCzyOzYynij7FZH49k78gTjA

LinkedIn: https://www.linkedin.com/company/genius-assets/

Telegram: https://t.me/+IHyaBhsoY2s5YmZk

Disclaimer: There is no offer to sell, no solicitation of an offer to buy, and no endorsement of security or any other product or service in this article. This is not investment advice. Readers are encouraged to do their own research.

Media Contact:

Contact person: Flavius ​​Cocora

Company name: Genius Assets

Email: [email protected]

City: Arad

Country: Romania

Website: https://genius-assets.com

Writing: socials.submitmypressrelease.com

Hisense entrusted its digital mandate to Art-E Mediatech. Art-E Mediatech will now support Hisense’s strategy formulation partner and provide them with social media strategy, media buying, influencer marketing and website services.

“We believe that everything we do should make our users’ lives simpler, better and more entertaining. Therefore, we aim to make the latest technologies accessible to everyone through carefully designed and expertly manufactured products. It is therefore vital for us to stay in constant contact with consumers. Therefore, it becomes essential for us to communicate the same in a clear, creative and concise way. We found Art-E Mediatech’s work engaging and KPI oriented. Their insights and approach to brand building will help us bring the creativity needed to leverage our already strong digital presence,” said Rishi Tandon, COO, Hisense.

According to Rohit Sakunia, Co-Founder and Chief Commercial Officer of Art-E Mediatech, over the past few years, the digital world has grown by leaps and bounds. “It’s no surprise that all businesses are turning to this platform to communicate with their target audience. We partner with Hisense to strengthen its digital journey across various social platforms. As an agency, we believe in results-driven strategies that not only connect brands to their audiences, but also transform lives in the process,” he added.

Art-E Mediatech is a comprehensive agency, leveraging data, technology, creative, media and strategic capabilities to deliver desired results with a 360 degree full funnel approach. Their core services are social media marketing, content creation and marketing, media buying and planning, TVCs, product and technology development, and design services. Currently, Art-E Mediatech manages the tenure of Flipkart Seller Hub, Indica Hair Colour, Raaga Professionals, Biker’s TCL, Shopsy, Buds and Berries, Parimatch, among others.

Also read: Inclusiveness in advertising: How ASCI plans to keep pace with changing society

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On its own, the iPad has a lot of potential for artists, but it needs some really good apps to really make it shine. Here’s how to turn your iPad into your new favorite sketchbook with our favorite digital art apps.

procreate

Adobe Fresco

Image credit: Adobe

Clip Studio Painting

Image credit: Clip Studio Paint

Affinity Designer

Sketchbook

Image Credit: Sketchbook

His work has been exhibited in galleries in France and abroad – Copyright AFP Fabrice COFFRINI

Aurélie CARABIN

Miss.Tic, whose provocative work began popping up in Paris’s Montmartre district in the mid-1980s and made her a pioneer of French street art, died on Sunday at the age of 66, it has been reported his family to AFP.

Radhia Novat grew up in the narrow streets in the shadow of the Basilica of the Sacred Heart, the daughter of a Tunisian father and a Norman mother in western France, where she began stenciling slogans sneaky and emancipatory.

Her family said she died of an unspecified illness.

Other French street artists paid tribute to his work.

On Twitter, street artist Christian Guemy, alias C215, hailed “one of the founders of stencil art”. The walls of the 13th arrondissement of Paris – where his images are commonplace – “will never be the same again”, he wrote.

Another colleague, “Jef Aerosol”, said he fought his last illness with courage, in a tribute posted on Instagram.

And the new French Minister of Culture, Rima Abdul Malak, hailed her “emblematic, resolutely feminist” work.

Miss.Tic’s work often included clever puns – almost always lost in translation – and a heroine with flowing dark hair who looked like the artist herself. The images have become fixtures on the walls of the capital.

“I had a background in street theater and I loved this idea of ​​street art,” Miss.Tic said in a 2011 interview.

“At first I thought, ‘I’m going to write poems. And then, “we need images” with these poems. I started with self-portraits, then moved on to other women,” she said.

Miss.Tic also brought law enforcement attention to complaints of damage to public property, leading to an arrest in 1997.

But his works have been exhibited in galleries in France and abroad, some of which have been acquired by the Parisian modern art fund of the Victoria and Albert Museum in London, according to his website.

And moviegoers will recognize his work on the poster for Claude Chabrol’s film “The Girl Cut in Two” (2007).

For a while, she was a favorite of fashion brands such as Kenzo and Louis Vuitton.

“Too often, we don’t understand that we can be young and beautiful and have things to say,” she told AFP in 2011.

“But it’s true that they sell us what they want with beautiful women. So I thought, I’m going to use these women to sell them poetry.

His funeral, the date of which has not yet been announced, will be open to the public, his family said.

Maxon recently announced the lineup for the 3D and Motion Design Show, the latest in its series of free, artist-focused streaming shows for 3D and motion design artists. On May 18, viewers can expect to see today’s leading digital artists showcase their personal projects and demonstrate workflow management techniques using the recently released Maxon suite of creative tools. including Cinema 4D, Redshift, Red Giant and ZBrush.

The presentations will be streamed live and are available on demand shortly thereafter on 3DMotionShow.com as well as Maxon’s YouTube channel.

Presenters include:

Michael Rosen is the director of Sampliistic Media, a motion design and creative post-production company just north of San Francisco. He has worked on a number of freelance and commercial projects which have seen him work with a plethora of top brands such as Samsung, Microsoft, Salesforce, Subway, NBC, FedEx, MTV, Honda and more.

Mehdi Hadi is a VFX motion graphics designer and concept designer, specializing in motion graphics. He enjoys working with particles and fluid simulation, and his list of projects includes title sequences, broadcast graphics, animation for computer games, corporate videos, television commercials, and animated shorts.

Ross Morris, also known as RAM3DDA, is a multidisciplinary digital artist who creates 3D renderings and animations. Alongside his freelance career, he is also the founder of Cryptobiotica, a blockchain-based biotech lab that spearheads the study of digital lifeforms.

Will Harvey, also known as REVILO, is a digital artist and motion designer. As a freelance artist, he has had the opportunity to work on concert visuals and/or digital art for musicians such as Lil Uzi Vert, G-Eazy, City Girls, Megan Thee Stallion, SHAQ and Lil Nas X.

In addition to the 3D and Motion Design Show, Maxon hosts a number of online webinars each week for users who want more frequent access to cutting-edge tips and tricks for getting the most out of their creative tools.

London, UK, May 17, 2022 (GLOBE NEWSWIRE) — As a unique digital asset, NFT has been criticized by the market for its valuation and liquidity, although its turnover has grown exponentially over the over the past two years. Recently, REVA, a blockchain company acquired by UK EARL INTERNATIONAL AUCTION LTD, launched an NFT mortgage auction business. Since its launch, REVA has become the center of attention in the NFT market, with a valuation of US$2 billion. The mortgage auction business was launched with the full support of UK EARL INTERNATIONAL AUCTION LTD. This endeavor aims to break the liquidity of the NFT market and establish a perfect price evaluation system, which is of great importance in changing the financial attributes of the entire NFT field.

The company made an early foray into the NFT space, quickly seized the opportunity of this market, and became the leader in the NFT mortgage auction space. On the other hand, the metaverse start-up REVA has set up a board of directors with a solid composition, including the world’s best financiers from Viking, the senior auctioneers from UK EARL INTERNATIONAL AUCTION LTD and the best artists in the world. . At the same time, REVA has set up a core operational team consisting of digital art appreciation experts, blockchain technology experts, NFT technology experts and financial analysis experts, offering the REVA’s NFT digital art collection and auction business guarantees a professional, high quality and safe auction transaction. .

Users can mortgage NFT collections, let the valuable idle collections enter the circulation field, and solve the cash flow problem. They can also entrust REVA with the auction of the collections to realize a rapid cash flow. At the same time, they can also get the value-added profit dividends and low-cost remuneration generated by the auction. REVA, as a platform party, provides customers with safe and accurate valuation services and easy and efficient trade matching.

REVA was founded in 2019. Although it is a start-up, it has long been known in the field of NFT. In 2021, REVA has become one of the most promising crypto startups. Prior to UK EARL INTERNATIONAL AUCTION LTD acquiring REVA, giants in the NFT auction and trading space including Christie’s, Nagel and Opensea conducted acquisition negotiations with REVA. UK EARL INTERNATIONAL AUCTION LTD obtained REVA’s exquisite technology and deep experience in NFT field. Going forward, REVA will maintain an independent brand for its operations and will become a specific platform for UK EARL INTERNATIONAL AUCTION LTD’s NFT market activities. With the support of UK EARL INTERNATIONAL AUCTION LTD, REVA will secure a continued supply of capital, technology and resources. After the acquisition, REVA said the company would expand its technical team, develop the NFT platform, and better serve NFT green groups.

As the investment of global assets in the NFT space has steadily increased, this has created an opportunity for traditional auction houses to compete in the NFT space. Competition in this field has long been in full swing. From the stage when the concept of NFT was born, the giants of the traditional auction industry saw the great potential of NFT in the future financial field. UK EARL INTERNATIONAL AUCTION LTD reportedly spent US$50 million to acquire REVA and incorporated REVA, a Metaverse start-up, into its wholly-owned subsidiary, which is responsible for NFT auctions, related collection and auction collateral activities . After the acquisition of UK EARL INTERNATIONAL AUCTION LTD, REVA’s valuation quickly reached $500 million.

After years of development, NFT has shown unlimited business opportunities and incalculable value in the future. The NFT market is in full swing and more and more people are scrambling to enter the track. NFT verifies the authenticity, scarcity, ownership and stability of assets in geopolitical and financial fluctuations. These unique financial attributes are the great potential and exciting place to change the world of collectibles. As a practitioner in the field of NFT, REVA’s broken mortgage auction business has continuously improved the intrinsic value and standardization of NFT. At the same time, REVA’s own value has also increased and the valuation is expected to reach US$2 billion. The original intention of REVA is to enable more NFT participants to have more equal opportunities and, through incentives, to make users more motivated to participate in the NFT ecology.

This is not investment advice. Please do your own research when investing in a project.

One of the most recent innovations in digital currency is known as cryptocurrency. However, this has not yet become common practice. Despite this, other technological advancements seem to be more widely accepted and used in the mainstream. Is there anything stopping people from using cryptocurrencies? The same is true with NFTs. Some people are afraid to invest in it. And when they do, they are often met with disdain.

Why are people afraid to buy NFTs?

Nobody can guarantee the stability of the NFT market because it is an emerging market. It’s still in its infancy, but it has a better chance of gaining traction and establishing its value. While this isn’t as dangerous as it sounds, the lack of information about their past performance makes it so.

One of the main reasons why NFT investing is too risky is lack of understanding. Investors interested in NFTs are encouraged to invest small amounts to test the waters. You can invest your money in something more knowledgeable and have a long history of success.

Even though NFTs have seen a 180% gain in the value of bitcoin, it cannot be said that they are a long-term investment. Currently, the value of NFT is based on resale and amount paid. People won’t pay for your non-fungible token if they no longer find it useful. This unequivocally demonstrates that NFTs are a waste of time and money.

A non-fungible token allows digital artists to claim ownership of their work, which is a huge plus. There have been numerous reports of artists claiming that their work is tokenized without permission. Scammers illegally mine NFTs to make money. To make money, they scam artists’ work, create fake websites, raise the price of NFTs, and sell them to buyers at inflated costs.

Can you still invest in NFT even if you are afraid of it?

Yes. Even though NFTs are relatively new and make you think about investing, there are ways to do it safely, such as focusing on liquidity premiums. Liquidity premiums are a kind of compensation for assets that are difficult to convert into conventional currency. Since NFTs are also difficult to trade, you should look at those with the highest liquidity premiums. Premiums will continue to rise in line with supply and demand and asset maturity.

Instead of comparing valuations, analyze sales history to identify a liquidity premium for rare works of art, which are notoriously difficult to value from a broader perspective.

Most NFT collections are fueled by fanfare or community support, despite what you might think. You can get a glimpse of a project’s popularity if you know what the public thinks about it.

For example, some NFT collections aim to support different groups and have different beneficiaries. Take a look at the Lost Cats Limited NFT Collection on Cryplazo. This collection is dedicated to helping furry feline babies in need through charitable donations from the sale of digital art on the Solana blockchain. This project is imbued with a genuine concern for the band’s love for cats.

The group has done a tremendous amount of research to find the best animal foundations that bring real value to the Lost Cats community around the world. It is focused on improving the lives of cats through innovative programs to capture and provide safe shelter and supporting the science and medicine that helps keep these cats healthy. Adopting this approach allows the group to help all cats around the world every day.

The Lost Cats project is new, but it’s GROWING fast. The community already has some great people supporting it and contributing entertainment, moderation, education, and of course, good vibes.

Exploring more NFT markets and keeping tabs on how people are entering new ventures is the best way to break the market sentiment analysis code. Short-term price patterns can be identified using this strategy, which may not be ideal for long-term price changes.

When it comes to NFTs, you risk losing everything even if you do everything right. This is partly due to how quickly the market moves. As a long-term investment plan, holding NFT assets is the best option, giving the market time to grow and attract more buyers.

Buying an NFT should not be motivated by the fear of missing out. You don’t have to put your hard-earned money into a project hoping to see spectacular returns if it’s too complicated. No one is saying it’s impossible, but investing most of your funds would be horrible.

News Baden Bower
Baden Bower
https://www.badenbower.com
[email protected]

COMTEX_407238631/2776/2022-05-15T20:45:38