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LOEWE FOUNDATION Craft Prize 2026. Craft is embraced as a creative process where intention, intuition and synchronicity come together, in practices including glass and clay firing, wood carving, sculpting, mould casting and welding. Through a series of studio visits, discover the work of LOEWE FOUNDATION Craft Prize finalists Kirstie... show more

LOEWE

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LOEWE FOUNDATION Craft Prize 2026. The prize celebrates creations that push the technical boundaries of craft while conveying an artistic vision, materialising ideas that range from a skyline’s snapshot to the rhythms of nature, the vitality of a living heart, the mysteries of the universe, interfamilial connections and the persistence of making. Through a series of studio visits, discover the work of LOEWE FOUNDATION Craft Prize finalists Morten Løbner Espersen, Jieun Park, Nan Wei, Gjertrud Hals, Baba Tree Master Weavers × Álvaro Catalán de Ocón and Jongjin Park. Find out more: #LOEWE

LOEWE FOUNDATION Craft Prize 2026. The prize celebrates creations that push the technical boundaries of craft while conveying an artistic vision, materialising ideas that range from a skyline’s snapshot to the rhythms of nature, the vitality of a living heart, the mysteries of the universe, interfamilial connections and the persistence of making. Through a series of studio visits, discover the work of LOEWE FOUNDATION Craft Prize finalists Morten Løbner Espersen, Jieun Park, Nan Wei, Gjertrud Hals, Baba Tree Master Weavers × Álvaro Catalán de Ocón and Jongjin Park. Find out more: #LOEWE

LOEWE

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The LOEWE FOUNDATION Craft Prize 2026. A celebration of modern craft in all of its forms. Our 30 finalists represent 19 countries and regions from all over the world and span a range of media including ceramics, woodwork, textiles, furniture, bookbinding, glass, metal, jewellery and lacquer. The National Gallery Singapore will host the Craft Prize exhibition from 13 May until 14 June 2026. Find out more: #LOEWE

The LOEWE FOUNDATION Craft Prize 2026. A celebration of modern craft in all of its forms. Our 30 finalists represent 19 countries and regions from all over the world and span a range of media including ceramics, woodwork, textiles, furniture, bookbinding, glass, metal, jewellery and lacquer. The National Gallery Singapore will host the Craft Prize exhibition from 13 May until 14 June 2026. Find out more: #LOEWE

LOEWE

24,392 görüntüleme • 3 ay önce

We are happy to announce that Graziano Visintin was awarded a Special Mention at the LOEWE FOUNDATION Craft Prize 2026 for the piece ‘Collier’. Frida Escobedo presented the prize at a ceremony in Singapore. The two necklaces are composed of tiny cubes built from thin sheets of gold and decorated with niello; an ancient metalworking technique. The jury were impressed by Visintin’s skilled and unusual use of niello to create a contemporary piece of jewellery, and admired the painterly way in which he applied the niello to the gold, creating an effect of endless miniature paintings elegantly strung together. The works by all 30 finalists are on view at the National Gallery Singapore until 14 June 2026. Find out more: #LOEWE

We are happy to announce that Graziano Visintin was awarded a Special Mention at the LOEWE FOUNDATION Craft Prize 2026 for the piece ‘Collier’. Frida Escobedo presented the prize at a ceremony in Singapore. The two necklaces are composed of tiny cubes built from thin sheets of gold and decorated with niello; an ancient metalworking technique. The jury were impressed by Visintin’s skilled and unusual use of niello to create a contemporary piece of jewellery, and admired the painterly way in which he applied the niello to the gold, creating an effect of endless miniature paintings elegantly strung together. The works by all 30 finalists are on view at the National Gallery Singapore until 14 June 2026. Find out more: #LOEWE

LOEWE

11,482 görüntüleme • 3 ay önce

LOEWE Crafted World Tokyo. A brand exhibition celebrating our rich history, Spanish heritage, and the joy of making things by hand. Featuring iconic designs and a series of interactive rooms exploring our recent collaborations—including those of Kyoto-based ceramicists Suna Fujita, and Studio Ghibli with a massive leather recreation of Howl’s Moving Castle. The exhibition celebrates craft and artistic techniques passed down through the ages which have long been supported by the LOEWE FOUNDATION, the annual Craft Prize, and our many collaborations with artisans around the world. On view at 6-35-6 Jingumae, Shibuya, from 29 March to 11 May 2025. Reserve your tickets: #LOEWE

LOEWE

29,432 görüntüleme • 1 yıl önce

In 2026, LOEWE turns 180. Founded in 1846 in Madrid as a small leather workshop, LOEWE is the second-oldest luxury fashion house in the world. As we celebrate our 180th anniversary, we honour almost two centuries of craft as an art, imagination as a tool, and a distinct playful spirit. A film narrated by Antonio Banderas. Discover more: #LOEWE

In 2026, LOEWE turns 180. Founded in 1846 in Madrid as a small leather workshop, LOEWE is the second-oldest luxury fashion house in the world. As we celebrate our 180th anniversary, we honour almost two centuries of craft as an art, imagination as a tool, and a distinct playful spirit. A film narrated by Antonio Banderas. Discover more: #LOEWE

LOEWE

16,995 görüntüleme • 2 ay önce

The journey begins when sound transcends function. Introducing the new Loewe leo headphones – the fusion of premium sound, advanced noise cancellation, and intelligent AI refinement. 🎧 Featuring Kylian Mbappé. #TravelBeyondSound #LoeweTechnology #Loeweleo

The journey begins when sound transcends function. Introducing the new Loewe leo headphones – the fusion of premium sound, advanced noise cancellation, and intelligent AI refinement. 🎧 Featuring Kylian Mbappé. #TravelBeyondSound #LoeweTechnology #Loeweleo

Loewe

11,498 görüntüleme • 11 ay önce

.Museo del Prado in Madrid is home to the world’s most important collection of Spanish paintings. Tucked away in a quiet room, an exceptionally skilled team of artisans carries out the vital work of restoring some of the museum’s most masterful paintings, from Velázquez’s “Las Meninas” (1656) to Bosch’s “The Garden of Earthly Delights” (1490-1500). As a small gesture to help the team continue their work, LOEWE has designed new lab coats for the restoration department, each specially-designed with specific details that allow the work to be carried out with ease and precision. Find out more: #LOEWE

.Museo del Prado in Madrid is home to the world’s most important collection of Spanish paintings. Tucked away in a quiet room, an exceptionally skilled team of artisans carries out the vital work of restoring some of the museum’s most masterful paintings, from Velázquez’s “Las Meninas” (1656) to Bosch’s “The Garden of Earthly Delights” (1490-1500). As a small gesture to help the team continue their work, LOEWE has designed new lab coats for the restoration department, each specially-designed with specific details that allow the work to be carried out with ease and precision. Find out more: #LOEWE

LOEWE

10,890 görüntüleme • 6 ay önce

Psychic ability may be the key to communicating with UFOs. The idea is that human consciousness is itself a communication channel, and that the right mental technique can summon a craft to one’s location. UFO whistleblower Jake Barber developed is own method and it’s nearly identical to Steven Greer’s CE5 protocol which is a meditation-based invitation system for alien contact. Jake’s method is called coherent thought sequencing and it works by mentally broadcasting your location to guide a craft toward you. The foundation traces back to Lockheed Skunk Works director Ben Rich, who reportedly said exotic propulsion works the same way ESP does, with mind, body, and craft integrated as one. The same premise drives the plot of Stranger Things, psychic children tested at Department of Energy national labs. “Basically the plot of Stranger Things, psychic kids being tested at Department of Energy national labs.” “It’s a meditation-based invitation system built on a similar premise, consciousness as a communication channel.” “Remember the words of Lockheed’s Ben Rich, who said exotic propulsion systems work the same way ESP works.” “All points in time and space are connected. Mind, body, and craft integrated as one.” “Coherent thought sequencing is like sending out your address.” “Visually guiding the craft to your location through your mind’s eye.”

Psychic ability may be the key to communicating with UFOs. The idea is that human consciousness is itself a communication channel, and that the right mental technique can summon a craft to one’s location. UFO whistleblower Jake Barber developed is own method and it’s nearly identical to Steven Greer’s CE5 protocol which is a meditation-based invitation system for alien contact. Jake’s method is called coherent thought sequencing and it works by mentally broadcasting your location to guide a craft toward you. The foundation traces back to Lockheed Skunk Works director Ben Rich, who reportedly said exotic propulsion works the same way ESP does, with mind, body, and craft integrated as one. The same premise drives the plot of Stranger Things, psychic children tested at Department of Energy national labs. “Basically the plot of Stranger Things, psychic kids being tested at Department of Energy national labs.” “It’s a meditation-based invitation system built on a similar premise, consciousness as a communication channel.” “Remember the words of Lockheed’s Ben Rich, who said exotic propulsion systems work the same way ESP works.” “All points in time and space are connected. Mind, body, and craft integrated as one.” “Coherent thought sequencing is like sending out your address.” “Visually guiding the craft to your location through your mind’s eye.”

American Alchemy

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Announcing Innovative Dreams, a new production company by Luma and Wonder Project built by filmmakers for filmmakers, and our first production — Moses starring Sir Ben Kingsley, coming this Spring on Prime Video. AI is a fundamental change to the craft and business of filmmaking, and through ID, we are building a new production process for this era — one that brings Humans and AI together to enable great storytelling. We call it Hybrid Production — actors, artists, and generative AI working together in Luma. In real time. Innovative Dreams is a production services company where seasoned filmmakers from Director Jon Erwin's team and Luma's creative technologists work with great studios and filmmakers to help them realize ambitious ideas. It's a liberating force. Hybrid Production enables actors, directors, and artists to work together in real time. Creative teams collaborate with Luma Agents live and make changes to sets, props, lighting, and bring in performance capture from human actors. This is a significant improvement over the current virtual production and performance capture processes where things come together only in post. This is the leverage of AI — not just faster or cheaper, but better than what came before. We have built the first Hybrid Filmmaking studio at Manhattan Beach Studios where Moses is being shot. ID is significantly oversubscribed with demand and is actively growing the team to extend its services to more studios and filmmakers. Read more:

Announcing Innovative Dreams, a new production company by Luma and Wonder Project built by filmmakers for filmmakers, and our first production — Moses starring Sir Ben Kingsley, coming this Spring on Prime Video. AI is a fundamental change to the craft and business of filmmaking, and through ID, we are building a new production process for this era — one that brings Humans and AI together to enable great storytelling. We call it Hybrid Production — actors, artists, and generative AI working together in Luma. In real time. Innovative Dreams is a production services company where seasoned filmmakers from Director Jon Erwin's team and Luma's creative technologists work with great studios and filmmakers to help them realize ambitious ideas. It's a liberating force. Hybrid Production enables actors, directors, and artists to work together in real time. Creative teams collaborate with Luma Agents live and make changes to sets, props, lighting, and bring in performance capture from human actors. This is a significant improvement over the current virtual production and performance capture processes where things come together only in post. This is the leverage of AI — not just faster or cheaper, but better than what came before. We have built the first Hybrid Filmmaking studio at Manhattan Beach Studios where Moses is being shot. ID is significantly oversubscribed with demand and is actively growing the team to extend its services to more studios and filmmakers. Read more:

Luma

95,747 görüntüleme • 4 ay önce

Prada Made in India x Inspired by Kolhapuri Chappals - crafted by LIDCOM and LIDKAR artisans Prada limited-edition collection of sandals combines traditional techniques with Prada’s contemporary design and premium materials to create a unique dialogue between Indian heritage and modern luxury expression. The collection has been manufactured in India by skilled artisans from the Maharashtra and Karnataka regions. As a part of the project, the Group is pleased to announce the foundation of a training program fully funded by Prada, including through the proceeds of the sale of the limited-edition sandal collection, dedicated to artisans from the eight districts in India where Kolhapuri Chappals are traditionally manufactured. Developed in collaboration with LIDCOM, LIDKAR and leading design institutes - the National Institute of Fashion Technology (NIFT) and the Karnataka Institute of Leather & Fashion Technology (KILT) -, the program is designed to strengthen design and technical skills, enabling artisans to create products that meet evolving market needs, while ensuring the continued relevance of this traditional craft. This initiative reflects the Group’s long-standing commitment to reinvest in education and culture. Discover more: #Prada

Prada Made in India x Inspired by Kolhapuri Chappals - crafted by LIDCOM and LIDKAR artisans Prada limited-edition collection of sandals combines traditional techniques with Prada’s contemporary design and premium materials to create a unique dialogue between Indian heritage and modern luxury expression. The collection has been manufactured in India by skilled artisans from the Maharashtra and Karnataka regions. As a part of the project, the Group is pleased to announce the foundation of a training program fully funded by Prada, including through the proceeds of the sale of the limited-edition sandal collection, dedicated to artisans from the eight districts in India where Kolhapuri Chappals are traditionally manufactured. Developed in collaboration with LIDCOM, LIDKAR and leading design institutes - the National Institute of Fashion Technology (NIFT) and the Karnataka Institute of Leather & Fashion Technology (KILT) -, the program is designed to strengthen design and technical skills, enabling artisans to create products that meet evolving market needs, while ensuring the continued relevance of this traditional craft. This initiative reflects the Group’s long-standing commitment to reinvest in education and culture. Discover more: #Prada

PRADA

12,795 görüntüleme • 4 ay önce

BABY…. Grab the kids and run through the Jungle.. We gotta go!!! This crazy video is simple and clean and It is exactly what is going on around this planet…. EVERYWHERE!!! So… Remote Village in South America June 2026 Looking out on the spawning day as he wakes up to begin his regiment of getting ready for work…. Then he sees a craft moving in crazy motion just outside his window… He grabs the phone and this is what he captured… Jon Stewart

BABY…. Grab the kids and run through the Jungle.. We gotta go!!! This crazy video is simple and clean and It is exactly what is going on around this planet…. EVERYWHERE!!! So… Remote Village in South America June 2026 Looking out on the spawning day as he wakes up to begin his regiment of getting ready for work…. Then he sees a craft moving in crazy motion just outside his window… He grabs the phone and this is what he captured… Jon Stewart

Eddie Abbott

384,702 görüntüleme • 2 ay önce

Bob Lazar allegedly watched people fly a UFO at Area 51. “They knew how to fly it.” “The craft had a corona discharge glow on the bottom and lifted off silently up into the sky … ” And it had one shocking, anomalous effect that still perplexes him to this day: As Lazar watched, his supervisor Dennis Mariani told him to go stand directly underneath the craft. “I walked out underneath it and … I looked up, and I couldn’t see the craft.” “I thought it flew away.” “Then he said to come back, and I walked back.” “I see the edge of the craft.” “If you move, you can see it, and if you walk underneath it, you can’t.” “So you can clearly see it’s bending the light.” “You can see the sky above the craft, so you can see that it’s in its little envelope.” Lazar was also convinced that someone was actually inside the craft as it flew. “I did notice there was a … VHF radio.” “And they’re in communication.” “It made me almost positive that there was somebody in the craft.” He heard a voice coming “from the VHF radio, but presumably coming from the craft.” “They must have had some instrumentation set up in the craft, because he was monitoring something.” “I was stuck on the fact that, how is a radio wave of getting into the craft?” “This doesn’t even make any sense.” “It should be distorted by the gravity wave going around it.” “Clearly, they’ve had a lot of time with this craft already.” “It could have been decades for all I know.” “They knew how to fly it.” “These guys were somewhat proficient with it.” Jesse Michels asked Lazar if that means that we actually have “alien reproduction vehicles, or UFOs that humans can fly?” Lazar: “I do not think so, no.” Michels: “So you think we can test these things and use them in rudimentary ways, but we don’t understand how they work?” Lazar: “It’s like the analogy … you can go back to the 1800s and drop off a motorcycle with the keys in it.” “If you tinker with it long enough, someone’s gonna turn the key and it’s gonna start.” “Eventually … they’ll become proficient at driving it.” “But when it runs out of fuel, we’re done.” “And … they can’t even make that plastic fender.” “I think that’s where we are [with UFOs].” “We had some knowledge of that, but I think if we had developed that technology, we would’ve absolutely already seen it.” Jesse Michels American Alchemy

Bob Lazar allegedly watched people fly a UFO at Area 51. “They knew how to fly it.” “The craft had a corona discharge glow on the bottom and lifted off silently up into the sky … ” And it had one shocking, anomalous effect that still perplexes him to this day: As Lazar watched, his supervisor Dennis Mariani told him to go stand directly underneath the craft. “I walked out underneath it and … I looked up, and I couldn’t see the craft.” “I thought it flew away.” “Then he said to come back, and I walked back.” “I see the edge of the craft.” “If you move, you can see it, and if you walk underneath it, you can’t.” “So you can clearly see it’s bending the light.” “You can see the sky above the craft, so you can see that it’s in its little envelope.” Lazar was also convinced that someone was actually inside the craft as it flew. “I did notice there was a … VHF radio.” “And they’re in communication.” “It made me almost positive that there was somebody in the craft.” He heard a voice coming “from the VHF radio, but presumably coming from the craft.” “They must have had some instrumentation set up in the craft, because he was monitoring something.” “I was stuck on the fact that, how is a radio wave of getting into the craft?” “This doesn’t even make any sense.” “It should be distorted by the gravity wave going around it.” “Clearly, they’ve had a lot of time with this craft already.” “It could have been decades for all I know.” “They knew how to fly it.” “These guys were somewhat proficient with it.” Jesse Michels asked Lazar if that means that we actually have “alien reproduction vehicles, or UFOs that humans can fly?” Lazar: “I do not think so, no.” Michels: “So you think we can test these things and use them in rudimentary ways, but we don’t understand how they work?” Lazar: “It’s like the analogy … you can go back to the 1800s and drop off a motorcycle with the keys in it.” “If you tinker with it long enough, someone’s gonna turn the key and it’s gonna start.” “Eventually … they’ll become proficient at driving it.” “But when it runs out of fuel, we’re done.” “And … they can’t even make that plastic fender.” “I think that’s where we are [with UFOs].” “We had some knowledge of that, but I think if we had developed that technology, we would’ve absolutely already seen it.” Jesse Michels American Alchemy

Holden Culotta

174,546 görüntüleme • 4 ay önce

We’ve raised $400M at a $9B valuation. Investors include Georgian, G Squared, Prysm, 1789, YC, Coatue, a16z, Craft, and QIA, with strategic investments from Accenture, Databricks, Okta, and Tether. We’re also lucky to have incredible individuals backing us, including Shaq and Jared Leto. This funding will help us scale our ambition and expand beyond coding into AI systems that center human creativity. Replit is now used at 85% of the Fortune 500. We have an opportunity to help shape the future of work. One where AI abstracts away the boring parts and humans shine as creative directors. We’re also investing more globally, particularly in Europe, Asia, and the Middle East. Innovation can come from anywhere in the world, and we want to help unlock it.

We’ve raised $400M at a $9B valuation. Investors include Georgian, G Squared, Prysm, 1789, YC, Coatue, a16z, Craft, and QIA, with strategic investments from Accenture, Databricks, Okta, and Tether. We’re also lucky to have incredible individuals backing us, including Shaq and Jared Leto. This funding will help us scale our ambition and expand beyond coding into AI systems that center human creativity. Replit is now used at 85% of the Fortune 500. We have an opportunity to help shape the future of work. One where AI abstracts away the boring parts and humans shine as creative directors. We’re also investing more globally, particularly in Europe, Asia, and the Middle East. Innovation can come from anywhere in the world, and we want to help unlock it.

Amjad Masad

2,498,860 görüntüleme • 5 ay önce

Ep. 35: Brie Wolfson - Loving Attention & Ease in Craft Brie Wolfson is something of a marketing and culture wizard, and has helped some of the most incredible companies and leaders in Silicon Valley by amplifying what is true and unique about them. That includes Cursor and Michael Truell, Join Colossus and Patrick OShaughnessy, Stripe, Stripepress and Patrick Collison, Figma and Dylan Field, and others behind the scenes. But what stands out most in Brie is her infectious joy, dedication to craft, and lifelong dance between a desire to be great and an ability to listen to and trust herself to go in unlikely directions--as she so poignantly explored in her recent essay/profile on Kevin Kelly, 'Flounder Mode.' I hope this conversation inspires you find ways to amplify those you believe in with loving attention, settle into ease and quality in whatever you make, and pursue a life of joyful usefulness. Available below and on all platforms. Timestamps: 0:00 - Opening 3:54 - Notion 5:04 - Intro: Craft, Finger Feel, and Staying Closer to the Ground Level 13:27 - Process vs. Output, Quality vs. Speed, and Great Editing 21:44 - Craft, Substance, and Truth in Marketing 25:56 - Individuals as the Building Block of a Company and Empowered ICs 32:02 - Creative Collaboration and In-Person and Remote 36:46 - Company Building: What is Changing and What Will Stay the Same 44:25 - The Soft Stuff: Great Company Values and Great Culture 52:17 - Thinking vs. Doing Cultures, 996 and Difficulty Sitting Still 1:00:37 - Morale, Fun, Amplifying Leaders, and Loving Attention 1:11:58 - Career Path Advice for Young People 1:19:56 - Kevin Kelly, Chasing Greatness, Illegibility, and Ease in One's Craft 1:27:29 - Special Talent and Contagious Ambition 1:32:22 - Brie’s Spike: Charisma, Hard and Soft, Making Things Fun, and Belief 1:43:23 - Taste, Appreciation, Generosity, Skill and Soul 1:57:26 - Great Editors, Saying No and Getting to Yes, and Being Receptive to Editing 2:05:25 - Great Writing: What do You Have the Right to Do that Others Don't? 2:13:55 - Grab Bag: Optimism and Pessimism, High and Low, and Closing Maxims 2:30:07 - Thanks to Notion

Dialectic with Jackson Dahl

76,946 görüntüleme • 7 ay önce

🚨There are no links in this post. Please be weary of impersonators. The project will not go live until next week and anything stating otherwise is a scam. 🚨 TLDR: On August 24th I’m releasing an inclusive edition generative project called Heart + Craft, in collaboration with Jordan Lyall, on Prohibition.art, priced at 0.01 ETH. Heart+Craft represents a lot to me. It represents an artistic style and medium that I have expressed since 2014. It represents my present curiosity towards demonstrating value for NFTs beyond scarcity, FOMO, and promise of future value utility. And it represents my vision of a digital optional / physical optional future that I believe can be appealing to a broader consumer audience. Heart + Craft illustrates the potential of art and creativity driven generative goods. On the surface, Heart + Craft is a colorful generative artwork that illustrates my eternal love of gradients, contained in the shape of a heart. There are seemingly unlimited possible combinations of colors and blocks that make up each (Zelda inspired) heart container. But beyond the digital object there is potentially also a physical object, and whether you value the digital or the physical more is entirely up to you. Similar to the concept behind the Friendship Bracelets project, created alongside Alexis André, each Heart + Craft iteration contains detailed instructions for producing a physical analogue. And similar to the bracelets, the value of the digital is not diminished if it is ever separated from its physical counterpart. With this project I’m particularly excited about a lot of things including: The intent that rarity is mostly a function of the complexity of assembling the physical sculpture. The idea that this project could inspire people to take a break from our increasingly digital world, diverting attention to making something tangible that lives in their physical space. The opportunity to spread love and good vibes with a relaxing experience, like building a puzzle, that can lead to personal satisfaction while contributing to a more positive and colorful world. The ability to explore new distribution mechanisms for our digital objects via inclusive editions such as developing kits that come with cubes, paint, glue, and the digital ownership certificate all in a beautiful box. Creating goods where digital objects can inspire a love for craft, and a craft that can catalyze curiosity and foster education for digital objects. Offering a low cost and disarming entry point for new consumers into our space through a project that can be enjoyed as a family, or be gifted to tech/art curious friends, clients, and coworkers. Having another opportunity to perpetuate the beautiful spirit of charitable giving culture that occupies our space by donating a portion of the proceeds in support of the arts. Huge shoutout to Jordan and the VenturePunk ▽✱ team for working with me in bringing this idea to life, the Art Blocks team and Art Blocks Engine for building and supporting the technology empowering a #1of1ofx future, all of the collectors who have instilled the confidence in me to put something like this into the world, and the artists that have played such a huge role in elevating the generative medium. And to my wife, who not only inspires me to put myself out there, but supported this insane journey along with friends and family. I’ve been wanting to do something like this for a long time . Hope you like it and make time to touch some paint here soon. ❤️❤️❤️❤️❤️

🚨There are no links in this post. Please be weary of impersonators. The project will not go live until next week and anything stating otherwise is a scam. 🚨 TLDR: On August 24th I’m releasing an inclusive edition generative project called Heart + Craft, in collaboration with Jordan Lyall, on Prohibition.art, priced at 0.01 ETH. Heart+Craft represents a lot to me. It represents an artistic style and medium that I have expressed since 2014. It represents my present curiosity towards demonstrating value for NFTs beyond scarcity, FOMO, and promise of future value utility. And it represents my vision of a digital optional / physical optional future that I believe can be appealing to a broader consumer audience. Heart + Craft illustrates the potential of art and creativity driven generative goods. On the surface, Heart + Craft is a colorful generative artwork that illustrates my eternal love of gradients, contained in the shape of a heart. There are seemingly unlimited possible combinations of colors and blocks that make up each (Zelda inspired) heart container. But beyond the digital object there is potentially also a physical object, and whether you value the digital or the physical more is entirely up to you. Similar to the concept behind the Friendship Bracelets project, created alongside Alexis André, each Heart + Craft iteration contains detailed instructions for producing a physical analogue. And similar to the bracelets, the value of the digital is not diminished if it is ever separated from its physical counterpart. With this project I’m particularly excited about a lot of things including: The intent that rarity is mostly a function of the complexity of assembling the physical sculpture. The idea that this project could inspire people to take a break from our increasingly digital world, diverting attention to making something tangible that lives in their physical space. The opportunity to spread love and good vibes with a relaxing experience, like building a puzzle, that can lead to personal satisfaction while contributing to a more positive and colorful world. The ability to explore new distribution mechanisms for our digital objects via inclusive editions such as developing kits that come with cubes, paint, glue, and the digital ownership certificate all in a beautiful box. Creating goods where digital objects can inspire a love for craft, and a craft that can catalyze curiosity and foster education for digital objects. Offering a low cost and disarming entry point for new consumers into our space through a project that can be enjoyed as a family, or be gifted to tech/art curious friends, clients, and coworkers. Having another opportunity to perpetuate the beautiful spirit of charitable giving culture that occupies our space by donating a portion of the proceeds in support of the arts. Huge shoutout to Jordan and the VenturePunk ▽✱ team for working with me in bringing this idea to life, the Art Blocks team and Art Blocks Engine for building and supporting the technology empowering a #1of1ofx future, all of the collectors who have instilled the confidence in me to put something like this into the world, and the artists that have played such a huge role in elevating the generative medium. And to my wife, who not only inspires me to put myself out there, but supported this insane journey along with friends and family. I’ve been wanting to do something like this for a long time . Hope you like it and make time to touch some paint here soon. ❤️❤️❤️❤️❤️

Erick / Snowfro / 🦩 / LAO / #️⃣ / 🔴

261,765 görüntüleme • 3 yıl önce

Johann Pachelbel's Canon in D – When All Movements Belong to the Same Order In the treasure trove of Baroque music, Johann Pachelbel's Canon in D stands out not for its striking or dramatic melody, but for how the entire work is constructed from a fixed foundation, where all changes occur in an organized and meaningful way. On the surface, the music seems to be merely a gentle repetition. But upon closer examination, the listener will recognize a core aesthetic principle: all movements always belong to the same order. This is the unifying core of the entire work. The Foundation: The Repeating Bass Sequence – the Anchor of Order The entire Canon in D is built upon a simple yet solid sequence of eight bass notes: D – A – B – F – G – D – G – A This sequence repeats continuously throughout the work, forming an unchanging foundation. It's not just the bass line, but also a temporal anchor – a fixed axis around which all other voices revolve. Thanks to this, no matter how much the music develops, the listener always feels a sense of stability and security. This isn't mechanical repetition. It's Pachelbel's way of creating a musical space where time doesn't flow aimlessly, but always has a foundation. Structure: Canon – Freedom within Order Against that fixed bass foundation, the three violin voices participate in turn according to the canon technique: the same melodic material is presented at different times, layering and mimicking each other. The result is continuous development: from its initial simplicity, the music gradually becomes denser, richer, and more magnificent with each loop. The violin voices may soar, intertwine intricately, but they never stray from the overall framework. Every movement, however free, converges and blends with the bass line. That is the beauty of the central principle: freedom is not abandonment, but meaningful movement within a larger order. Listening Experience: Structured Flow in Time For the listener, Canon in D does not feel like disjointed pieces, but a continuous and directed flow. The repetition of the bass creates familiarity and stability; the layering of the canon creates development and excitement. These two elements combine to transform musical time from a meaningless passage into a unified process in which every moment is interconnected. The Voices of Music video further highlights this: the Baroque theorbo and cello make the bass foundation clear and deep, allowing the listener to directly perceive the solid "axis of order" from the very first notes. The Central Principle and Aesthetic Value The entire work converges on a single core: every movement always belongs to the same order. * The ground bass creates a stable foundation. * The canon allows the musical parts to develop from that foundation. * Repetition and variation enrich the music without losing its unity. These three elements do not exist separately, but together reflect a common principle: all sustainable development requires a sufficiently solid foundation to support what is built upon it. In Canon in D, the ground bass sequence is that foundation. Thanks to the ever-present foundation, the violin parts can freely move, layer, and vary in richness without falling into chaos. The development of music is not a process of separation from the foundation, but a continuous expansion from that foundation itself. This is also a rule that appears in many systems in nature and life. A house can only grow tall when it has a solid foundation. A tree can only support its trunk, branches, and foliage when it has a strong root system. Learning can only progress when built upon a solid foundation of knowledge. Similarly, in human development, a well-cultivated cognitive and spiritual foundation often facilitates the stable development of speech, behavior, and habits, gradually forming a strong personality. Although each field has a different foundation, they all reflect a common principle: development is always supported by a stable base. Because it reflects this universal principle, Canon in D gives the listener a feeling of stability, reassurance, and harmony. When every change has a point of support and every movement maintains a connection to the common foundation, the listener not only appreciates the beauty of musical technique but also intuitively senses a familiar principle of the world: sustainable development first requires a sufficiently solid foundation. That is why the music continues to resonate with listeners after more than three centuries, because through the language of music, it recreates a fundamental principle that humans encounter in nature, in learning, in their own growth, and in many aspects of life.

Johann Pachelbel's Canon in D – When All Movements Belong to the Same Order In the treasure trove of Baroque music, Johann Pachelbel's Canon in D stands out not for its striking or dramatic melody, but for how the entire work is constructed from a fixed foundation, where all changes occur in an organized and meaningful way. On the surface, the music seems to be merely a gentle repetition. But upon closer examination, the listener will recognize a core aesthetic principle: all movements always belong to the same order. This is the unifying core of the entire work. The Foundation: The Repeating Bass Sequence – the Anchor of Order The entire Canon in D is built upon a simple yet solid sequence of eight bass notes: D – A – B – F – G – D – G – A This sequence repeats continuously throughout the work, forming an unchanging foundation. It's not just the bass line, but also a temporal anchor – a fixed axis around which all other voices revolve. Thanks to this, no matter how much the music develops, the listener always feels a sense of stability and security. This isn't mechanical repetition. It's Pachelbel's way of creating a musical space where time doesn't flow aimlessly, but always has a foundation. Structure: Canon – Freedom within Order Against that fixed bass foundation, the three violin voices participate in turn according to the canon technique: the same melodic material is presented at different times, layering and mimicking each other. The result is continuous development: from its initial simplicity, the music gradually becomes denser, richer, and more magnificent with each loop. The violin voices may soar, intertwine intricately, but they never stray from the overall framework. Every movement, however free, converges and blends with the bass line. That is the beauty of the central principle: freedom is not abandonment, but meaningful movement within a larger order. Listening Experience: Structured Flow in Time For the listener, Canon in D does not feel like disjointed pieces, but a continuous and directed flow. The repetition of the bass creates familiarity and stability; the layering of the canon creates development and excitement. These two elements combine to transform musical time from a meaningless passage into a unified process in which every moment is interconnected. The Voices of Music video further highlights this: the Baroque theorbo and cello make the bass foundation clear and deep, allowing the listener to directly perceive the solid "axis of order" from the very first notes. The Central Principle and Aesthetic Value The entire work converges on a single core: every movement always belongs to the same order. * The ground bass creates a stable foundation. * The canon allows the musical parts to develop from that foundation. * Repetition and variation enrich the music without losing its unity. These three elements do not exist separately, but together reflect a common principle: all sustainable development requires a sufficiently solid foundation to support what is built upon it. In Canon in D, the ground bass sequence is that foundation. Thanks to the ever-present foundation, the violin parts can freely move, layer, and vary in richness without falling into chaos. The development of music is not a process of separation from the foundation, but a continuous expansion from that foundation itself. This is also a rule that appears in many systems in nature and life. A house can only grow tall when it has a solid foundation. A tree can only support its trunk, branches, and foliage when it has a strong root system. Learning can only progress when built upon a solid foundation of knowledge. Similarly, in human development, a well-cultivated cognitive and spiritual foundation often facilitates the stable development of speech, behavior, and habits, gradually forming a strong personality. Although each field has a different foundation, they all reflect a common principle: development is always supported by a stable base. Because it reflects this universal principle, Canon in D gives the listener a feeling of stability, reassurance, and harmony. When every change has a point of support and every movement maintains a connection to the common foundation, the listener not only appreciates the beauty of musical technique but also intuitively senses a familiar principle of the world: sustainable development first requires a sufficiently solid foundation. That is why the music continues to resonate with listeners after more than three centuries, because through the language of music, it recreates a fundamental principle that humans encounter in nature, in learning, in their own growth, and in many aspects of life.

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