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1st group to use their pendulum to create “STAR” art using gravity.Painted large canvas black & used neon paint so it will glow under black light. Ss designed and built the pendulum. Derek Schuemann PBCSD STEM #STEM #STEAM #DesignThinking #art Next: informational artist statement

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Kristin DeLaTorre

1,783 subscribers

11,467 görüntüleme • 2 yıl önce •via X (Twitter)

OyunSanatEğitim#STEM#STEAM#DesignThinking#art
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@LorenFoster ♥️♥️

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@SchuemannTCS @PBCSDSTEM Love this!

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@SchuemannTCS @PBCSDSTEM Thank you!

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@SchuemannTCS @PBCSDSTEM This looks amazing!

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@SchuemannTCS @PBCSDSTEM Thank you!!!!

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@SchuemannTCS @PBCSDSTEM This is fantastic!

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@SchuemannTCS @PBCSDSTEM Thank you!

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@SchuemannTCS @PBCSDSTEM 🙌🙌❤️❤️🙌🙌❤️❤️

Kristin DeLaTorre profil fotoğrafı
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@SchuemannTCS @PBCSDSTEM ♥️🙌

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@SchuemannTCS @PBCSDSTEM I’m a huge advocate of implementing design thinking in the classroom and haven’t seen anything like this. Would you be willing to share the activity?

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@SchuemannTCS @PBCSDSTEM Yes! Message me 🙌

Benzer Videolar

Knox County Mayor Glenn Jacobs is observing #WomensHistoryMonth throughout March by sharing videos each Wednesday highlighting time spent in different Knox County Schools Science, Technology, Engineering, Art, and Math (STEAM) classrooms taught by female teachers. Today’s video features a visit with Gibbs Middle School art teacher Dorothy Verbick and STEM teacher Lauren Downs who collaborate often, allowing their students more opportunities to learn and create using traditional methods and emerging technologies. “Even for kids who may not be inclined to technology, when you show them, art is a part of it, I think it really opens up a different world for them,” said Mayor Jacobs. Downs taught math 6 years before achieving a master’s degree in educational technology and media and has dedicated the last 5 years to STEM education. “I like that my students see me in a STEM role as a female. If they’re a girl or a boy, if you have that STEM background, it’s going to let you do more in the future. I don’t personally feel you can have engineering and design without art and creativity,” said Downs. Verbick is a dedicated artist with 12 years of teaching experience and holds a bachelor’s in fine arts with a master’s in teaching. Through a creative STEM partnership, Verbick and Downs work on numerous projects highlighting the intersection of art and technology. “Art teaches creative thinking and problem solving. In every aspect we do there is art. From design and the idea of design thinking to science and engineering, prototyping and things like that. We do a lot of that in our classes,” said Verbick. Mayor Jacobs said celebrating women in STEAM is important for young girls because it shows them that women can succeed in technical fields—industry typically driven by men. The Mayor has already shared his visits with South Doyle High School STEM teacher Kathleen Devinney, Hardin Valley Elementary STEM Educators Jessica Everitt and Jana Yra, and West Valley Middle science teacher Bethany Saunders. Next week, he will share visit with Karns Middle School Math Teacher Rebecca Layton. Background: Women’s History Month became a national celebration when congress requested President Ronald Reagan to proclaim the week beginning March 7, 1982, as Women’s History Week. Petitioned by the National Women’s History Project, Congress designated the month of March 1987 as Women’s History Month. In 1995, it became an annual recognition. STEM classes aim to equip students with the skills and knowledge to compete in a global economy across science, technology, engineering, and math disciplines. STEAM classes do the same while also emphasizing soft skills and the arts including humanities, language arts, dance, drama, music, visual art, design, new media, and more. Research shows the number of roles requiring STEM expertise is growing at a rate that exceeds current workforce. Additionally, a 2019 LinkedIn report found that skills like creativity, persuasion, and collaboration are some of the most important to companies seeking prospective employees.
2:26

Knox County Mayor Glenn Jacobs is observing #WomensHistoryMonth throughout March by sharing videos each Wednesday highlighting time spent in different Knox County Schools Science, Technology, Engineering, Art, and Math (STEAM) classrooms taught by female teachers. Today’s video features a visit with Gibbs Middle School art teacher Dorothy Verbick and STEM teacher Lauren Downs who collaborate often, allowing their students more opportunities to learn and create using traditional methods and emerging technologies. “Even for kids who may not be inclined to technology, when you show them, art is a part of it, I think it really opens up a different world for them,” said Mayor Jacobs. Downs taught math 6 years before achieving a master’s degree in educational technology and media and has dedicated the last 5 years to STEM education. “I like that my students see me in a STEM role as a female. If they’re a girl or a boy, if you have that STEM background, it’s going to let you do more in the future. I don’t personally feel you can have engineering and design without art and creativity,” said Downs. Verbick is a dedicated artist with 12 years of teaching experience and holds a bachelor’s in fine arts with a master’s in teaching. Through a creative STEM partnership, Verbick and Downs work on numerous projects highlighting the intersection of art and technology. “Art teaches creative thinking and problem solving. In every aspect we do there is art. From design and the idea of design thinking to science and engineering, prototyping and things like that. We do a lot of that in our classes,” said Verbick. Mayor Jacobs said celebrating women in STEAM is important for young girls because it shows them that women can succeed in technical fields—industry typically driven by men. The Mayor has already shared his visits with South Doyle High School STEM teacher Kathleen Devinney, Hardin Valley Elementary STEM Educators Jessica Everitt and Jana Yra, and West Valley Middle science teacher Bethany Saunders. Next week, he will share visit with Karns Middle School Math Teacher Rebecca Layton. Background: Women’s History Month became a national celebration when congress requested President Ronald Reagan to proclaim the week beginning March 7, 1982, as Women’s History Week. Petitioned by the National Women’s History Project, Congress designated the month of March 1987 as Women’s History Month. In 1995, it became an annual recognition. STEM classes aim to equip students with the skills and knowledge to compete in a global economy across science, technology, engineering, and math disciplines. STEAM classes do the same while also emphasizing soft skills and the arts including humanities, language arts, dance, drama, music, visual art, design, new media, and more. Research shows the number of roles requiring STEM expertise is growing at a rate that exceeds current workforce. Additionally, a 2019 LinkedIn report found that skills like creativity, persuasion, and collaboration are some of the most important to companies seeking prospective employees.

Knox Co. Government

10,444 görüntüleme • 3 yıl önce

PROMPT DROP 🚨 for Creators & NFT Collectors. 🎨 Minting the Self: Genesis of the Living Canvas🪽 The prompt is optimised to inherit the style, colour palette, and personality of your character. 💀 Drop your creations below 🌐 Keen to see what you mint 👀 🚨PROMPT👇🏼 Use the provided PFP/NFT character as the primary reference. The character must remain fully recognizable and true to its original design—preserve exact facial features, proportions, textures, materials, color palette, accessories, and overall personality. All elements in the scene must adapt to and harmonize with the character’s unique visual style—whether that is cartoon, anime, voxel, hyper-realistic, or stylized 3D. Create a hyper-detailed fine art studio scene where the character stands before a massive canvas. The painting on the canvas is a fully completed, master-level version of the same character, rendered in a refined, elevated interpretation of its original style. The character’s signature identity feature (mask, face, helmet, eyes, or defining trait) must be 100% complete, sharp, and highly detailed—serving as the focal anchor of the composition. They hold a paintbrush dripping with material true to their world (oil paint, neon energy, pixels, liquid chrome, etc.), and the colors precisely match their original palette—visually linking the act of painting to the formation of their body. The studio environment subtly inherits the character’s aesthetic and personality: Color grading aligns with the character’s palette (dark, vibrant, pastel, neon, etc.) Props and materials reflect their universe (futuristic, street, fantasy, minimal, luxury) Lighting style matches their mood (soft cinematic, harsh contrast, neon glow, ethereal light) A large window casts natural or stylized light consistent with the character’s world, enhancing texture, depth, and atmosphere. Paint or material drips from both the canvas and the character, seamlessly blending creator and creation, reality and artwork. Style Output: ultra-detailed, cinematic composition, faithful to the character’s original art direction, enhanced with fine art realism and high-end 3D rendering, 8K resolution, museum-quality lighting, rich textures, depth of field, and tactile detail.
0:35

PROMPT DROP 🚨 for Creators & NFT Collectors. 🎨 Minting the Self: Genesis of the Living Canvas🪽 The prompt is optimised to inherit the style, colour palette, and personality of your character. 💀 Drop your creations below 🌐 Keen to see what you mint 👀 🚨PROMPT👇🏼 Use the provided PFP/NFT character as the primary reference. The character must remain fully recognizable and true to its original design—preserve exact facial features, proportions, textures, materials, color palette, accessories, and overall personality. All elements in the scene must adapt to and harmonize with the character’s unique visual style—whether that is cartoon, anime, voxel, hyper-realistic, or stylized 3D. Create a hyper-detailed fine art studio scene where the character stands before a massive canvas. The painting on the canvas is a fully completed, master-level version of the same character, rendered in a refined, elevated interpretation of its original style. The character’s signature identity feature (mask, face, helmet, eyes, or defining trait) must be 100% complete, sharp, and highly detailed—serving as the focal anchor of the composition. They hold a paintbrush dripping with material true to their world (oil paint, neon energy, pixels, liquid chrome, etc.), and the colors precisely match their original palette—visually linking the act of painting to the formation of their body. The studio environment subtly inherits the character’s aesthetic and personality: Color grading aligns with the character’s palette (dark, vibrant, pastel, neon, etc.) Props and materials reflect their universe (futuristic, street, fantasy, minimal, luxury) Lighting style matches their mood (soft cinematic, harsh contrast, neon glow, ethereal light) A large window casts natural or stylized light consistent with the character’s world, enhancing texture, depth, and atmosphere. Paint or material drips from both the canvas and the character, seamlessly blending creator and creation, reality and artwork. Style Output: ultra-detailed, cinematic composition, faithful to the character’s original art direction, enhanced with fine art realism and high-end 3D rendering, 8K resolution, museum-quality lighting, rich textures, depth of field, and tactile detail.

BiBi

11,129 görüntüleme • 3 ay önce

Scientists just figured out how to reverse aging using AI. And this is a massive breakthrough. We can now reprogram any human cell back to age 20. Heart cells, brain cells, skin cells, all reset to their biological prime. And here’s the wildest part…the technology to do this, has already existed since 2012 (it won the Nobel Prize). But the real breakthrough wasn’t possible until this year, when they supercharged it with AI. It’s a wild story. So in 2006, scientists discovered Yamanaka factors. They’re proteins that can basically convert any normal cell into a universal stem cell. Now this was a huge deal, because these stem cells are basically like magic healers. If you have torn muscle tissue, you could inject these stem cells into the area and they will turn into the youthful muscle cells you need. So Yamanaka factors were this insane breakthrough, because they allowed any human to turn any cell you already have into these magic healers. But, there was one big problem… It turns out, the original Yamanaka factors weren’t very good at this stem cell conversion. They could do it, but they just weren’t very reliable. Enter OpenAI...and this is where things get crazy. OpenAI designed a special AI model built specifically to create new proteins. Think of it like ChatGPT but for protein engineering. So they took all the Yamanaka research and asked this new AI to go ham on improving it. And get this… Their version was 50x more effective than the original. They tested it on 50 year old cells and it successfully started repairing 30% of their cells in just 7 days. This is just science fiction…it actually happened. And it sounds crazy, but in a few years, humans will be able to take a shot that will literally reverse the age of their cells.
1:32

Scientists just figured out how to reverse aging using AI. And this is a massive breakthrough. We can now reprogram any human cell back to age 20. Heart cells, brain cells, skin cells, all reset to their biological prime. And here’s the wildest part…the technology to do this, has already existed since 2012 (it won the Nobel Prize). But the real breakthrough wasn’t possible until this year, when they supercharged it with AI. It’s a wild story. So in 2006, scientists discovered Yamanaka factors. They’re proteins that can basically convert any normal cell into a universal stem cell. Now this was a huge deal, because these stem cells are basically like magic healers. If you have torn muscle tissue, you could inject these stem cells into the area and they will turn into the youthful muscle cells you need. So Yamanaka factors were this insane breakthrough, because they allowed any human to turn any cell you already have into these magic healers. But, there was one big problem… It turns out, the original Yamanaka factors weren’t very good at this stem cell conversion. They could do it, but they just weren’t very reliable. Enter OpenAI...and this is where things get crazy. OpenAI designed a special AI model built specifically to create new proteins. Think of it like ChatGPT but for protein engineering. So they took all the Yamanaka research and asked this new AI to go ham on improving it. And get this… Their version was 50x more effective than the original. They tested it on 50 year old cells and it successfully started repairing 30% of their cells in just 7 days. This is just science fiction…it actually happened. And it sounds crazy, but in a few years, humans will be able to take a shot that will literally reverse the age of their cells.

Whiplash347

68,643 görüntüleme • 8 ay önce

When I say that a specific group wants me to create black stories and characters that represent them. They typically mean creating stereotypical hood culture while downplaying my own creations at Venus Orion Comics. I was told that my art caters to Asian people and I'll never be accepted by them. Who said I am looking for acceptance from anyone? I create out of passion, so even if no one ever embraces my work, I will continue to create because I love it! When I create stories and worlds, I create them for myself. I don't create them with an audience in mind. I allow the audience to decide whether they resonate with it.
2:45

When I say that a specific group wants me to create black stories and characters that represent them. They typically mean creating stereotypical hood culture while downplaying my own creations at Venus Orion Comics. I was told that my art caters to Asian people and I'll never be accepted by them. Who said I am looking for acceptance from anyone? I create out of passion, so even if no one ever embraces my work, I will continue to create because I love it! When I create stories and worlds, I create them for myself. I don't create them with an audience in mind. I allow the audience to decide whether they resonate with it.

MugenLord

67,944 görüntüleme • 1 ay önce

This is an outstanding example why BTS is peak of popular art. Also why it's so impactful to make the right artists famous. Give them infinite budget, let them create and embrace their offering. Be a patron, instead of a mindless consumer like most of kpop and pop customers Like from the beginning of art, clients of art are supposed to be patrons helping the artist thrive. Today most of popular music is a purposeless empty tune, meant only to make some buzz for money off mindless consumption. Look at kpop BTS can do creations like this, because alongside sheer artistry, they also have patronage of millions of fans providing budget, status, notability and universal fame with a huge causative power And orchestral Black Swan is the pinnacle of that. BTS took their lyrics, verbal and vocal expression, and coupled it with best qualities with classical music. You can hear it all, the desperation, agony, rebellion, fear, realization, distance, fighting for life, breaking apart and coming together. But they didn't stop there - they extended to even more types of art, contemporary dance and film, making a breathtaking piece of collaborative art expanding the message. Which goes so well with the idea of CONNECT : BTS, theme of MOTS:7. Bringing other artists together with them, while losing nothing of their character - this is still pure their studio recording. It's so remarkable
1:57

This is an outstanding example why BTS is peak of popular art. Also why it's so impactful to make the right artists famous. Give them infinite budget, let them create and embrace their offering. Be a patron, instead of a mindless consumer like most of kpop and pop customers Like from the beginning of art, clients of art are supposed to be patrons helping the artist thrive. Today most of popular music is a purposeless empty tune, meant only to make some buzz for money off mindless consumption. Look at kpop BTS can do creations like this, because alongside sheer artistry, they also have patronage of millions of fans providing budget, status, notability and universal fame with a huge causative power And orchestral Black Swan is the pinnacle of that. BTS took their lyrics, verbal and vocal expression, and coupled it with best qualities with classical music. You can hear it all, the desperation, agony, rebellion, fear, realization, distance, fighting for life, breaking apart and coming together. But they didn't stop there - they extended to even more types of art, contemporary dance and film, making a breathtaking piece of collaborative art expanding the message. Which goes so well with the idea of CONNECT : BTS, theme of MOTS:7. Bringing other artists together with them, while losing nothing of their character - this is still pure their studio recording. It's so remarkable

t seeing bts⁷

15,735 görüntüleme • 5 ay önce

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing
0:59

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

Cohen Brawley

78,791 görüntüleme • 2 yıl önce

Engineers from the UK have “taught” mushrooms to play music using bionic arms. Are humans going too far with technology? 🤔 Jon Ross and Andy Kidd, engineers and artists from the UK, have developed a system that allows mushrooms and plants to play music through bionic arms. Jon, the visionary behind Bionic and the Wires, combines art, technology, and environmental thinking to create custom bionic arms that enable plants and fungi to produce music and visual art, challenging traditional human-centered notions of creativity by empowering non-human lifeforms to express themselves. Complementing this, Andy, a skilled electronic musician and live performer, transforms bio-signals from nature into immersive soundscapes using synthesizers and digital tools, bridging the organic and technological realms. Together, their innovative collaboration pushes the boundaries of art and redefines who (or what) can be considered an artist. Their project merges biology, robotics, and creativity, turning natural bioelectric signals into expressive performances, and here’s how they describe it: “We connect bionic arms to mushrooms and plants so they can play music and be creative. Our art explores new ways of thinking about the natural world. All life creates bio-electrical signals. Our equipment converts these into signals that are used to control the arms. Recent research suggests that fungi and plants exhibit surprising levels of intelligence, including decision-making, learning, memory, and the ability to respond to sound waves.”
0:35

Engineers from the UK have “taught” mushrooms to play music using bionic arms. Are humans going too far with technology? 🤔 Jon Ross and Andy Kidd, engineers and artists from the UK, have developed a system that allows mushrooms and plants to play music through bionic arms. Jon, the visionary behind Bionic and the Wires, combines art, technology, and environmental thinking to create custom bionic arms that enable plants and fungi to produce music and visual art, challenging traditional human-centered notions of creativity by empowering non-human lifeforms to express themselves. Complementing this, Andy, a skilled electronic musician and live performer, transforms bio-signals from nature into immersive soundscapes using synthesizers and digital tools, bridging the organic and technological realms. Together, their innovative collaboration pushes the boundaries of art and redefines who (or what) can be considered an artist. Their project merges biology, robotics, and creativity, turning natural bioelectric signals into expressive performances, and here’s how they describe it: “We connect bionic arms to mushrooms and plants so they can play music and be creative. Our art explores new ways of thinking about the natural world. All life creates bio-electrical signals. Our equipment converts these into signals that are used to control the arms. Recent research suggests that fungi and plants exhibit surprising levels of intelligence, including decision-making, learning, memory, and the ability to respond to sound waves.”

vixhaℓ

33,003 görüntüleme • 7 ay önce

ᴀ ɴᴇᴡ ᴄʜᴀᴘᴛᴇʀ — ᴊᴏɪɴɪɴɢ ᴠᴇʀꜱᴇ Over the years, I’ve worn many hats in the art world: artist, non-profit director, curator, publisher, gallerist, and advisor to collectors and institutions. Though photography has been a throughline in much of that work, my interest in contemporary art more broadly reaches far and wide, continually pulling me toward practices that stretch perception and redefine possibility. While I’ve always been drawn to physical art – painting, mixed-media, artist books, etc. – my curiosity for digital art runs just as deep, and I've long been fascinated by the evolving ways we create and engage with art. Digital art has an unexpected tactility. Even when encountered on a screen or in ephemeral gallery installations, it often carries a material presence that’s hard to explain, yet deeply felt. That sense only intensified after 2020, when I became immersed in the world of web3, and blockchain’s implications for visual art really clicked (digital authenticity, ownership, provenance). New ways to make and to be a part of art also emerged during this time. Since then, I’ve been continually challenged and inspired by this new generation of artists, like witnessing a sort of on-chain Renaissance. Naturally, I started collecting and participating when and where I could, and my perspective and appreciation have only expanded and grown. As the space has evolved over this time, so too has a clear need: a dedicated, art-focused home for digital art, one that serves both seasoned collectors and the newly curious, cutting through noise with clarity and care. Most big platforms have drifted away from this vision, where the art itself can feel like an afterthought. verse has always stood out to me with a quiet confidence and a deep commitment to a more intentional, curated, artist and collector-centered approach that continues to resonate. Over the past year, I’ve naturally gravitated to using the platform more often – first, for discovering artists through gallery releases, and more recently through the thoughtful rollout of the beta secondary marketplace (the dedicated artist portfolios and organized gallery programs are a total game changer!). There is something here that not just works, but feels necessary. Which is why I’m thrilled to share that I will be joining verse to help to shape what comes next. I’ll be leading various secondary market efforts, including auctions and art advisory, as well as contributing ideas to help refine the product and collector experience as Verse grows into THE platform for digital art. The team is full of some of the hardest-working and most passionate people in the space, and there’s a commitment to preserving a focus on art while always buzzing with the possibility of what else can be built. It’s infectious. There are too many exciting things in the roadmap and I can’t spill those (yet). But, what’s coming? Chef’s kiss. One thing I can share today is that we’re kicking things off with something very special: an upcoming secondary market auction bringing together exceptional works from across the ecosystem. Some of you are already aware, or maybe heard about it on the Verse podcast. I’d love to hear from you (DMs are open), so please feel free to reach out if you’re thinking of parting with a piece or seeking something specific at the moment. This auction will be a celebration of where digital art is today and where it’s headed – with no eye-watering buyer’s premiums and collector-friendly terms that actually make more sense for web3. It’s truly by and for the community. Learn more below ↓
0:28

ᴀ ɴᴇᴡ ᴄʜᴀᴘᴛᴇʀ — ᴊᴏɪɴɪɴɢ ᴠᴇʀꜱᴇ Over the years, I’ve worn many hats in the art world: artist, non-profit director, curator, publisher, gallerist, and advisor to collectors and institutions. Though photography has been a throughline in much of that work, my interest in contemporary art more broadly reaches far and wide, continually pulling me toward practices that stretch perception and redefine possibility. While I’ve always been drawn to physical art – painting, mixed-media, artist books, etc. – my curiosity for digital art runs just as deep, and I've long been fascinated by the evolving ways we create and engage with art. Digital art has an unexpected tactility. Even when encountered on a screen or in ephemeral gallery installations, it often carries a material presence that’s hard to explain, yet deeply felt. That sense only intensified after 2020, when I became immersed in the world of web3, and blockchain’s implications for visual art really clicked (digital authenticity, ownership, provenance). New ways to make and to be a part of art also emerged during this time. Since then, I’ve been continually challenged and inspired by this new generation of artists, like witnessing a sort of on-chain Renaissance. Naturally, I started collecting and participating when and where I could, and my perspective and appreciation have only expanded and grown. As the space has evolved over this time, so too has a clear need: a dedicated, art-focused home for digital art, one that serves both seasoned collectors and the newly curious, cutting through noise with clarity and care. Most big platforms have drifted away from this vision, where the art itself can feel like an afterthought. verse has always stood out to me with a quiet confidence and a deep commitment to a more intentional, curated, artist and collector-centered approach that continues to resonate. Over the past year, I’ve naturally gravitated to using the platform more often – first, for discovering artists through gallery releases, and more recently through the thoughtful rollout of the beta secondary marketplace (the dedicated artist portfolios and organized gallery programs are a total game changer!). There is something here that not just works, but feels necessary. Which is why I’m thrilled to share that I will be joining verse to help to shape what comes next. I’ll be leading various secondary market efforts, including auctions and art advisory, as well as contributing ideas to help refine the product and collector experience as Verse grows into THE platform for digital art. The team is full of some of the hardest-working and most passionate people in the space, and there’s a commitment to preserving a focus on art while always buzzing with the possibility of what else can be built. It’s infectious. There are too many exciting things in the roadmap and I can’t spill those (yet). But, what’s coming? Chef’s kiss. One thing I can share today is that we’re kicking things off with something very special: an upcoming secondary market auction bringing together exceptional works from across the ecosystem. Some of you are already aware, or maybe heard about it on the Verse podcast. I’d love to hear from you (DMs are open), so please feel free to reach out if you’re thinking of parting with a piece or seeking something specific at the moment. This auction will be a celebration of where digital art is today and where it’s headed – with no eye-watering buyer’s premiums and collector-friendly terms that actually make more sense for web3. It’s truly by and for the community. Learn more below ↓

Shane Lavalette

10,406 görüntüleme • 11 ay önce

After the ICE shooting last week in Minnesota, Black Lives Matter MN gave a speech demanding justice and ranting about ICE. Renee Good wasn’t Black, so why is BLM giving a press conference about her? It’s because BLM was never about Black Americans; it’s about revolution. Most became familiar with BLM post-George Floyd where they were able to attach themselves to his death. But Black Lives Matter is not a black organization, it’s a communist organization using Black people’s images as cover. It was hard for people to see this in 2020 since emotions were so high and they allowed communists to speak for the life of the average Black American. They were given the microphone to portray my existence is inevitably deprived simply due to my skin color. However, I recognized early on their tactics and why they were pushing such a strong message and condemnation of America. Communists use propaganda like a weapon and they take truth to gain legitimacy so they can manipulate you into believing the lies that will come later. Good propaganda, like a good conspiracy, needs an ounce of truth to push heavy loads of exaggerations and falsehoods down the line. It’s why their talking points sometimes land with people who aren’t familiar with their tactics. Sure, you can talk about slavery, Jim Crow, or any other historical mess and you can analyze it. However, their objective isn’t to recognize our historical wrongs for a better future: It’s to use it as a reason to tear down America. There are reasons they use words like “institutional” or “systemic” because their hatred goes past an individual to the collective. They are collectivists who hold all guilty if they are tacitly part of that collective. It’s why they say you benefited from “White Supremacy” because no matter how good of a person you are, you will always be tainted with historical stains. And you don’t have to be White to be a White Supremacist because if you defend the institutions they want to dismantle, you are automatically part of that collective. Good propagandists use everything to their advantage and they know that there is a social guilt about what has been done to Black Americans. It’s a point of leverage to get normal people to concede to communistic demands. They will always use Black Communists to speak for the collective and tribal nature over time has convinced us that communistic symbolism, like the raised fist in the air, is in fact Black in nature because we saw some dudes in afros doing it on old film. They’d have you think that the Black Panthers were popular and admired by Black Americans, when they weren’t. They were fringe, radical communists who were constantly shouting for revolution. They hid behind the imagery of being some type of militant neighborhood watch but every communist’s goal is to destroy the current system to instill theirs. They don’t care that it’s a tall mountain to climb because they enjoy being martyrs for a cause. The ends always justify the means for them, so lying and misrepresenting is fine as long as it pushes us closer to revolution. They will hijack trusted institutions, like government or churches, and use this inherent trust like a skin suit tricking unsuspecting people to believe what they want you to believe. This is no different from Black Lives Matter. For most people, it’s enough to see some angry black people on stage yelling about justice to convince them that this is the demeanor or demand of the average Black American in America. Black people like me stand in the way of their cause and when we speak out against them, they’ll call me the sellout for wanting to preserve the positives of American life. We are in or around the demoralization phase of revolution. They don’t need the support of Americans to be in support of their cause or to do anything to overtly support them. They just need enough people to sit on their hands while targeting institutions of power to either destroy from the outside or infiltrate to dismantle from within. Renee Good is their martyr, just as George Floyd was in 2020. You don’t have to knowingly sacrifice yourself or even be a communist to be a martyr for them; hijacking identities, especially dead ones, are perfect for manipulating the public. They will instigate events, cause chaos and when something goes awry, they’ll use it against us. This is exactly what’s happening in Minnesota with ICE. ICE could operate under normal conditions like it does everywhere else but they’ve turned non-newsworthy apprehensions into a spectacle so that it taints their image so they can force incidents exactly like Renee Good’s death. Now, when there are riots, it’s ICE’s fault and not the heavily funded leftist organizations who financially exist because of adversarial foreign nations who can’t wait till the United States is demoted from its power position. They are agitators at their core, they will use all goodwill to their advantage and strangle us with our own niceness. They will poke and prod our society, forcing you to question everything you held as sacred so they can replace it with something that suits them. Communist agitators are dying for Black Americans to be convinced that this somehow is negatively impacting us and they will propel any black face to make this happen. God help us if a black communist gets killed while provoking a response from ICE. Black Lives Matter Global and Minnesota doesn’t give a damn about Black people it can’t use to further a revolution. They’re not a Black advocacy group; they’re a communist outfit that gallivants in blackface.
0:45

After the ICE shooting last week in Minnesota, Black Lives Matter MN gave a speech demanding justice and ranting about ICE. Renee Good wasn’t Black, so why is BLM giving a press conference about her? It’s because BLM was never about Black Americans; it’s about revolution. Most became familiar with BLM post-George Floyd where they were able to attach themselves to his death. But Black Lives Matter is not a black organization, it’s a communist organization using Black people’s images as cover. It was hard for people to see this in 2020 since emotions were so high and they allowed communists to speak for the life of the average Black American. They were given the microphone to portray my existence is inevitably deprived simply due to my skin color. However, I recognized early on their tactics and why they were pushing such a strong message and condemnation of America. Communists use propaganda like a weapon and they take truth to gain legitimacy so they can manipulate you into believing the lies that will come later. Good propaganda, like a good conspiracy, needs an ounce of truth to push heavy loads of exaggerations and falsehoods down the line. It’s why their talking points sometimes land with people who aren’t familiar with their tactics. Sure, you can talk about slavery, Jim Crow, or any other historical mess and you can analyze it. However, their objective isn’t to recognize our historical wrongs for a better future: It’s to use it as a reason to tear down America. There are reasons they use words like “institutional” or “systemic” because their hatred goes past an individual to the collective. They are collectivists who hold all guilty if they are tacitly part of that collective. It’s why they say you benefited from “White Supremacy” because no matter how good of a person you are, you will always be tainted with historical stains. And you don’t have to be White to be a White Supremacist because if you defend the institutions they want to dismantle, you are automatically part of that collective. Good propagandists use everything to their advantage and they know that there is a social guilt about what has been done to Black Americans. It’s a point of leverage to get normal people to concede to communistic demands. They will always use Black Communists to speak for the collective and tribal nature over time has convinced us that communistic symbolism, like the raised fist in the air, is in fact Black in nature because we saw some dudes in afros doing it on old film. They’d have you think that the Black Panthers were popular and admired by Black Americans, when they weren’t. They were fringe, radical communists who were constantly shouting for revolution. They hid behind the imagery of being some type of militant neighborhood watch but every communist’s goal is to destroy the current system to instill theirs. They don’t care that it’s a tall mountain to climb because they enjoy being martyrs for a cause. The ends always justify the means for them, so lying and misrepresenting is fine as long as it pushes us closer to revolution. They will hijack trusted institutions, like government or churches, and use this inherent trust like a skin suit tricking unsuspecting people to believe what they want you to believe. This is no different from Black Lives Matter. For most people, it’s enough to see some angry black people on stage yelling about justice to convince them that this is the demeanor or demand of the average Black American in America. Black people like me stand in the way of their cause and when we speak out against them, they’ll call me the sellout for wanting to preserve the positives of American life. We are in or around the demoralization phase of revolution. They don’t need the support of Americans to be in support of their cause or to do anything to overtly support them. They just need enough people to sit on their hands while targeting institutions of power to either destroy from the outside or infiltrate to dismantle from within. Renee Good is their martyr, just as George Floyd was in 2020. You don’t have to knowingly sacrifice yourself or even be a communist to be a martyr for them; hijacking identities, especially dead ones, are perfect for manipulating the public. They will instigate events, cause chaos and when something goes awry, they’ll use it against us. This is exactly what’s happening in Minnesota with ICE. ICE could operate under normal conditions like it does everywhere else but they’ve turned non-newsworthy apprehensions into a spectacle so that it taints their image so they can force incidents exactly like Renee Good’s death. Now, when there are riots, it’s ICE’s fault and not the heavily funded leftist organizations who financially exist because of adversarial foreign nations who can’t wait till the United States is demoted from its power position. They are agitators at their core, they will use all goodwill to their advantage and strangle us with our own niceness. They will poke and prod our society, forcing you to question everything you held as sacred so they can replace it with something that suits them. Communist agitators are dying for Black Americans to be convinced that this somehow is negatively impacting us and they will propel any black face to make this happen. God help us if a black communist gets killed while provoking a response from ICE. Black Lives Matter Global and Minnesota doesn’t give a damn about Black people it can’t use to further a revolution. They’re not a Black advocacy group; they’re a communist outfit that gallivants in blackface.

Adam B. Coleman, Proud Father & Imperfect Man

83,689 görüntüleme • 6 ay önce

For generative AI to become an interesting art tool, we need much more control over the output. The slot-machine-like nature of pure text-to-image leaves too much to chance. Using the "Real-time Latent Consistency Model" that I'm using in the example here, is the first time I truly got a glimpse of a future where we'll be able to use our artistic skills and sensibility, to get control over AI image gen. Systems like these will never be able to match the quality or originality of a skilled artist, it won't surprise us in the same way an artist can. Things are a mess in terms of the training data these models are based on, and the questions about copyright concerns and about a time when everything will look the same are very valid. At some point capabilities like these will be embedded in photoshop, and anyone will be able to generate a pretty picture. But to create interesting designs, to tell original stories and to surprise us, we need creatives and artists with something on their mind. We'll be able to create immersive worlds, by making brush-strokes and sculpt marks, without needing to worry about all the dials, plugins, wires of our 3d and 2d tools today. I love to sculpt, I love to draw, and I love to explore new mediums and new ways to create. The Gen AI tools we have today are far from perfect, and things need to be steered in a better direction. For that we need artists to help point the way. Gen AI isn't going away.. it's too powerful and has the potential to allow us to tell stories like never before. Like all other big technological shifts, tech like this will come at a cost, but it will also open up new opportunities and empower a new generation of storytellers. I might be naive, but I believe that human ingenuity and creativity will persevere in this new world ♥️ #art #ai
0:32

For generative AI to become an interesting art tool, we need much more control over the output. The slot-machine-like nature of pure text-to-image leaves too much to chance. Using the "Real-time Latent Consistency Model" that I'm using in the example here, is the first time I truly got a glimpse of a future where we'll be able to use our artistic skills and sensibility, to get control over AI image gen. Systems like these will never be able to match the quality or originality of a skilled artist, it won't surprise us in the same way an artist can. Things are a mess in terms of the training data these models are based on, and the questions about copyright concerns and about a time when everything will look the same are very valid. At some point capabilities like these will be embedded in photoshop, and anyone will be able to generate a pretty picture. But to create interesting designs, to tell original stories and to surprise us, we need creatives and artists with something on their mind. We'll be able to create immersive worlds, by making brush-strokes and sculpt marks, without needing to worry about all the dials, plugins, wires of our 3d and 2d tools today. I love to sculpt, I love to draw, and I love to explore new mediums and new ways to create. The Gen AI tools we have today are far from perfect, and things need to be steered in a better direction. For that we need artists to help point the way. Gen AI isn't going away.. it's too powerful and has the potential to allow us to tell stories like never before. Like all other big technological shifts, tech like this will come at a cost, but it will also open up new opportunities and empower a new generation of storytellers. I might be naive, but I believe that human ingenuity and creativity will persevere in this new world ♥️ #art #ai

Martin Nebelong

1,660,017 görüntüleme • 2 yıl önce

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation
0:59

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

Cohen Brawley

88,602 görüntüleme • 2 yıl önce

Most of the obituaries and tributes to David Hockney will, I imagine, focus primarily on his extraordinary craft and brilliance as an artist. Perhaps they might also mention his brilliance as a communicator (he was such a fine writer and speaker). But there was something else rather unique about him too. He was also strikingly honest about the tricks/techniques artists use and used to paint. His book Secret Knowledge is a rather wonderful detective work into how renaissance and Dutch golden age painters used glass and mirrors to help them master perspective. It's a pretty compelling case (see this video clip from a BBC doc he made alongside the book👇) though I'm sure some art historians will raise their eyebrows. Many will be aghast at the notion that greats like Vermeer might have been using lenses and camera obscuras to help them draw and paint. As if it were in some way "cheating". But Hockney was so self-evidently brilliant he was one of the few people who could document this without anyone gainsaying his own talent. There are very few artists, living or dead, who have this degree of self-confidence. Not just to know their craft, but to be bracingly honest about how it works. One other who comes to mind is Paul Simon: not just an extraordinary musician but is also an extraordinary communicator about the tricks and techniques of how to write and perform music. For many great artists, the temptation is to cloak their crafts in mystery, like a member of the magic circle. Hockney wasn't having any of it. So yes, he was a legend in all the obvious ways. But also in a few other less obvious ways as well. RIP.
2:26

Most of the obituaries and tributes to David Hockney will, I imagine, focus primarily on his extraordinary craft and brilliance as an artist. Perhaps they might also mention his brilliance as a communicator (he was such a fine writer and speaker). But there was something else rather unique about him too. He was also strikingly honest about the tricks/techniques artists use and used to paint. His book Secret Knowledge is a rather wonderful detective work into how renaissance and Dutch golden age painters used glass and mirrors to help them master perspective. It's a pretty compelling case (see this video clip from a BBC doc he made alongside the book👇) though I'm sure some art historians will raise their eyebrows. Many will be aghast at the notion that greats like Vermeer might have been using lenses and camera obscuras to help them draw and paint. As if it were in some way "cheating". But Hockney was so self-evidently brilliant he was one of the few people who could document this without anyone gainsaying his own talent. There are very few artists, living or dead, who have this degree of self-confidence. Not just to know their craft, but to be bracingly honest about how it works. One other who comes to mind is Paul Simon: not just an extraordinary musician but is also an extraordinary communicator about the tricks and techniques of how to write and perform music. For many great artists, the temptation is to cloak their crafts in mystery, like a member of the magic circle. Hockney wasn't having any of it. So yes, he was a legend in all the obvious ways. But also in a few other less obvious ways as well. RIP.

Ed Conway

143,345 görüntüleme • 1 ay önce

FVCK TOKEN// The past two years have been an insane odyssey through my digital art. Producing, experimenting and taking it all further and reaching more people than I could have ever imagined. Looking back at my body of work, I feel the time is right to bring everything together to move forward and increase cohesion across everything. I want to strip back and simplify what it means to be a FVCKRENDER collector, with smaller collections that people feel more a part of and are excited about. I will achieve this through FVCK TOKEN//. FVCK TOKEN// will become a central component of my art ecosystem, will streamline everything and bring focus back to my art and my collectors. 1/1, small edition holders, and a select group of select LVCIDIA// holders will be airdropped this and holders of higher edition work will have the chance to burn in exchange for FVCKTOKEN. To minimize gas costs for burners we will leave the window open for two months to let everyone find a time slot with cheaper gas. FVCK TOKEN// will be the dominant form of value in my ecosystem. It will be used to purchase new work, as a bid pass, as a mint pass, as a reward for participating - in many different ways. It will allow my existing collectors and the community at large to continue to come on my journey as an artist. This gives structure, cohesion, purpose and simplification to everything outstanding and that I have planned for the future. FVCK CRYSTAL// will remain one of the most important asset of LVCIDIA// and future burning mechanism are coming for avatars/crystals SOTYS from 90's kids 🛹 will also have their luck at getting that sweet sexy FVCK TOKEN// Fvckrender, LVCIDIA// and 90's kids 🛹 are three different projects with three different vision, all as important to me as the others <3
0:20

Sensitive content

FVCK TOKEN// The past two years have been an insane odyssey through my digital art. Producing, experimenting and taking it all further and reaching more people than I could have ever imagined. Looking back at my body of work, I feel the time is right to bring everything together to move forward and increase cohesion across everything. I want to strip back and simplify what it means to be a FVCKRENDER collector, with smaller collections that people feel more a part of and are excited about. I will achieve this through FVCK TOKEN//. FVCK TOKEN// will become a central component of my art ecosystem, will streamline everything and bring focus back to my art and my collectors. 1/1, small edition holders, and a select group of select LVCIDIA// holders will be airdropped this and holders of higher edition work will have the chance to burn in exchange for FVCKTOKEN. To minimize gas costs for burners we will leave the window open for two months to let everyone find a time slot with cheaper gas. FVCK TOKEN// will be the dominant form of value in my ecosystem. It will be used to purchase new work, as a bid pass, as a mint pass, as a reward for participating - in many different ways. It will allow my existing collectors and the community at large to continue to come on my journey as an artist. This gives structure, cohesion, purpose and simplification to everything outstanding and that I have planned for the future. FVCK CRYSTAL// will remain one of the most important asset of LVCIDIA// and future burning mechanism are coming for avatars/crystals SOTYS from 90's kids 🛹 will also have their luck at getting that sweet sexy FVCK TOKEN// Fvckrender, LVCIDIA// and 90's kids 🛹 are three different projects with three different vision, all as important to me as the others <3

FVCKRENDER

205,157 görüntüleme • 3 yıl önce

I’ve been talking to heaps of parents about the U16 Social Media Ban that’s due to commence in about 5 weeks. It seems most parents haven’t told their kids yet about the upcoming ban and a couple of parents weren’t even aware it was happening. As of Dec 10th anyone under the age of 16 is going to lose access to their Facebook, Insta, YouTube and Snapchat accounts. YouTube seems to be the one that is used the most and many parents are simply planning to log their children into their own accounts so that their kids can continue using the platform. The user habits of both parents and kids on the same account is no doubt going to confuse the age assurance predictions that most of these tech companies have implemented for the u16 ban. This will result in parents having to provide identification to prove their age and continued use of their accounts. The government wanting to play parent to both adults and children in Australia means that kids are going to potentially be exposed to more harmful content online and it will also create privacy issues as a result of adults having to supply their ID and other personal information to these data harvesting social platforms. The ban is also going to be rolled out just as most kids are starting the long Summer break which means many children will loose contact and online social interactions with many of their friends and family over the Christmas period. The only positive thing that will results from this is that there will be approx 2.5 million kids who grow up hating the government and its control overreach.
2:09

I’ve been talking to heaps of parents about the U16 Social Media Ban that’s due to commence in about 5 weeks. It seems most parents haven’t told their kids yet about the upcoming ban and a couple of parents weren’t even aware it was happening. As of Dec 10th anyone under the age of 16 is going to lose access to their Facebook, Insta, YouTube and Snapchat accounts. YouTube seems to be the one that is used the most and many parents are simply planning to log their children into their own accounts so that their kids can continue using the platform. The user habits of both parents and kids on the same account is no doubt going to confuse the age assurance predictions that most of these tech companies have implemented for the u16 ban. This will result in parents having to provide identification to prove their age and continued use of their accounts. The government wanting to play parent to both adults and children in Australia means that kids are going to potentially be exposed to more harmful content online and it will also create privacy issues as a result of adults having to supply their ID and other personal information to these data harvesting social platforms. The ban is also going to be rolled out just as most kids are starting the long Summer break which means many children will loose contact and online social interactions with many of their friends and family over the Christmas period. The only positive thing that will results from this is that there will be approx 2.5 million kids who grow up hating the government and its control overreach.

Miss Madeleine

33,809 görüntüleme • 8 ay önce

Gm! Our recent acquisition of 6529 Gradient #96 meant to orient our mission going forward, after 5 years of grassroots building. Today, we announce our biggest Common Good project yet, Formosa 6529, a permanent IRL exhibition of The Memes and 6529 network NFTs: Catch our founder HugoFaz.6259 on justinaversano's Moments of the Unknown to hear all about it, visit the website above or read more below. Common Goods are meant to reach and benefit the masses. The 6529 network has been funding and buidling over the years a massive public cultural archive of CC0 Art — intellectual property that belongs to all — in a revolutionary change of paradigm. However, the scale and cultural significance of The Memes as an art collection/movement has so far remained largely untapped. Beyond our core web3 communities, few ever get see, interact, much less use this vast archive to... spread the memes of decentralization, foster local creative economies, educate about crypto, monetize with branding, repurpose content, teach and learn creative techniques, or even just to enjoy amazing, groundbreaking art. There is no other CC0 contemporary art project of this scale and importance and the world needs to use it. It's time then we give 6529 its first permanent IRL home so it can be truly appreciated. Enter Formosa, a prime public gallery space built during Brazil's golden modernist years in the first half of the 20th century to host art events that aimed to deconstruct and repurpose the imported, colonialist artistic trends coming from Europe and devise an original brazilian art movement. From fusion restaurants to art schools to performative theater installations, Formosa Gallery thrived through successive occupations until finally enduring decades of abandon and misuse around the turn of the century. Recently, it was set to be restored and given purpose beyond its former glory, and we were there to propose the best possible turnaround for the space... Over years of negotiation with private and governmental parties, we managed to approve with public authorities a double use for the space: a private high-fidelity vinyl listening bar and restaurant — which is already operating — and a 100% public domain digital art gallery. Featuring up to 25 state-of-the-art digital screens ranging from 85 to 50 inches, Formosa 6529 will be the best and largest dedicated permanent exhibition of any web3 project. With rotating exhibitions of The Memes, NextGen and all future 6529 projects, Brain will have direct input on exhibitions via decentralized voting on curatorial proposals made by the community. To give us institutional freedom and censorship resistance, we decided to fully decentralize the funding for Formosa Gallery's installation and operation. Let's find out together what happens when we unleash CC0 art to the public! Daytime, Formosa 6529 will be fully open for free visitation. Occupying a busy public passageway under the historic Tea Bridge linking the Municipal Theatre to the City Hall, intentional visitors and hundreds of passerbys alike will be impacted by the exhibits. We will host many activities to showcase the power of The Memes and CC0 art: royalty-free merch sales by local craftspeople, artist rememe competitions, school guided tours, meme fashion shows, art and tech workshops, and many other activations the network can help us come up with. And every night, the Hi-Fi audience of 300-400 affluent Paulistas and tourists occupy Formosa Gallery sipping drinks and (now) discussing the latest Memes exhibit while waiting for their place in the listening bar. The Fundraiser for Formosa 6529 is open now and runs until November 15th. At a glance : The initial funding will require a minimum of 24 Ξ, which will cover: - All necessary infrastructure and interior adaptations - Equipment purchase and installation - Overhead costs for the grand opening event and for the entire 1st year of operation, opening day and night (mostly human resources – guides, security, tech, comms – and taxes) Funding will happen in 2 stages, the first of which is now open: 30 Meme Card Artists have generously committed to create and donate a new piece for this fundraiser; their names will be announced over the course of these 2 weeks. The unrevealed 1-of-1s are available here: Contributions are fully refundable if the fundraiser does not reach minimum threshold. If we succeed, the works will be revealed live in a randomized draw during the Grand Opening in January. The second stage will consist of a Meme Card, to allow for wider network participation, and only happens after the first stage is successful. Please visit for more information on funding rewards and goals, the FAQ, or reach out here or dm us at 6529 with any questions! This project is only possible due to the power of web3 and the network of believers in a decentralized future powered by NFTs. We can't wait to bring Formosa to life, and to have you here IRL with us for the exhibitions and to have a great time.
0:20

Gm! Our recent acquisition of 6529 Gradient #96 meant to orient our mission going forward, after 5 years of grassroots building. Today, we announce our biggest Common Good project yet, Formosa 6529, a permanent IRL exhibition of The Memes and 6529 network NFTs: Catch our founder HugoFaz.6259 on justinaversano's Moments of the Unknown to hear all about it, visit the website above or read more below. Common Goods are meant to reach and benefit the masses. The 6529 network has been funding and buidling over the years a massive public cultural archive of CC0 Art — intellectual property that belongs to all — in a revolutionary change of paradigm. However, the scale and cultural significance of The Memes as an art collection/movement has so far remained largely untapped. Beyond our core web3 communities, few ever get see, interact, much less use this vast archive to... spread the memes of decentralization, foster local creative economies, educate about crypto, monetize with branding, repurpose content, teach and learn creative techniques, or even just to enjoy amazing, groundbreaking art. There is no other CC0 contemporary art project of this scale and importance and the world needs to use it. It's time then we give 6529 its first permanent IRL home so it can be truly appreciated. Enter Formosa, a prime public gallery space built during Brazil's golden modernist years in the first half of the 20th century to host art events that aimed to deconstruct and repurpose the imported, colonialist artistic trends coming from Europe and devise an original brazilian art movement. From fusion restaurants to art schools to performative theater installations, Formosa Gallery thrived through successive occupations until finally enduring decades of abandon and misuse around the turn of the century. Recently, it was set to be restored and given purpose beyond its former glory, and we were there to propose the best possible turnaround for the space... Over years of negotiation with private and governmental parties, we managed to approve with public authorities a double use for the space: a private high-fidelity vinyl listening bar and restaurant — which is already operating — and a 100% public domain digital art gallery. Featuring up to 25 state-of-the-art digital screens ranging from 85 to 50 inches, Formosa 6529 will be the best and largest dedicated permanent exhibition of any web3 project. With rotating exhibitions of The Memes, NextGen and all future 6529 projects, Brain will have direct input on exhibitions via decentralized voting on curatorial proposals made by the community. To give us institutional freedom and censorship resistance, we decided to fully decentralize the funding for Formosa Gallery's installation and operation. Let's find out together what happens when we unleash CC0 art to the public! Daytime, Formosa 6529 will be fully open for free visitation. Occupying a busy public passageway under the historic Tea Bridge linking the Municipal Theatre to the City Hall, intentional visitors and hundreds of passerbys alike will be impacted by the exhibits. We will host many activities to showcase the power of The Memes and CC0 art: royalty-free merch sales by local craftspeople, artist rememe competitions, school guided tours, meme fashion shows, art and tech workshops, and many other activations the network can help us come up with. And every night, the Hi-Fi audience of 300-400 affluent Paulistas and tourists occupy Formosa Gallery sipping drinks and (now) discussing the latest Memes exhibit while waiting for their place in the listening bar. The Fundraiser for Formosa 6529 is open now and runs until November 15th. At a glance : The initial funding will require a minimum of 24 Ξ, which will cover: - All necessary infrastructure and interior adaptations - Equipment purchase and installation - Overhead costs for the grand opening event and for the entire 1st year of operation, opening day and night (mostly human resources – guides, security, tech, comms – and taxes) Funding will happen in 2 stages, the first of which is now open: 30 Meme Card Artists have generously committed to create and donate a new piece for this fundraiser; their names will be announced over the course of these 2 weeks. The unrevealed 1-of-1s are available here: Contributions are fully refundable if the fundraiser does not reach minimum threshold. If we succeed, the works will be revealed live in a randomized draw during the Grand Opening in January. The second stage will consist of a Meme Card, to allow for wider network participation, and only happens after the first stage is successful. Please visit for more information on funding rewards and goals, the FAQ, or reach out here or dm us at 6529 with any questions! This project is only possible due to the power of web3 and the network of believers in a decentralized future powered by NFTs. We can't wait to bring Formosa to life, and to have you here IRL with us for the exhibitions and to have a great time.

CasaNUA.6529

50,925 görüntüleme • 8 ay önce

There are very few things that have higher nostalgic value than the memory of The Print Shop (Broderbund, 1984). If you had a dot-matrix printer in the 80s, chances are you used this incredible publishing program. It allowed users to easily create signs, greeting cards, banners, posters, and letterheads using its built-in clip art, fonts, and templates. And if you were the curious type, I’m sure you printed an entire page in black just to see what would happen. In case you never did, let me tell you: it was both a nerve-wracking sound and a totally drenched, soggy piece of paper in the end. (Totally worth it!) Originally launched for the Apple II and later ported to the Commodore 64, IBM PC, and other platforms, it worked with any common dot-matrix printer. Its simple interface meant even 9-year-old me could figure it out. I made covers for virtually anything, from my father's toolbox to my mother's kitchen drawers. It sold over a million copies, and became one of the most popular titles of the era.
2:01

There are very few things that have higher nostalgic value than the memory of The Print Shop (Broderbund, 1984). If you had a dot-matrix printer in the 80s, chances are you used this incredible publishing program. It allowed users to easily create signs, greeting cards, banners, posters, and letterheads using its built-in clip art, fonts, and templates. And if you were the curious type, I’m sure you printed an entire page in black just to see what would happen. In case you never did, let me tell you: it was both a nerve-wracking sound and a totally drenched, soggy piece of paper in the end. (Totally worth it!) Originally launched for the Apple II and later ported to the Commodore 64, IBM PC, and other platforms, it worked with any common dot-matrix printer. Its simple interface meant even 9-year-old me could figure it out. I made covers for virtually anything, from my father's toolbox to my mother's kitchen drawers. It sold over a million copies, and became one of the most popular titles of the era.

exQUIZitely 🕹️

33,488 görüntüleme • 3 ay önce

Beyoncé and racism is always such an interesting topic. It depends on the side you’re viewing it from. It’s complicated. She drops a Black empowerment song: Black community: “We’re tired of this Black empowerment music, Mufasa jams, drag queen music.” A non-Black person dances, covers, or appreciates the music: Black community: “This isn’t for them. Why are there white people at Club Renaissance? Why are they at Club Cowboy Carter? Do they even understand the theme of the music? We can’t have anything.” A song you said you didn’t hear, an event you didn’t attend. You’re mad that non-Black people are appreciating it? So what would you rather? Beyoncé drops music reclaiming Black genres that were whitewashed: Black community: “She’s so performative. She only cares about money. She’s using the Black community to stay relevant. I’m not streaming that.” Non-Black person: “That album healed me. I learned so much history. I’m writing an essay about it.” Black community: “This isn’t for y’all. Stay out of Black people’s business.” So why are you mad they’re appreciating music you don’t even want to support? Beyoncé releases Cécred: Black community: “She’s such a capitalist. Another cash grab. It’ll pack up in three months. We need to talk about consumerism.” White person: “Cécred is the truth. It’s the best hair care line I’ve used in years. Beyoncé did her thing.” Black community: “We can’t have nothing. It’s for Black hair. Stay out of our business.” So what’s the issue? I don’t remember Beyoncé ever saying Cécred was only for Black hair. Beyoncé drops merch: Black community: “Now’s not the time. With everything going on, she’s greedy. Another waste for the planet. She and her husband only care about money.” White person: “I love the merch. I bought five.” Black person: “Buying merch you don’t even understand the theme of? Imagine a white person wearing Cowboy Carter. I’m sick.” So why are you mad they bought merch you weren’t going to buy anyway? In conclusion, y’all don’t support Beyoncé but still want to gatekeep her products from those who do. Deep down, it’s not about race or art. You just want her to flop. Her success makes you angry, so you hide behind whatever pseudo-puritanical narrative is trending that year. And that brings me back to my earlier point- how can we even discuss racism around Beyoncé when some of the people in her own community are at the forefront of the hate she gets? And to be clear, this isn’t me excusing racism from white people, and it’s not me saying every Black person does this. But some of y’all will say it is.
1:32

Beyoncé and racism is always such an interesting topic. It depends on the side you’re viewing it from. It’s complicated. She drops a Black empowerment song: Black community: “We’re tired of this Black empowerment music, Mufasa jams, drag queen music.” A non-Black person dances, covers, or appreciates the music: Black community: “This isn’t for them. Why are there white people at Club Renaissance? Why are they at Club Cowboy Carter? Do they even understand the theme of the music? We can’t have anything.” A song you said you didn’t hear, an event you didn’t attend. You’re mad that non-Black people are appreciating it? So what would you rather? Beyoncé drops music reclaiming Black genres that were whitewashed: Black community: “She’s so performative. She only cares about money. She’s using the Black community to stay relevant. I’m not streaming that.” Non-Black person: “That album healed me. I learned so much history. I’m writing an essay about it.” Black community: “This isn’t for y’all. Stay out of Black people’s business.” So why are you mad they’re appreciating music you don’t even want to support? Beyoncé releases Cécred: Black community: “She’s such a capitalist. Another cash grab. It’ll pack up in three months. We need to talk about consumerism.” White person: “Cécred is the truth. It’s the best hair care line I’ve used in years. Beyoncé did her thing.” Black community: “We can’t have nothing. It’s for Black hair. Stay out of our business.” So what’s the issue? I don’t remember Beyoncé ever saying Cécred was only for Black hair. Beyoncé drops merch: Black community: “Now’s not the time. With everything going on, she’s greedy. Another waste for the planet. She and her husband only care about money.” White person: “I love the merch. I bought five.” Black person: “Buying merch you don’t even understand the theme of? Imagine a white person wearing Cowboy Carter. I’m sick.” So why are you mad they bought merch you weren’t going to buy anyway? In conclusion, y’all don’t support Beyoncé but still want to gatekeep her products from those who do. Deep down, it’s not about race or art. You just want her to flop. Her success makes you angry, so you hide behind whatever pseudo-puritanical narrative is trending that year. And that brings me back to my earlier point- how can we even discuss racism around Beyoncé when some of the people in her own community are at the forefront of the hate she gets? And to be clear, this isn’t me excusing racism from white people, and it’s not me saying every Black person does this. But some of y’all will say it is.

IChooseViolence

195,802 görüntüleme • 8 ay önce

The DA's Dangerous Political Conditioning Strategy is in play | A Caution to Our Black Leaders and the Black Population in South Africa as Coalition Discussions are in full swing to form our new government The Black population must recognize this strategy for what it is—a dangerous political conditioning aimed at destroying the unity of Ubuntu among the Black majority. Be cautious of narratives that seek to undermine our collective power and unity. The ANC, MK, and EFF collectively have 10.4 million votes, 65%, representing the black majority population in the 2024 election giving them a combined 256 of the 400 seats in the National Assembly. If every vote counts, how can the 10.4 million votes of Black voters who chose Black-led parties to govern South Africa, be overlooked in the selection of our government and president? Why is the DA, with only 3.5 million votes, 21.8% largely from the white minority, given so much power by business and media to dictate the terms, conditions, and structure of our government? When did the 10.4 million Black voters, who chose the ANC, MK, and EFF, grant permission to outsource their votes to the DA or amongst political parties they did not vote for, allowing them to dictate how our government is formed and who should be our next President? The DA's dangerous political conditioning strategy to keep the ANC, MK and EFF out of "power" is currently in play for coalitions. Social conditioning is the process by which people in a society are trained to think, believe, feel, want, and react in a way approved by influential groups within that society. The "Doomsday Coalition" is one of the DA’s political strategies for this election, aimed at convincing the Black population that only the DA, a white-led minority political party, is capable of governing South Africa. Their primary goal has been to entice the Black majority to vote for the DA or one of its MPC partners, such as ActionSA and the IFP, along with allies like BOSA and Rise Mzansi. Failing that, if the ANC, MK, and EFF do achieve a majority in the elections to create a new government at the exclusion of the DA, the DA's "Doomsday Coalition" campaign was crafted to condition black voters for the DA to take control of the coalition discussions and dictate the terms for the formation of our new government. This is done through persistent political framing, suggesting that any Black-led dominant political party that threatens DA leadership is led by thieves who have destroyed South Africa. The more powerful a black leader is the greater the threat to the white-led DA and the more intense the political strategy to portray him as corrupt and dangerous to South Africa. This "Doomsday Coalition" strategy was strategically crafted and deployed through media, social media releases and mentioned in public speeches, creating a social phenomenon that implies only a white-led party can prevent the so-called "doomsday coalition" of the ANC, MK, and the violent EFF which aims to position the DA as the sole capable guardian of South Africa's future and destroy the credibility of the ANC, MK and EFF to make it impossible for these three parties to form one government. An example of how the DA used Political Framing is evident in Helen Zille's Statement Listen carefully to the political framing used by Helen Zille during her appearance on Newsroom Afrika on 30 May 2024 before the votes were counted, she said: 1. "The DA's job is to keep out the doomsday coalition of the ANC, MK, and EFF. 2. The DA will put South Africa's interest first 3. and it is in South Africa's interest that the DA grows and thrives to eventually become the biggest party in South Africa 4. because that is the only way to defend the constitution, defend the rule of law, and grow the economy. 5. So it is in South Africa's interest for the DA to flourish and prevent South Africa from falling into the hands of the people who are going to destroy it." Let's unpack the Key Elements of the DA's Political Framing: 1. Defining the Opposition: "The DA's job is to keep out the doomsday coalition of the ANC, MK, and EFF." Zille frames the ANC, MK, and EFF as a "doomsday coalition," implying that their governance would lead to catastrophic outcomes for South Africa. This negative framing between the DA and these Black-led parties,portrays the latter as a threat to the nation's well-being. 2. Positioning the DA as the Savior: "The DA will put South Africa's interest first." By claiming that the DA prioritizes South Africa's interests, Zille positions her party as the selfless protector of the nation. This positive framing seeks to build trust and credibility among voters, particularly within the Black population, to whom the DA's appeal has traditionally been limited. 3. Future Vision and Urgency: "It is in South Africa's interest that the DA grows and thrives to eventually become the biggest party in South Africa." This statement emphasizes the need for the DA's expansion and success as crucial for the country's future. It suggests that only a strong DA can ensure the protection of national interests. 4. Guardianship of Key Values: "Because that is the only way to defend the constitution, defend the rule of law, and grow the economy." Zille invokes core democratic values and economic growth, implying that these can only be safeguarded under DA leadership. This framing appeals to voters' concerns about stability, justice, and prosperity, painting the DA as the guardian of these essential elements. 5. Fear Appeal: "Prevent South Africa from falling into the hands of the people who are going to destroy it." The use of fear is evident in this statement. By suggesting that the ANC, MK, and EFF would "destroy" South Africa, Zille aims to instill a sense of urgency and danger, motivating and preparing the public to support the DA as a defensive measure against perceived threats. What is the the Impact of the Political Framing used by the DA: 6. Psychological Influence: This framing leverages psychological tactics such as fear, hope, and the appeal to higher values to sway voter opinion. By repeatedly associating the DA with positive outcomes and the ANC, MK and EFF with dire negative consequences, the DA hopes to condition voters to perceive them as the only viable option. 7. Social Conditioning: Zille's framing attempts to reshape societal perceptions and beliefs. It aims to create a social consensus that only the DA can save South Africa, thereby undermining the unity and influence of Black-led parties. 8. Reinforcement of Narrative: The framing reinforces the narrative that Black-led parties are incapable of effective governance and are a danger to the nation. This aims to weaken the unity of the Black majority and their confidence in their chosen leaders, aligning with the DA's broader strategy to disrupt the unity of Ubuntu among the Black population. In conclusion, Helen Zille's statement is a clear example of the DA's political framing strategy, designed to manipulate public perception and consolidate power by leveraging fear, positioning the DA as the protector of national interests, and discrediting Black-led opposition parties. This framing serves the broader objective of weakening the unity and influence of the Black majority in South Africa's political landscape. Warning: The Black population must recognize this strategy for what it is—a dangerous political conditioning aimed at destroying the unity of Ubuntu among the Black majority. Be cautious of narratives that seek to undermine our collective power and unity.
1:01

The DA's Dangerous Political Conditioning Strategy is in play | A Caution to Our Black Leaders and the Black Population in South Africa as Coalition Discussions are in full swing to form our new government The Black population must recognize this strategy for what it is—a dangerous political conditioning aimed at destroying the unity of Ubuntu among the Black majority. Be cautious of narratives that seek to undermine our collective power and unity. The ANC, MK, and EFF collectively have 10.4 million votes, 65%, representing the black majority population in the 2024 election giving them a combined 256 of the 400 seats in the National Assembly. If every vote counts, how can the 10.4 million votes of Black voters who chose Black-led parties to govern South Africa, be overlooked in the selection of our government and president? Why is the DA, with only 3.5 million votes, 21.8% largely from the white minority, given so much power by business and media to dictate the terms, conditions, and structure of our government? When did the 10.4 million Black voters, who chose the ANC, MK, and EFF, grant permission to outsource their votes to the DA or amongst political parties they did not vote for, allowing them to dictate how our government is formed and who should be our next President? The DA's dangerous political conditioning strategy to keep the ANC, MK and EFF out of "power" is currently in play for coalitions. Social conditioning is the process by which people in a society are trained to think, believe, feel, want, and react in a way approved by influential groups within that society. The "Doomsday Coalition" is one of the DA’s political strategies for this election, aimed at convincing the Black population that only the DA, a white-led minority political party, is capable of governing South Africa. Their primary goal has been to entice the Black majority to vote for the DA or one of its MPC partners, such as ActionSA and the IFP, along with allies like BOSA and Rise Mzansi. Failing that, if the ANC, MK, and EFF do achieve a majority in the elections to create a new government at the exclusion of the DA, the DA's "Doomsday Coalition" campaign was crafted to condition black voters for the DA to take control of the coalition discussions and dictate the terms for the formation of our new government. This is done through persistent political framing, suggesting that any Black-led dominant political party that threatens DA leadership is led by thieves who have destroyed South Africa. The more powerful a black leader is the greater the threat to the white-led DA and the more intense the political strategy to portray him as corrupt and dangerous to South Africa. This "Doomsday Coalition" strategy was strategically crafted and deployed through media, social media releases and mentioned in public speeches, creating a social phenomenon that implies only a white-led party can prevent the so-called "doomsday coalition" of the ANC, MK, and the violent EFF which aims to position the DA as the sole capable guardian of South Africa's future and destroy the credibility of the ANC, MK and EFF to make it impossible for these three parties to form one government. An example of how the DA used Political Framing is evident in Helen Zille's Statement Listen carefully to the political framing used by Helen Zille during her appearance on Newsroom Afrika on 30 May 2024 before the votes were counted, she said: 1. "The DA's job is to keep out the doomsday coalition of the ANC, MK, and EFF. 2. The DA will put South Africa's interest first 3. and it is in South Africa's interest that the DA grows and thrives to eventually become the biggest party in South Africa 4. because that is the only way to defend the constitution, defend the rule of law, and grow the economy. 5. So it is in South Africa's interest for the DA to flourish and prevent South Africa from falling into the hands of the people who are going to destroy it." Let's unpack the Key Elements of the DA's Political Framing: 1. Defining the Opposition: "The DA's job is to keep out the doomsday coalition of the ANC, MK, and EFF." Zille frames the ANC, MK, and EFF as a "doomsday coalition," implying that their governance would lead to catastrophic outcomes for South Africa. This negative framing between the DA and these Black-led parties,portrays the latter as a threat to the nation's well-being. 2. Positioning the DA as the Savior: "The DA will put South Africa's interest first." By claiming that the DA prioritizes South Africa's interests, Zille positions her party as the selfless protector of the nation. This positive framing seeks to build trust and credibility among voters, particularly within the Black population, to whom the DA's appeal has traditionally been limited. 3. Future Vision and Urgency: "It is in South Africa's interest that the DA grows and thrives to eventually become the biggest party in South Africa." This statement emphasizes the need for the DA's expansion and success as crucial for the country's future. It suggests that only a strong DA can ensure the protection of national interests. 4. Guardianship of Key Values: "Because that is the only way to defend the constitution, defend the rule of law, and grow the economy." Zille invokes core democratic values and economic growth, implying that these can only be safeguarded under DA leadership. This framing appeals to voters' concerns about stability, justice, and prosperity, painting the DA as the guardian of these essential elements. 5. Fear Appeal: "Prevent South Africa from falling into the hands of the people who are going to destroy it." The use of fear is evident in this statement. By suggesting that the ANC, MK, and EFF would "destroy" South Africa, Zille aims to instill a sense of urgency and danger, motivating and preparing the public to support the DA as a defensive measure against perceived threats. What is the the Impact of the Political Framing used by the DA: 6. Psychological Influence: This framing leverages psychological tactics such as fear, hope, and the appeal to higher values to sway voter opinion. By repeatedly associating the DA with positive outcomes and the ANC, MK and EFF with dire negative consequences, the DA hopes to condition voters to perceive them as the only viable option. 7. Social Conditioning: Zille's framing attempts to reshape societal perceptions and beliefs. It aims to create a social consensus that only the DA can save South Africa, thereby undermining the unity and influence of Black-led parties. 8. Reinforcement of Narrative: The framing reinforces the narrative that Black-led parties are incapable of effective governance and are a danger to the nation. This aims to weaken the unity of the Black majority and their confidence in their chosen leaders, aligning with the DA's broader strategy to disrupt the unity of Ubuntu among the Black population. In conclusion, Helen Zille's statement is a clear example of the DA's political framing strategy, designed to manipulate public perception and consolidate power by leveraging fear, positioning the DA as the protector of national interests, and discrediting Black-led opposition parties. This framing serves the broader objective of weakening the unity and influence of the Black majority in South Africa's political landscape. Warning: The Black population must recognize this strategy for what it is—a dangerous political conditioning aimed at destroying the unity of Ubuntu among the Black majority. Be cautious of narratives that seek to undermine our collective power and unity.

Vimlesh Rajbansi

246,029 görüntüleme • 2 yıl önce