Hogwarts Legacy leaker who claimed the design director was their dad struck by Warner Bros copyright notice

The Hogwarts Legacy community mourns the temporary disappearance of a bizarre leaker who claims to be the son of a senior developer.

In a now-nuked Reddit post (opens in new tab)user HogwartsInsider claimed that they were able to help with QA on the game through their ties to their father, design director Chad Liddell, and while a non-disclosure agreement partially bound them, they were allowed a limited Q+A session, which reveals details about the game.

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Ganja Guruz NFTs: The Dark Horse Challenging Invisible Friends for Top NFT Collection in 2023

There is a strong connection between cryptocurrencies and NFTs. The growth of one often affects the development of the other. The levels that NFT projects have reached have created even more valuable opportunities to make their way to the investment market. Every so often, more new NFTs are developed and introduced, giving investors a chance to buy them early before their value explodes.

This means that the NFT world is full of several viable projects, making it more difficult to choose one. As an investor, the goal is to invest in a project that can become the best NFT collection of the year. One of the NFT collections to look at in this regard is Ganja Guruz NFT, the collection from the BudBlockz platform.

Let’s examine how Ganja Guruz became a dark horse and challenged Invisible Friends for the position of 2023’s top NFT collection.


Ganja Guruz NFTs offer additional benefits to investors

Ganja Guruz is the NFT collection of the new crypto platform, BudBlockz (BLUNT). BudBlockz is a fast-growing cryptocurrency that incorporates a cannabis market into its platform to create avenues for investment opportunities. This is achieved in part through the Ganja Guruz NFT collection.

Ganja Guruz hit the NFT market with a bang due to its substantial collection of 10,000 NFTs, each one more unique than the other. Ganja Guruz is available for purchase on NFT trading platforms such as OpenSea.

Ganja Guruz has the potential to change the outlook on NFTs as it does what no NFT has done before. Holders of the Ganja Guruz NFTs will have access to discounts and special features within the BudBlockz platform, giving them greater opportunity for trading and investing in cannabis products.

BudBlockz’s internal ecosystem, along with the NFT market and the staking platform, will feature a well-thought-out metaverse. This will include P2E games and decentralized exchange to make internal trading much more manageable.

The native token of the BudBlockz ecosystem is BLUNT, which will give its holders access to various trading opportunities within the BudBlockz ecosystem. BLUNT will also serve as a reward mechanism for skilled players. It is also used to buy the Ganja Guruz NFT collection.

Ganja Guruz is one of those new NFT collections that you can’t afford to miss out on because of all its inclusive features. Capitalizing on the high demand for decentralized cannabis trading platforms, Ganja Guruz is well on its way to becoming the best NFT collection of 2023.


The origin of the Invisible Friends collection

Invisible Friends is one of those NFT projects whose value is undeniable. It is the brainchild of popular digital artist Markus Magnusson. Many digital animation fans recognize him as “Motion Marks”, his Instagram handle. His smooth animation style makes him so unique as a digital artist. Over the past few years, he has gained several hundred thousand fans on social networking sites. Invisible Friends is an NFT collection of his craft, created with his unique style.

Invisible Friends is a collection of 5,000 NFT pieces aimed at improving access to high quality art. The artist’s popularity helped propel this collection forward, and it did very well in the digital market space within a very short time.

This is what makes it all the more impressive that a new NFT collection like Ganja Guruz is already making headlines and attracting the attention of top investors in NFTs. By all indications, Ganja Guruz could very well be one of the biggest NFT collections of 2023.

To make your own BudBlockz Ganja Guruz NFT visit:

Once on the page, click the “Mint Now” button and connect your ERC20 compatible wallet. You will be able to hit your Ganja Guruz NFT for 0.09 ETH.

Buy or learn more about BudBlockz (BLUNT) at the links below:

Official Website:
Presale Registration:
BudBlockz Community Links:

Disclaimer: This is a paid release. The statements, views and opinions expressed in this column are solely those of the content provider and do not necessarily represent those of Bitcoinist. Bitcoinist does not guarantee the accuracy or timeliness of information available in such content. Do your research and invest at your own risk.

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Art and luxury come together at Eden Gallery Dubai’s 1st

NEW YORK, 01 Feb. 2023 (GLOBE NEWSWIRE) — Eden Gallery Dubai, a luxury destination for contemporary art connoisseurs, is proud to celebrate its 1st anniversary. Located in the heart of Dubai, next to the iconic Burj Khalifa, the gallery boasts a lavish space of 11,000 square feet., with floor-to-ceiling artwork displayed in a modern design that allows the art to take center stage while providing visitors with a beautiful and inviting atmosphere. As one of the most exquisite galleries in the UAE, it is a must-visit for art enthusiasts visiting Dubai.

The gallery that redefines art and luxury

For more than 25 years, Eden Gallery has been exhibiting the works of renowned artists in leading locations worldwide. And now Eden Gallery has brought its expertise to the Middle East by opening Eden Gallery Dubai. This milestone anniversary is a year of curating the most extraordinary and diverse exhibitions, featuring the works of some of our time’s most exciting and innovative artists. From the bold and striking street art of Alec Monopoly to the vibrant and dynamic paintings of Eduardo Kobra, Eden Gallery Dubai offers a visual feast for art enthusiasts of all tastes. The gallery also delights in the exceptional works of additional talented artists, including Gal Yosef, Angelo Accardi, David Kracov, and many more.

In addition to these exhibitions, Eden Gallery Dubai also hosts several exclusive events throughout the year, offering visitors a unique opportunity to engage with the art and artists in a more personal and intimate setting. As they look forward to another year of bringing the best in contemporary art to Dubai, they invite everyone to join them in celebrating the 1st birthday of Eden Gallery Dubai.

Eden Gallery Dubai 1St Anniversary: ​​Exclusive events and art

Eden Gallery invites guests to mark their calendars and take part in a month-long celebration of FebruArt, a series of unique art events as part of their anniversary. Longtime collectors and art enthusiasts are invited to immerse themselves in the vibrant and colorful world of contemporary art at Eden Gallery Dubai. The gallery is located in The Dubai Mall on Fashion Avenue and is open from Monday to Sunday from 10am to 10pm. This is an opportunity for visitors to experience the epitome of luxury and art at Eden Gallery Dubai.

Contact information:
Nitsan Avioz
PR manager
[email protected]

After Naftali
Director of Digital Marketing
[email protected]

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Bruno Barbey’s Italy, or Two Countries in One — Blind Magazine

Italy has always fascinated artists. Like so many other European photographers of the 1960s, French photographer Bruno Barbey got into his VW Beetle and headed for the Boat. He was in his early twenties, not yet the famous Magnum photographer. They dreamed of Italy in black and white, of Pasolini, of Visconti. Fellini was at the height of his art and his cinema La Dolce Vita had just won the Palme d’Or at Cannes in 1960.

Venice, Veneto, 1962 © Bruno Barbey / Magnum Photos

His Leica M2 in hand, Barbey arrived in a country divided in half. Some even said there were two countries in one: in the North, a rebuilt, bourgeois Italy, where “people went to the movies, to concerts, to bars, and well-dressed young people politely stood in line. Even at the stadium, supporters celebrated a goal in a pack and a draw,” writes Giosuè Calaciura in his introduction to Italian lessons by Bruno Barbey, published by Delpire & Co.

“In the South, even though the war ended two years earlier, reconstruction was slow. It still lags behind. Children raced around the jeeps left behind by the Americans and played hopscotch by tracing the numbers with a stone in residential courtyards.”

Palermo, Sicily, 1964 © Bruno Barbey / Magnum Photos
Palermo, Sicily, 1964 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos

Bruno Barbey knew how to capture the initial contrast between the two Italys. His black and white images reveal the gaze, the attitudes and the emotions of Italians. “The ability to portray the Italians in their reality of the condition is rare. Hypocrisy—a mania and a national vice—has always ruled the day: Italians prefer to show themselves to be different from what they are,” Giosuè Calaciura notes, assuring that Barbey’s photographs are “a document of truth.”

The photographer fully immersed himself in the country. In the North he was a Northerner; in the South, a Southerner.

From Rome, Lazio, 1964 © Bruno Barbey / Magnum Photos
From Rome, Lazio, 1964 © Bruno Barbey / Magnum Photos

Portraits of well-dressed men and women in Milan and Rome, posing for the photographer, sometimes leaning against beautiful cars, follow more rural images of children making faces in the streets of Sicily or Naples. Then there is Genoa, a city apart, with its red light district.

People’s gaze is often aloof in the South, mischievous in the North, but Bruno Barbey also knows how to capture the nuances, as in this photo taken on a madhouse in Sicily where we see a couple who are generous to the photographer smile. But maybe it’s the wonder of love, like Bruno Barbey’s love affair with Italy.

Genoa, Liguria, 1966 © Bruno Barbey / Magnum Photos
Genoa, Liguria, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos

Bruno Barbey, Italian lessonsDelpire and co., €42, 184 pp.

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Inside David Harbour and Lily Allen’s “Weird and Wonderful” Brooklyn Town House

It’s a crazy, crazy, crazy, crazy world at the Brooklyn townhouse of Lily Allen and David Harbour. Dressed in a fearless pasticcio of chintz balloon shades, crystal chandeliers, pink silk, tiger-patterned textiles and Mylar wallpaper, the house delivers a full-throated rebuke to the current vogue for muted good taste wrapped in a straitjacket of beige. With an able assist from AD100 designer Billy Cotton and architect Ben Bischoff of MADE, Allen and Harbor conjured a familial fantasyland of bold beauty and individual gourmet vision. In short, it’s a knockout.

“Lily is the one who really set the tone and ran the show. Every time I tried to calm it down, she kept pushing and pushing for more,” Cotton says of his adventurous, British-born client. Harbor also credits his formidable spouse for the stylistic bravado that propelled the idiosyncratic project. “Lily is someone who lives with color in a deeper way than most. Her taste is bold, silly, fun, eccentric—it’s exciting,” says the strange things actor and star of the recent blood splattered Christmas spectacle Violent night.

Ginori 1735 Oriente Italiano Potiche Vase

Palm Brass Floor Lamp by Studio Anansi for CB2

OKA Apadana armless chair

Chelsea Textiles Pie Crust Table

The canvas for the couple’s free-wheeling exercise in decorative derring-do is a stately late-19th-century Italianate brownstone in Brooklyn’s Carroll Gardens neighborhood. “The facade was badly deteriorated, and the interior was … well, let’s say it was very run-in,” Bischoff recalls of the house’s plight. “But after decades of renovations and peeling away a lot of faux wood paneling, we found a surprising amount of original moldings and doors, which gave us a good starting point to rethink the architecture. David and Lily were not interested in formality, especially with Lily’s children in the house. They wanted to preserve the details and character, but they also wanted to live in it in a casual, family-friendly way.”

Cotton launched the design journey by laying out three clear directions for the interiors: traditional English, modern Brooklyn townhouse, and finally layered Italian, “as if they had inherited the house of a mad Italian. nonna with great taste,” says Cotton. It didn’t take long to get on the preferred scheme. “This neighborhood has historically been Italian-American, so the idea of ​​doing something with an Italian flavor wasn’t that far-fetched,” explains Allen. “I’ve always been interested in interiors, and I’ve always done my own houses. But it was a big undertaking, and I needed help. Together, Billy and I tried to reach for something strange and wonderful,” she says.

In the kitchen/dining area, Cotton used a laminated plum-colored check fabric from Claremont for the banquette and chair upholstery as well as the island dresser.

Daniela Wilde Chandelier by Ralph Lauren Home

Indian Basket Dinner Plate by Herend Porcelain Manufactory

Matilda Goad & Co Ribbed Beeswax Candles, Set of 6

Match 1995 Beaded Round Tureen

The eccentricities of the house extend to both the extravagant decor and the atypical layout. Consider the primary bath-cum-sitting room on the second level. With its wall-to-wall floral carpet, Zuber wallpaper and basin stands fashioned from Louis XVI-style commodes of gilded bronze and parquet, the room is a far cry from the modern ablution splendor of sleek book-matched marble walls and sculpture. free standing baths. (In case you’re wondering about the carpet, the toilet and shower are in another room entirely.) From the stairwell, one must traverse the bath to access the windowless primary bedroom, improbably located in a cloistered room between the bath is located. at the front of the house and the changing rooms along the back facade. “Billy would say, ‘You know it’s a little crazy,’ or he brings up resale value. But this is our home, and we want to live in it in a way that works for us,” asserts Allen.

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Lydia Tár Is Not an Art Monster

“This is always the question that engages the listener. That’s never the answer, right?” Famed conductor Lydia Tár asks a student at Juilliard in Todd Field’s magisterial new film. According to this standard, Tar self pass: It is rife with questions between interpretations like a gymnast balanced on a beam. Critics and commentators differ not only on its meaning, but on the principles of the plot. Is Tár, played by a magnificently commanding Cate Blanchett, a sexual predator or a victim of “cancel culture”? Does she demonstrate the importance of separating art from its makers, or is her demise proof that there is in fact a close relationship between traditionalist aesthetics and reactionary politics? Is her downfall even real, or is it hallucinated? Is Tár an artist or an art monster?

What is clear enough is that Tár is a member of the cultural elect. A conductor of the esteemed Berlin Philharmonic and a celebrated composer, she is one of the lucky few lucky enough to make a decent living in the arts – and one of the even luckier few who can afford to continue in high style. She speeds through the streets of Berlin in a steel Porsche, dons a tailored wardrobe of sleek jackets, composes new music in a studio she rents solely as a workspace, and returns each night to an apartment furnished with glittering and clearly expensively furnished. .

The wife and child who greet her there sit back to her endless flurry of professional commitments. Tár has a touching relationship with her daughter, but she is mostly too busy moving from one speaking engagement to the next to spend much time with her family. When we first encounter her, she is not motherly, but struggles to project humility on stage Resident of New York Festival, where Adam Gopnik recounts her many achievements: a Ph.D. in musicology, countless awards, apprenticeship with none other than the legendary Leonard Bernstein. After that, she barely manages to squeeze in a lunch date with a colleague before being forced to present a master class at Juilliard, where she teaches the art of asking questions.

Yet Tár did not take her own judicious remarks to heart. She doesn’t ask. She claims, even pompously. Her polemic is directed at a student who declares himself too much of a “BIPOC pangender person” to appreciate Bach or Beethoven. This lackluster straw man, by far the movie’s weakest point, ends by calling Tár a bitch and storming out of the classroom. She pauses long enough to yell after him that he’s a robot before continuing her monologue. Both of them have a point, although neither seems to have learned much from their exchange. After the masterclass, Tár flies back to Berlin in a private jet. Once she arrives, she gets right back to the all-consuming business of ruthlessly succeeding—though the more she succeeds, the less time she spends making art. Perhaps she is not an art monster or an artist, but a monster of a different kind.

Back in Berlin, Tár carries out her daily routine – jogging so frantically that we wonder what (or who) she wants to chase, preparing for an important performance of Gustav Mahler’s Symphony No. the inexperienced woman probably does not deserve. At one point, Tár’s beleaguered assistant warns her that she’s received “another strange email from Krista.” We still don’t know who Krista is, much less how many strange emails she’s been sending, when the assistant breaks the news that she killed herself.

Now the pace of the film accelerates like a broken metronome beating faster and faster. Hermeneutic entanglement increases, and patterns emerge as possible clues. The documentary quality of the opening sequence, in which Gopnik plays himself, gives way to a swirling fever dream. Ominous shadows flicker at the edges of the frame, and a terrible scream rings out as Tár jogs through the park. In the abandoned apartment complex where the pretty young cellist lives, there is a growling dog so large that it seems to have escaped from another world – or is this monster a paranoid fantasy? And, for that matter, is everything else? Tár has always been sensitive to noise, and the cacophony of the city begins to gnaw at her unbearably. Even the hum of the fridge is enough to wake her up at night.

In twisted twists, we discover that Krista was a promising student in a fellowship program that Tár spearheaded. Something happened between the teacher and her pupil, and Tár sent a series of e-mails to other leading conductors warning them not to take on Krista. Perhaps Tár seduced Krista, or perhaps their relationship was consensual (though questionably asymmetrical). Perhaps their romance soured for no particular reason, or perhaps Tár maliciously dropped her protégé. Maybe Tár destroyed the ingenue’s career without cause, or maybe Krista really was as upset as Tár claimed. Maybe Tár is disgraced and fired for her alleged misconduct and arranges a really embarrassing affair with a reputation management consultant who advises her to “rebuild from the ground up…” or maybe the last third of the movie is a long nightmare.

Anyway, we watch as Tár takes refuge in an unnamed South Asian country, where she prepares to conduct again. She mounted the podium with her usual rigid dignity and turned to the musicians. Only then does the camera pan to reveal the audience – a bunch of cosplayers dressed as characters from the video game Monster Hunter. Tár conducts a video game soundtrack. On the face of it, her humiliation seems to be complete.

Tar teems with questions, and it is surely abundant enough to support the many varied answers that critics have proposed. Field’s film is about mortality, generational conflict and guilt that prowls around like a predator, but it is at least as much about how an artist can be swallowed up by her own image – until she is no longer an artist at all.

“You have to sublimate yourself, your ego and, yes, your identity. You have to actually stand before the public and God and wipe it out yourself, Tár declares quite grandiosely in her master class. She is right, but again she is not following her own advice. Instead of erasing herself, she poses for photo shoots and writes a memoir called Tár on Tár.

Want to be Tár Tár on Táror is she forced to be Tár on Tár based on her position? There’s no doubt that she enjoys tormenting her students and bullying her subordinates, and in fact, her magnetic aura is what makes her so mesmerizing (if difficult) to watch. But fatigue and regret soften her ice-cold mien when she dutifully quotes quotable syllables at the Resident of New York Festival, talking to her assistant about recording an upcoming gig, looking up her own name on Twitter – in short, doing everything but making music or listening to music.

Tár may be compulsively drawn to what she knows in her core to be the superficiality of a role that can only be justified by music itself, but at least she shrinks from her own indulgences. Many times she retreats to her studio to compose, but on each occasion she is interrupted and gives up. In over two and a half hours of footage, she never listens to music for the sheer joy of it. The one time she puts on a jazz record at home, she intends to calm her panicked wife, whose anxiety pills she stole.

Blanchett’s performance is the most important of the many aspects of Field’s film that divided audiences. Is it gripping? Is it affected? I couldn’t tear my eyes away from Tár’s crisis, but a writer I admired told me that he found the actress almost sickeningly fake. It’s true that Blanchett’s gestures are conspicuously considered and her tone laden with self-importance, yet falsity befits a figure so utterly hollowed out in an advertisement for herself. After Tár’s shame, we learn that she comes from humble origins and that her patrician mannerisms are in fact one component of the crumbling facade she has cultivated so strenuously for so long. Perhaps it’s the ghost of Linda Tarr, a working-class girl from Staten Island who watched Bernstein lectures on VHS, that Tár hopes to escape on her jogs. Even the name she adopts as an indication of sophistication is a grotesque anagrammatic distortion of the word art.

So the end of the film can be perversely redemptive. Finally, fate gives Tár the chance to destroy herself in the service of her art. The cynical reading of her surprising new project is that she is doing just what the sleazy reputation management consultant encouraged her to do – to rebuild from the ground up. But Tár takes her responsibilities more seriously than she needs to if they are simply a means to reputation resurrection. She is as deadly serious about her new assignment as she once was about Mahler’s fifth – if not more so, because now she has nothing else to be dead serious about. For the first time we see how she works. Instead of flitting from distraction to distraction, she searches music libraries for the composer’s score, and when she finds it, she crouches over it in a restaurant with a pen, her face furrowed with concentration. “Let’s talk about the composer’s intention with this piece,” she says to her orchestra during rehearsal. When the prestige and social rewards are stripped away, the only thing left is the music itself — and even a sentimental and bombastic soundtrack is infinitely preferable to silence.

Despite the pomposity of her self-presentation, Tár has long been less of an art monster than a reputation management monster. The question that “engages” the film’s audience, as Tár herself would put it, is whether it is too late for her to become a different and more dangerous animal. Perhaps she is as surprised as I am to find that she is finally confronting what little is left to her with dignity – that she is, at least briefly, proving herself to be an artist after all.

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“It’s Graffiti, But Why?”: 85 Hilarious Posts From This Facebook Group Showing The Best Examples Of Pointless, Random, And Silly Graffiti

Art comes in all shapes and sizes. Whether it’s an impressionist painting, an ancient sculpture, an intricate mosaic or a toilet. Straight lines or swirling lines, monochrome or an explosion of neon, realistic or abstract, yes or no. However, what unites these diverse mediums and applications is the message and emotional impact on the viewer.

However, there is one art form that sits on the fine line between vandalism and art, and that is graffiti. From works that make you ponder your existential purpose in the universe, to the evocative message of “I’m here lol,” graffiti is here to stay, and today we’ll take a look at some of the best works humanity has ever come up with with, as shared by the “It’s graffiti, but why?” Facebook group.

This is filthy goodness that hits the spot for quality content. So be sure to upvote your favorites and leave comments along the way, and if you’re in the mood for actual art, here’s a link to we previous article. Oh, and one more, because I couldn’t choose. Now let’s get into it!

More information: Facebook

People are often divided when it comes to graffiti. Is it art? Is it vandalism? Should it be penalized more heavily or encouraged more? Should any form of writing on the wall convey any meaning beyond its original? While smarter people like me discuss these topics and attempt to find answers, the rest of us can simply laugh at the silliness of it all.

The Facebook group “It’s Graffiti, but why?” has united over 66,000 members who love to share and laugh at the dumbest and most random graffiti finds. Since September 2015, it has become a center for those who appreciate the absurdity of life, as well as its fragility. But enough of fancy wordy talk, let’s get into some more interesting bits about graffiti as a whole.

As stated by the Eden gallery, graffiti is a form of visual communication created in public places. It is usually produced illegally and often involves the unauthorized marking of public or private spaces by individuals or groups. It bears an uncanny resemblance to ancient inscriptions and cave drawings, which tell a story of contemporary life.

Regardless of that fact, the art form has been heavily criticized by the public as a whole, and it has only recently begun its journey to being recognized as real art. As stated by Jonathan Jones, the vast majority of graffiti is ugly, stupid and vaguely menacing, with only a small portion of anything witty or creative. “It’s boring and expresses a general disdain for community, kindness and the weak,” he says. But one should probably look at why people graffiti in the first place.

Modern graffiti began in the 1960s in New York City and Philadelphia, with one of the very first graffiti writers being Taki 183, who found himself bored one day. As he walked the streets, he was met with a small piece of writing that spelled out Julio 204. Taki got inspired and started writing his name everywhere. Others got inspired and wanted to try it too, and suddenly the city of New York was covered in names and addresses.

Nikita Krakhofer explains that it has become a kind of game and challenge. The way to get better at this game was to write in a better way than the others, and that’s how different styles emerged. Needless to say, this was highly illegal and dangerous. It can land you in jail, pay a hefty fine, or simply die because of the risk involved in being on the train tracks, in the subway, or in other dangerous places. But that didn’t seem to deter people.

There are certain aspects of creating graffiti that give one a rush, unlike that of simply drawing or painting. It gives one a sense of freedom to create anything and everything without limitations for space. It also brings a sense of rebellion against the system, society and any norms that may be critical of their message.

Furthermore, it can lead to fame and notoriety on a global scale. As long as one is incredibly good at what they do, or incredibly stupid to try to mark the most dangerous places. But, similar to mountain climbing, graffiti artists want to ‘climb’ them all—collect all the street spots, subways, cars, etc.

Regardless of all these reasons, the one that can unite every single graffiti artist is the desire to leave one’s mark on the world. To express yourself and be recognized for existing. Being known for something as illegal as vandalizing property, no matter how beautiful or artistic the subsequent graffiti, makes this graffiti worth it.

Besides, if we look at some absurdist philosophy, we might realize that we are looking way too deep into this as it is. Absurdism refers to the complex human tendency to find meaning and inherent value in life and the inability to do so in an aimless existence within an irrational universe. Having the ability to be aware of the absurd and respond to it allows individuals to achieve a greater degree of their freedom, and so we land back here to these examples of graffiti.

At the end of the day, graffiti is a language of today’s society. Although the actual doodle or genital silhouette lacks any artistic value, it speaks volumes about contemporary issues, some of which still revolve around the fact that we are an insignificant part of the universe with limited lifespans, and trying to satisfy our desire for the eternal life.

Or it means absolutely nothing and serves only as a means to temporary happiness for the artist and for the spectator. While that building may not stand forever, the memories and paint may outlive the people who put it there in the first place, and that’s all that matters.

As you continue scrolling through the list, be sure to vote up your favorites and leave comments below, and I’ll see you all in the next one!

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Review of “I Always Think It’s Forever” by Timothy Goodman

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An infographic, as the term implies, is information made visible. By its very nature, infographics condense data into essential component parts. At their best, they simplify taxonomies, effective communication at a glance. If you condense your infographic, viewers will lose themselves and drown in details. But by stripping away context and nuance, they can also blur signal into scribbled, generic slogans that stand in for what should be a dynamic story.

Designer, muralist and – from time to time – writer Timothy Goodman knows a lot about what makes an effective infographic. He built a career out of the mold, designing and packaging products for brands such as Uniqlo, Guess, Samsonite and West Elm. One of his home decor designs, for example, revolves around a mug and proclaims this basic (and debatable) formula: “Cheap coffee > No coffee.” Many of his designs are bold, if solipsistic, like a powder-blue Couronne handbag covered in loose letters, reading: “I have to feel what I feel to feel alive.” His Keith Haring-inspired murals and billboards can be seen across the country, from schools and corporate headquarters to the public spaces in between.

These aren’t all, to be sure, conventional infographics, though they do share a certain flair for distillation and summarization. Many of Goodman’s mural statements are akin to word and image clouds, often falsely bold statements spread in large, bold block letters, with individual words grouped together for maximum effect. “Love is unconquered,” reads his Houston Street mural in New York. “You are lovely and you are worthy of love,” says another.

With “I Always Think It’s Forever: A Love Story Set in Paris as Told by an Unreliable but Serious Narrator,” Goodman took his zeal for statement and design to a new level. Or, rather, he shrunk his usually sprawling decrees to 6½-by-8-inch margins, putting them together in a series between two hard covers. Can a muralist and product designer infographic his way to tell a compelling love story, from coup to coeur brisé?

Goodman’s hybrid visual memoir lays out his account of passion and heartbreak over the course of a single year. It begins with his 2019 flight to Paris, a much-needed career break meant for self-discovery and exploration; moved through a brief but intense – and boringly corny – love affair with a French woman, Aimée (“I felt my heart’s story being rewritten. I saw the vision of our future children”); and finally takes us through their breakup and its aftermath. All the while, our narrator emphasizes the strength of the strong feelings he experiences. To understand: “I have to feel what I feel to feel alive.”

Like many of the products and murals Goodman designs, the book is an ode to the circulation of neatly repackaged platitudes loosely disguised as products of enlightenment and self-actualization. Indeed, the book is introduced, and framed, as a manual for “serious” men, that is, men with a lot of feelings. In boilerplate self-help language patchworked throughout, he assures his readers that it’s okay, even “healthy”, to display all those feelings. The resulting hodgepodge – strings of garbled sentences interspersed with single-page colorful mantras and infographics about dating and love songs – is not always coherent. Goodman’s prose most closely resembles the language of ChatGPT: at once familiar and slightly uncomfortable, as if Goodman himself was not entirely aware of the things he was writing, and always unpleasantly inoffensive. The results are predictable, if sometimes incomprehensible, a collection of disparate clichés and algorithmic banalities: “I learned about the kind of partner I really need, about the kind of partner I should be, and that I should always strive to see and be seen.”

Early in the work, Goodman tells us that he was intrigued by a French word he learned while abroad in France, “dépaysement,” which roughly translates to disorientation. He takes the word to describe “this wonderful feeling of living as a stranger somewhere far away from your memory.” But what his description of this love affair with the French Aimée – she of the Chuck Taylors and “one of the biggest laughs of all time” – evokes is a grand repetition of all the sappy sentiments spread all over Goodman’s packaged products and walls. The story is predictable in a word, even if it ends before he wants it to (and before they can realize his dreams of, what else, marriage and children – a boy and a girl).

This is not Goodman’s first extended foray into love as a subject. In 2013, he and fellow designer Jessica Walsh collaborated on what they described as an “experiment,” which took place on a popular online blog called “40 Days of Dating.” The co-workers, who were both single and friends before the experiment began, diligently – and seriously – tried to romance each other. In this early project, Goodman described himself as commitment phobic while Walsh pretended to fall in love perhaps too easily. In two online journals, they meticulously tracked their recurring conversations about how the experiment went and why they thought they would or wouldn’t succeed as a couple. (Reader, they didn’t.)

In his latest work, Goodman seems to have transformed from a commitment-phobe to the one who is now too easily infatuated with love. But if the premise of these various projects is to learn more about what love is, the art – and sentiments – fall flat. After all, infographics have a variety of functions. They can highlight comparison and contrast, follow a process step by step, or map items in relation to each other. But they can’t really capture the messy kinesthetics of attraction, immersion, or even disengagement. You cannot convincingly, or movingly, slogan or chatbot your way into, or out of, the disorienting effects of love or loss. The details are too diffuse.

Tahneer Oksman is a writer and scholar. She is an associate professor at Marymount Manhattan College, where she teaches courses in writing, literature, and cultural journalism.

I always think it’s forever

A love story set in Paris as told by an unreliable but serious narrator

Simon and Schuster. 192 pages $22

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Victoria Beckham Dresses Daughter Harper Beckham in Design

Victoria Beckham has called her 11-year-old daughter Harper Beckham her “number one muse”.

The Spice Girls singer-turned-fashion designer, 48, dressed her mini-my pre-teen in one of her designs from her Spring/Summer 2023 collection, with the final look in a sweet mother-daughter- selfie shared on her Instagram page on Monday.

In the photo, Harper wore a strapless blue dress with an ombre design. She teamed her outfit with a pair of comfy sneakers and a small blue handbag. Victoria stood by Harper’s side for the photo, holding hands while wearing a baby pink ruffle dress from her collection.

“My number one #VBMuse #HarperSeven! Mommy loved creating this dress for you 💙” Victoria wrote in the caption.

The Spice Girl also posted a photo of herself posing with model and jewelery designer Isabela Grutman, who also wore a baby blue dress from Victoria’s new collection.

“I love seeing my new collection on you @IsabelaGrutman!! You look amazing! Kisses xx VB,” Victoria added of Isabela, who is married to their good friend David Grutman.

Victoria, Harper and father David Beckham (47) were recently in Miami where they celebrated the wedding of singer Marc Antony (54) and model Nadia Ferreira (23).

The marriage came after David took their 17-year-old son Cruz Beckham to the Autumn/Winter Dior menswear show at Paris Fashion Week 2023 earlier this month.

Both Beckham sons attended the show in bold coordinating father-and-son suits. The former footballer donned a classic charcoal gray set, white shirt and boots. Cruz opted for gray pants and a jacket. He completed his outfit with a silver tie worn backwards, sneakers and red-rimmed sunglasses.

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In October, Victoria presented her Spring/Summer 2023 line at Paris Fashion Week 2022 with David and all four children rooting for her.

“I love you all so much x,” she captioned a family photo shared on her Instagram feed, which included sons Romeo, 20, and Brooklyn, 23, as well as Brooklyn’s wife Nicola Peltz.

The fashion show was a real family affair, with Victoria’s extended family also in attendance. Parents Jacqueline and Anthony Adams were there to show their support, as was Victoria’s sister, Louise Adams.

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Insights from Bitget on how to achieve growth throughout crypto winter

With 2022 now in the past, many crypto users are hoping that the FTX crisis will also remain a mere bitter memory of last year. As the fallout from the collapse of one of the largest CEXs in the crypto industry continues to ripple through space, one platform is taking bold steps to ensure the security of its customers’ funds.

Gracy Chen, Managing Director of Bitget shares her views and tips for making it through the crypto bear market.

Q: How does Bitget ensure the security of customer assets?

Bitget always strives to provide a safe, one-stop trading solution for users. We have taken various initiatives and adopted various security policies to protect users’ assets.

Bitget’s protection fund was valued at about $200 million at launch and was increased to $300 million, consisting of 6,500 Bitcoin (BTC) and 200 million USDT after FTX’s bankruptcy. Bitget has promised to guarantee the fund’s value for the next three years, regardless of the market price.

Bitget released its proof-of-reserves Merkle tree to provide maximum transparency. Our POR page shows that our total reserve ratio is at 244%, with separate reserves of BTC at 725%, USDT at 202% and ETH at 186% as of December 31, 2022. Bitget is one of the exchanges out there with the highest reserve ratio.

Apart from these two essential measures, we serve and protect users with our already implemented, top-notch security measures and risk management, including hot and cold wallet separation, multi-signature wallets, zero-trust security architecture and much more to protect user assets. .

Q: What are users’ top concerns regarding security in crypto right now?

After the FTX incident, the market is actively looking for a transparent and credible platform where assets can be safely stored. That’s why we publish all seven wallet addresses of our $300 million Protection Fund, so users can monitor the fund at all times. Apart from that, we have also developed an open source “Merklevalidator” proof-of-reserve verification tool available on GitHub. Users can then verify that their account assets are included in our Merkle Tree proof-of-reserves to ensure that their funds are stored securely on the platform.

On the other hand, we also launched a fund custody service in January 2023 for users who combined assets of 100,000 USDT or more to apply for a dedicated custody wallet. The separate wallet address allows qualified users to check and withdraw funds separated from the main reserve, to prevent funds from being affected in case of emergencies such as loss, theft and other cyber security threats.

Q: What was the biggest goal that Bitget successfully achieved in 2022?

Last year was one of the most important in the history of Bitget. Our achievements for the year are nothing short of remarkable. Although some negative incidents happened in the industry, Bitget remained steady in our growth and used it as an opportunity to further strengthen our capability.

Some of Bitget’s key development areas include:

  • Ranked as the top-3 exchange in terms of crypto-derivative trading volume according to the Boston Consulting Group report.
  • Market share increased in the derivatives market from 3% to 11% after the collapse of FTX.
  • More than 300% increase in total transaction volume, with a rising popularity of copy trading products.
  • Workforce grows from barely 200 people at the start of 2022 to more than 1,100 employees in January 2023.
  • Became an exclusive crypto exchange partner with Lionel Messi.

Bitget has seen a 300% increase in total transaction volume thanks to increasing popularity of copy trading and crypto futures products. The platform’s flagship offering, One-Click Copy Trade, attracted more than 80,000 traders and 338,000 followers by December 2022.

Q: The collaboration with Messi is not your first football partnership. What do you think celebrity campaigns bring to your users? Is it a matter of trust and credibility?

Trust and confidence are the core basis for the development of the crypto industry. That’s why Bitget launched a $20 million marketing campaign during the 2022 World Cup in Qatar to strengthen trust and rebuild trust in the community. We are happy to see our partner Lionel Messi’s victory.


I want to emphasize that Messi is not only a great soccer player, but also a player who has concentrated on his skills for many years to overcome his physical difficulties, with almost no negative incidents. He is not only persistent, but at the same time humble and dedicated. Bitget chose him as a partner because his pragmatic and reliable image matches our zero-incident profile and commitment to developing the best trading products.

Working with Messi reminded us all that winning and building an everlasting business requires passion, perseverance and teamwork. The significant growth we have achieved is a testament to all the hard work and tremendous efforts our team has dedicated to the company.

Disclaimer. Cointelegraph does not endorse any content or product on this page. While we aim to provide you with all important information we can obtain, readers should do their own research before taking any actions related to the company and take full responsibility for their decisions, nor can this article not be considered investment advice.

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