Yes, digital cameras are still a thing in 2022 – BC Catholic

Despite smartphones, digital cameras are still in demand

Yes, digital cameras are still a thing, despite the fantastic photographic capabilities of today’s high-end cell phones.

When I began my annual survey of cameras in mid-November, I expected to see yet another sharp decline in the variety and number of models for sale, driven in part by changing technology, but also by the lingering misery of the COVID -19 pandemic, now approaching the three-year anniversary.

However, as I write, I already have a little over two hundred camera models and packages listed on my survey site, with more likely to be added. At this point, still before the Black Friday sales hoopla, I’m only slightly down on last year’s tally and will likely match or even exceed it by the end of the year.

Again, then, here’s a recap of my annual survey of digital cameras for sale in the Vancouver area, something we’ve been doing in this space since 2002, and, in a slightly simpler form, all the way back to 1996 , when a sub-megapixel camera went for around $1,000.

As in the last two years, I was surprised how many models of cameras remained from the previous year’s list, certainly more than 80 percent. Some new models appear to be little more than tweaks and renamings of last year’s models. Like a year ago, prices appear to be higher than those of the previous year, sometimes significantly so. Buyers should be careful as some stores seem to be re-listing discontinued models as current listings.

Those who do develop an interest in photography through their experience with today’s sophisticated smartphones tend to migrate to advanced digital cameras, mostly bypassing the point-and-shoot or compact models that once dominated the market.

While the camera market has long been dominated by the big two, Canon and Nikon, there is an argument to be made that the new big two are Sony and Fuji. Both have extensive product lines, and they are not Johnny-come-lately to the field.

A recent article headline underscores the inroads Fuji has made. The parent company noted that it is temporarily pausing orders for its wildly popular X100V camera, the fifth generation of that model. According to the company, it simply could not keep up with demand. And that’s for a camera with real knobs and dials that sells in the $1,700 range here in Canada. The question is vlogging, video blogging, on platforms like TikTok.

Here are some more of the cameras that are making waves with vloggers: Sony’s ZV-1 and ZV-1F, Nikon’s Z30, Panasonic’s GH5/GH6 units and Sony’s ZV-E10. Vloggers demand high-quality 4K/30 fps video or better, a bright lens, and a sensor that facilitates background defocusing.

For those considering a foray into still photography or vlogging on a mobile phone, check out our dedicated single page website, https://vandigicams.ca. Updates are made every day until January 6th. Links are also provided to the surveys from previous years to enable price comparisons.

Cameras on the site are primarily those advertised on retailer websites and from print ads in Vancouver’s major dailies, and in flyers accompanying local community newspapers.

Prices on the site, rounded to the nearest $5 increment, are the lowest found in the November-December survey period, which often occurs in mid-November. If you decide to buy a listed unit, you may be able to convince the salesperson to roll the price back to the earlier low if it has risen in the meantime.

Individual cameras and camera packages in the survey are assigned a single line on the https://vandigicams.ca site. Each listing is linked to the corresponding manufacturer’s website for that camera’s full specifications. Along with the camera sensor megapixel rating, there’s an optical zoom value, an overview of about half a dozen features, and “street” prices from up to three local retailers.

The 24-megapixel sensor class once again dominates this year’s survey, mostly with units from Canon, Fuji, Nikon and Sony representing just under 40 percent of the cameras, followed by the slightly lower resolution 20-megapixel units with approx. a quarter These two classes together make up two thirds of all the cameras in the survey. The once dominant “16” class dropped to fifth place. The remaining 20 percent or so of the recording is fragmented across classes ranging from 12 to an impressive 100+ megapixels.

As in past years, the survey identifies several cameras as best buys, an optimal combination of features and price within a given class. When you’re considering buying a camera, be sure to check the manufacturer’s website (they’re all listed at the bottom of the recording website) to make sure the model stays up-to-date.

Want an inexpensive point-and-shoot digital camera? The Canon ELPH 360 with a 3-inch screen costs about $300. An entry-level digital single-lens reflex (DSLR) camera like Canon’s T7 with a basic kit lens can be picked up for around $600. At the other extreme, you’ll find a 102-megapixel unit from Fuji, a holdover from last year, for around $13,000, and a 50-megapixel Hasselblad for $21,000. If you really want to get carried away, there’s a $30,000 Leica unit tagged for musician-photographer Lenny Kravitz.

Looking for a rugged camera? The Olympus TG-6 (shockproof, freezeproof, waterproof, dustproof and pressureproof) remains popular. Sony and Ricoh also offer rugged units. Prices range from $400 to around $1,000, the latter for a unit designed for harsh environments.

As for a solid general-purpose camera, how about something like the Nikon P950 with an incredible 83× zoom lens. Priced in the $1,000 range, this unit takes good outdoor photos and also perfectly acceptable indoors, something often lacking in lower cost units. Its successor, the P1000, is the first unit to pass 100× zoom, offering an incredible 125×, at around $1,300.

Some other manufacturers still offer high-zoom models in their ranges. Examples include Panasonic’s FZ80 (60×, $400), and Canon’s SX70 (50×, $800). However, Panasonic may be nearing the end of the road as a camera supplier, at least for its range of point-and-shoot units. It appears that the company may instead turn its attention to its mirrorless camcorders such as the GH series.

Want a DSLR package with two lenses, say a basic 3× zoom and a telephoto? Canon and Nikon used to have several such packages around the $600 mark, but those have mostly disappeared for 2022. This year, for example, you can consider the Canon T7 package with 18–55mm and 75–300mm lenses for $720, same price as last year.

MILC units (mirrorless interchangeable lens cameras) have now overtaken DSLRs in popularity. Canon’s EOS M and R lines are good examples, as are Sony’s Alpha series and Nikon’s Z series.

There are even indications that new DSLRs may no longer appear. Canon and Nikon came late to the MILC party, first dominated by Fuji, and to a lesser extent by Olympus and Sony. MILC units represent nearly 65 percent of listings in this year’s survey (up from 40 percent two years ago). DSLR units, by contrast, fell to just 15 percent.

Take a look at this year’s recording list. https://vandigicams.ca. You’ll find cameras at every price point, from a few hundred dollars to $10,000 and more. In between, you’ll find cameras equipped with Wi-Fi, GPS, and organic light-emitting diode (OLED) touchscreens, and numerous other features and technologies. Digital cameras are indeed still a thing.

Follow me on Facebook (facebook.com/PeterVogelCA) or on Twitter (@PeterVogel).

[email protected]

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Multiplex by Barry Anderson” Commerce Bank Digital Art Wall – KC STUDIO

Barry Anderson with his installation “Fragments of Space: Multiplex” at Commerce Bank

The future is here, and so far it hasn’t taken the form of flying cars, robot servants, convenient interplanetary travel, or most of the other technological promises offered by 20th-twentieth-century creative media.

Rather, it is the ubiquity of screens in our daily lives that stands in as a demarcation between the quaint analog past and modernity. And so it’s fitting that Barry Anderson’s installation, “Fragments of Space: Multiplex,” reaches out to the world from four flat monitors located in the Commerce Bank Building’s fitting Digital Art Wall.

Part of a broader series of work begun in 2015 titled “Fragments of Space,” the “Multiplex” exhibition takes viewers on an imaginary tour of both physical and psychological spaces. By playing a continuous cycle, the video flows from each screen to the next, leaving all four panels slightly ahead or behind their neighbors. This perpetual motion, coupled with the deliberately skewed positioning of each screen, may be jarring at first, but the ability of an intangible artistic experience to conjure an almost physical response in its audience represents a triumph, not a flaw. not. Once viewers have taken a moment to adjust to the rhythm of the piece, they are likely to settle on a single screen to watch, perhaps pausing to focus their attention on the gestalt of the four screens interacting .

Created using Cinema 4D and After Effects software, the actual content on the screens works in tandem with the infinite loops in which they play. Passers-by who linger to view an entire cycle of the installation will be rewarded with multiple visits to two distinct realms. The more easily recognizable landscape, a sleek maze, places viewers in a first-person perspective moving through a post-industrial labyrinth, complete with quick turns and dead ends.

The purpose of the maze remains a mystery; Anderson’s work embraces the premise that the journey matters more than the destination. Traversing the digital warren happens quickly, almost to the point of feeling frantic and claustrophobic. Viewers can notice their lack of agency quite sharply, as all decisions about which way to go take place on the other side of the monitors. Someone who might have chosen to go right will find themselves going left.

To further excite the audience, Anderson’s maze is populated with terrain and artifacts that practically beg for a closer look. But alas, the movement of the video takes us past flooded rooms, a doll and even a partially submerged cow at a speed that defies any close scrutiny. Those with the courage for multiple viewings, of course, can have an opportunity to enjoy the details that a more cursory observation would miss.

Between journeys through the maze, Anderson takes his viewers into an even more surreal environment that manifests as iridescent, geometric shapes that expand and fold back in on themselves. And while these series are more abstract, there is something about the undulation of light and color that evokes calm. One interpretation could be that these segments represent the inner psychological workings of humanity. Another could see the artist gracious to his audience, giving them a meditative reprieve between forays through the more cognitively and emotionally taxing labyrinthine components of the work.

In the end, the reason for the animations, which represent great technical skill, is less important than the fact that they exist. Anderson’s art is deliberately minimalist, both aesthetically and in terms of the context it provides.

People spend a tremendous amount of their waking hours staring at screens. To do so in a way that promotes reflection and elicits an emotional catharsis is a unique and rare experience. To that end, Anderson is very successful in creating digital art for a digital age.

“Fragments of Space: Multiplex” continues at the Commerce Bank Digital Art Wall., 1001 Main St., through Oct. 4. Hours are 8am to 5pm Monday-Friday. For more information contact Robin Trafton, Curator, Commerce Bank, 816.760.7885 or [email protected]

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Pipilotti Rist’s serene ‘pixel forest’ explores the chaos of our digital lives

Written by Rebecca Cairns, CNNHong Kong

In a dark room in the middle of Hong Kong, there is a new reprieve from the bustling city. It’s a forest — although it looks nothing like the dense greenery that covers the nearby mountains.

This one glows. The so-called “pixel forest” consists of 3,000 LED lights, suspended by plastic cables that twist like vines, flashing red, blue, green, yellow and pink, in tandem with the music. The shiny black floor forms a glassy lake that reflects each rough, glittering crystal, creating a kind of infinity.

The immersive work of multimedia artist Pipilotti Rist was inspired by her experience using virtual reality glasses. Although she said she could feel the room around her, the 60-year-old “felt extremely lonely,” she recalled.

Rist explores the internal chaos of our digital world through what she called a “rough, raw virtual reality” that viewers can touch and explore. Walking through her pixel forest, it’s hard not to imagine yourself in a phone or laptop screen—or to see some kind of beauty in this broken-down and blown-up version of our digital world. The experience can help visitors realize how easy it is to get lost in technology.

“It’s an illusion sometimes. People think, ‘Oh, we’re totally in touch,’ but actually together (in person) is something completely different,” Rist said.

The installation is among nearly 50 of her works on display at her first solo exhibition in Hong Kong, “Behind Your Eyelid”, which showcases three decades of work at the JC Contemporary gallery. In it, Rist also considers the things that separate us, and the facades we must pierce through to connect with each other.

“I’m trying to bring the electronics in front or out of the screen — to bring it more into the room,” Rist said.

Light from unlikely places

Born in Grabs, Switzerland in 1962, Rist has been a fixture on the visual arts scene since the 1980s. But she unexpectedly entered the mainstream consciousness in 2016, when it was suggested that Beyoncé’s music video “Hold Up” took inspiration from the installation “Ever is Over All”.

Beyoncé never formally credited the artist’s 1997 work — which depicts a carefree Rist in red heels and a blue dress, bounding down a street and brandishing a long-stemmed red flower — as an inspiration. However, the scene was instantly recognisable: a woman nonchalantly jumping down a car-filled street and smashing windows, baseball bat in hand.

“Ever is Over All” (1997) is a two-channel video: one side shows fields of flowers, while the other side (photo) shows Rist jumping down a car-lined street, flower in hand. Credit: CNN

Rist, who creates her work with a team of audio, lighting and video technicians, was flattered by the apparent nod. “I thought it was cool that people who might never go to art exhibitions suddenly got the reference to a video artist,” she said. “Maybe they didn’t even know (‘Ever is Over All’) existed.”

The baseball bat brought a “certain aggression” to the scene, Rist said — while her own flower-turned weapon was a more playful comment on female power and autonomy, a key theme in Rist’s work. Rist even speculated that she was drawn to her chosen medium, video art, because “it wasn’t taken by men.”

While both women and men appear in her videos, the former dominates. Still, she takes exception to the idea that she has a preference for profiling women: “The power structure is such that we take (women) as an exception. For me, I’ve always tried to say: ‘No, it’s human. ‘ “

In her Hong Kong exhibition, depictions of female torsos hang from the ceiling, a Pop-Art twist on Greek and Roman sculptures. One is a tight yellow swimsuit, with a small ’90s-style television balanced in the hollowed-out crotch, while another has light emanating from where the legs should be.

Rist’s video installation “Digesting Impressions” (1993/2013) features a looped video played on a television in a swimsuit. Credit: Rebecca Cairns/CNN

Light emerging from pelvises is a common motif in Rist’s art. (“It’s where we saw the light when we came out to our mothers,” she explained.) And her humor is also on display in her chandelier of underpants, which plays with the ambiguity of “light” meaning both shine and be lightweight.

“(The pelvis) is controversial for us, between shame and passion and stink and joy,” Rist said, pointing to the idiom, “not to air one’s dirty laundry” and what it says about keeping our darkness, our problems and our struggles, a secret. “I wanted to make it light.”

Pull back layers

Across the three-story exhibition, Rist showcases her incredible range: Decades-old works sit alongside new, site-specific installations, while entire immersive rooms are followed by single screens. In one case, a small screen the size of a ping-pong ball is embedded in the floor, showing the 1994 six-minute looping video “Selbstlos im Lavabad” (Selfless in The Bath Of Lava) featuring a screaming woman trapped in a fiery purgatory.

Many of the pieces were created decades ago, yet Rist’s art is somehow “always adapted to the latest technology,” said exhibition curator Tobias Berger. He highlights the 1996 work, “Sip My Ocean,” a two-channel video that, in its original form, would have shown on a much smaller projector. Now the work fills two walls, floor to ceiling, on a theater-sized screen. Improvements in audio technology also add another dimension to the works, Berger added, “so even the old works in each exhibition are almost site-specific new works.”

The “Central Hong Kong Chandelier” (2021) sits next to “Big Skin” (2022), which blurs the mundane and the fantastic. Credit: Rebecca Cairns/CNN

The exhibit, which originally opened in 2019, before the pandemic, was two years in the making. But Berger believes that the isolation and anxiety of Covid-19 has made the show – and the recurring theme of human connectedness – more relevant than ever. Rist herself experienced isolation while preparing for the exhibition, spending 21 days in quarantine last year to enter Hong Kong and get a feel for the gallery space.

Rist created two completely new works for the exhibition. Outside, a massive projection turns the former prison yard in which the gallery is located into a “glade in the city,” where Rist hopes people will come together and connect personally.

And inside, the new “Big Skin” installation ties together the exhibition’s central metaphor: membranes. Semi-translucent white “sheets” hang from the ceiling, while video projections depicting galaxies and natural landscapes—a mix of real footage and animations—play across their surfaces. Like floating clouds, they absorb and emit light, creating eerie shadows even as they show soothing scenes of autumn leaves.

For Berger, the authenticity of Rist’s art is part of the charm — because despite its surrealism, none of it is computer generated. “I think that’s what the fascination is, why people are so attracted to her work: There is nothing fake, everything is real,” he said.

"Water Tiger Color Balm" (2022) is an outdoor video installation, created for the space outside the JC Contemporary Gallery in Tai Kwun, Hong Kong.

“Water Tiger Color Balm” (2022) is an outdoor video installation, created for the space outside the JC Contemporary Gallery in Tai Kwun, Hong Kong. Credit: Tai Kwun

The final room, “The Apartment,” gives a former woman’s prison cell the appearance of a home: A dining table and chairs, a sofa and sideboard, and a day bed, are surrounded by the jumble of domestic knick-knacks, of which many from Hong Kong, and a painting by a local artist. But projections move across space like ghosts, a setup more strange than familiar.

As in the pixel forest, Rist immerses the viewer in a dreamlike combination of lights, colors and sound that foil the everyday. She gives weight to emotions and ideas — thereby giving body to the invisible lines that connect us.

“We are so much more alike than we are different,” she said.

Behind Your Eyelid” shows at JC Contemporary at Tai Kwun, Hong Kong, until 27 November 2022.


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felipe pantone’s manipulable works reflect on digital revolution at gallery common in tokyo

Felipe Pantone Exhibition Gallery COMMON’s “MANIPULABLE”

From June 3rd to July 17th, 2022, Tokyo-based Gallery Common will announce Felipe Pantone’s solo. Exhibition Operation possibleFeaturing a completely new athletic work Interactive installation space.marking Argentina-Spanish artist The first major exhibition in Japan since 2014, the show focuses on dynamism, transformation and the digital revolution. All artwork was created for viewers to touch and rearrange.

“Manipulable” features new dynamic work in a fully interactive installation space

All images are courtesy of Gallery Common

Interactive works correspond to today’s world of self-curation

“Manipulable” is a Latin word with roots in the Manus (hand), which means “something that can be moved or manipulated by hand”. What can be controlled, controlled, or molded. ” Similarly, the exhibition presents a set of interactive artwork that visitors can interact with and modify. With a background as a graffiti artist and a graduate of art in his work, Pantone combines his street experience with academic knowledge to create a vibrant and unique language. The work in the exhibition raises questions about how we consume visual information, especially in the digital age.

“Currently everything is controllable. Instead of listening to the radio, we manage our own playlists. We don’t watch TV. We choose the shows to stream. The internet can configure the information itself. I made it. the Artist stock. “Light, movement, and color define everything I do, and by adding touch elements, everyone can get closer to work. For the first time, all my work for the exhibition, It was designed to be composed of viewers. I think it’s very modern to be able to interact with what the audience is consuming, and create artwork that accommodates today’s world of self-curation. I wanted to. “

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The show reflects the themes of dynamism, transformation and the digital revolution

Bridging the gap between art and the audience

As awareness of interaction has evolved over the last few years, Pantone has experimented with different methods and approaches to break down communication barriers, including touchless ways to interact with your work via VR and remote control apps. rice field. Now that he has more options for face-to-face interaction, he explores how touch and physical interaction closes the gap between the artist and the audience.

To commemorate the exhibition, Felipe Pantone has also released a limited edition print entitled “CDM32-P”. This piece uses UV printing on an aluminum sheet to create a print with a smooth reflective texture that changes in light. Available in a limited edition of only 35, this work is 70.7×50 cm in size. gallery Until the end of the session.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
Pantone combines street experience with academic knowledge to create a vibrant and unique language.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The work casts doubt on how we consume visual information, especially in the digital age.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The show features a series of eye-catching pieces with vibrant colors and reflective textures.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
All artwork was created for viewers to touch and rearrange

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
Pantone explores how touch and physical interaction closes the gap between the artist and the audience.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo. Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo. Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.

Project information:

name: Operation possible
Artist: Felipe Pantone
position: Gallery Common, Harajuku, Tokyo
date: June 3rd-July 17th, 2022

myrto katsikopoulou Design boom

July 14, 2022

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Utah teen turns entrepreneur, and digital artist, to raise money to end bullying

The 13-year-old artist created over 3,000 images of “Dude Alien” for sale as an NFT.

(Trent Nelson | Salt Lake Tribune) 13-year-old Zion Guevara launched the NFT Art Collection on Wednesday, June 22, 2022 in Lehi to raise money to raise awareness about bullying.

13-year-old Zion Guevara often uses the word “attractive” when describing the world of high-tech entrepreneurship, NFTs, and digital art.

His passion for the field, as is often the case with children of his age, shows his shining eyes, his unlimited enthusiasm, and the pure joy of doing what they like.

Guevara said he was trying to make good use of what he knew. In mid-June, he launched an NFT collection called “Dude Aliens”, a non-fungible token or digital asset that represents real-world objects like unique collections. This collection contains 3,364 hand-painted, computer-coded images of various aliens. Some people wear sweatshirts with the word “bullying” erased, while others include the word “racist saxophone.”

“I’ve always been in the tech industry and wanted to make a big impression and be an entrepreneur,” Guevara said. “But there is a good reason.”

Summing up the prices for each image, the collection is priced at $ 200,000 and is currently on sale. Guevara plans to add a one-on-one artwork in July, which will be auctioned on his website.

Digital art and the coding behind it are common and can be found, for example, in video games. But NFTs are different, Guevara explained. This is something that cannot be traded “without the same match”.

“It’s on the blockchain,” Guevara said. [lives] Behind the art. It’s like a collectible with a code. “

Given Guevara’s overall ideas and inspiration behind “Dude Aliens,” the fact that NFTs are a kind is appropriate.

(Zion Guevara) Screenshots of some digital images from Guevara’s NFT collection “Dude Alien”.

“I took my life experience and it was like,’Well, what can I make a brand name from?'” He said. “I always called my friends” hey, “and I always felt alienated. From there it just took off. “

Guevara created this project because he heard that young people in Utah lost their lives as a result of experiencing bullying. When I heard that his mother’s dentist’s son had taken his life as a result of the bullying, it was a continuous conversation about bullying with his mother. Other stories — Utah children who died of suicide after being bullied — as in Drayke Hardman and Izzy Tichenor — also attacked them.

Guevara said he had his own experience with bullying. Because he was another kid and a new kid. “At the age of 13, moving from Los Angeles, California can be very difficult,” he said. “It was a way to express my feelings in art.” The Guevara family moved to Utah three and a half years ago.

With his technical passion, it was easy for Guevara to start a business in an NFT space to raise awareness of anti-bullying. He is in the process of partnering with an anti-bullying organization called No Bully. This organization helps “train teachers and managers on how to find and identify bullying and eliminate bullying in schools.”

His mother, Ellen, said it was “bitter” to hear her son being bullied. “As a parent, you don’t want to hear that your child is hurt,” she said.

She said it was a “double blow” to see a community of adults who believed she was careful about their children lacking the training and tools to deal with bullying.

For six months, Zion wakes up and paints on the tablet, according to Ellen. He told his mother that he would have a bullying experience, and he did. Now she said, he is helping other children.

“I always tell my kids that everything has a purpose, not just money,” she said. “”[Money alone] It does not give satisfaction to life. “

Zion said he has promised to continue developing “Dude Aliens” for now, but he dreams of entering the Metaverse real estate one day.

“I really learned a lot of valuable lessons and experiences, such as learning how to code and art,” Zion said.

If there is one message that people can take from his work, celebrating diversity, eccentricity, and being an “alien,” Zion is to disseminate information about bullying. He said he needed to stop.

“Everyone needs love and everyone has been loved,” he said.


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NFTs, digital wallets will become huge opportunities

Cathie Wood, Chief Executive Officer and Chief Investment Officer, will speak at the Milken Institute Global Conference on May 2, 2022 in Beverly Hills, CA.

Patrick T. Fallon | AFP | Getty Images

ArkInvest CEO Cathie Wood said Tuesday that digital property rights related to non-fungible tokens (NFTs) and decentralized finance (DeFi), which have underpinned the emergence of Web3, will be “very important.”

“DeFi was on track and impressed with how robust the ecosystem was,” Wood said of CNBC’s “Squawk Box.” The “token revolution” surrounding NFTs is “early.” Added.

NFTs (unique digital assets validated and stored using blockchain technology, such as artwork and sports trading cards) surged in popularity in 2021. People create, collect, and trade NFTs and trade for millions of dollars. However, experts are still skeptical that NFTs are a good investment.

Bill Gates described the phenomenon of cryptocurrencies and NFTs as “based on more than 100% idiot theory” in TechCrunch’s talk on global warming last week, an overvalued asset when there are enough investors. Mentioned the idea that the price of the money would go up to pay them more.

Billionaire Microsoft co-founder joked that “expensive digital images of monkeys” “significantly improve the world.”

The NFT surge is still quite new, but huge amounts of money have already been exchanged among collectors. For example, according to NonFungible, which tracks NFT’s historical sales data, NFT collections have generated over $ 6.2 billion in sales and digital art has generated over $ 1.9 billion in sales since 2017.

“We believe that the digital property rights represented by NFTs will be very important,” Wood said, adding that her financial background taught her the value of property rights in helping people save people from poverty. ..

Creators in the NFT space have long made the same claim, and investors like Wood have quickly argued that the long-term value of digital assets comes from their usefulness. This is a message that was difficult for institutional investors to digest as collectable artwork such as the well-known Bored Ape Yacht Club became a central stage in the early days of NFTs. These NFT collections have dropped significantly in value over the past few months. The crypto punk, which was as hyped as the boring Ape Yacht Club, recently saw prices plummet.

Some tech icons believe that more pain will come. Eric Schmidt, former Google Chairman and Chief Executive Officer and co-founder of Schmidt Futures, told CNBC’s Squawk Box at the Aspen Ideas Festival on Tuesday: go. “

However, Wood’s comments suggest she is worried about the recent sale.

“We are believers and I don’t think it’s a bad thing if the ecosystem is integrated. I think digital wallets will be one of the most important achievements here. They are effectively in our pockets. It’s a bank branch of. “Wood said. “These will be great opportunities.”

Innovation-focused investors were in a difficult situation in 2022 as her disruptive technology darling was one of the biggest losers of the year in the face of rising interest rates. Her flagship active fund, Ark Innovation ETF (ARKK), has fallen by a whopping 52% year-to-date, down 66% from the record high set in February 2021.

Still, Mr Wood said clients are mostly sticking to her and new money is flowing in as investors seek diversified investment in the downmarket. According to FactSet, ARKK’s June inflows exceeded $ 180 million.

Meanwhile, crypto investors continue to aggressively raise rates and exacerbate the liquidity crisis, putting key players in financial difficulty. More space is still upset since the fallout of the $ 60 billion collapse of the two major tokens last month.

“Many people expect the Terra Luna meltdown to cause a systemic chain reaction, which we see a bit, but so far Ethereum has held up very well,” Wood said. He talked about his failure.

In addition to broader crypto concerns, Celsius, a crypto lending platform that promised high yields to users depositing cryptocurrencies, suspended its withdrawal earlier this month. On Monday, the well-known crypto hedge fund Three Arrows Capital defaulted on a loan worth more than $ 670 million from Voyager Digital.

⁠— CNBC Yun Lee Contributed to this story.


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Approximately 25km from Ahmedabad Airport, hundreds NFT Collectors gathered as the blue and white lights wiped out Club 07’s banquet hall. But it wasn’t always a lot of people. Most people stayed calm and calm. Others stood still and quietly observed the stage. Suddenly, the crowd erupted with cheers — everyone shouted one name at once on “Digital Pratik.” People shoot in the air screaming to see the stage. A man stood on a chair, lost his balance, fell, and scrambled for a better view.

At the JorrDaar NFT event, entrepreneurs and Web3 evangelists discussed digital transformation of everything from art to assets. But that’s not the reason why the event was interesting. What fascinated it was that it was the first NFT ticket event in India. NFTs are basically impractical, whether they are art, music, video, GIFs, etc.

Pratiksinh Chudasma aka Digital Pratik is known for his digital marketing skills. (Express photo)

Jorr Parivar by Digital Pratik claims to be the first community-led NFT project in the country consisting of 1,254 NFTs centered on 22 IPs, with a focus primarily on branding, marketing, and motivational utility. I am. These NFT tickets were used on Jorr Parivar’s custom Web3 platform to generate QR codes over the blockchain. The portal then scans for this at the event before accepting participants. Notably, event tickets are not sold in Indian Rupees or fiat currencies.

Each JorrParivarNFT token has a specific description and meaning and provides metadata in the media’s on-chain storage. In particular, these NFTs are animated animals such as cheetahs, dogs and rabbits. It is clear that these hand-painted animals do not provide real utility. The premise of Digital Pratik’s approach is to create and service access to the community he calls “Parivar” through exclusive training, workshops, monthly zoom calls, Q & A sessions, dinner meetings, and more. ..

These animated animal NFTs have three layers: bronze, silver and gold. Any member of Bronze (who purchased only one NFT) was granted access to the event. Silver members had access to a two-day limited hotel stay in the lounge, including access to the event, and Gold members participated in various activities such as Go Karting. The different levels of access and activity through the smart contracts that accompany each investment provide a “utility” through metadata, “Pratik told indianexpress.com.

Pratiksinh Chudasma aka Digital Pratik is known for his digital marketing skills. He dropped out of engineering three times when his father had a paralytic attack. After that, he worked in the sales department of a call center. After four years of professional career in a call center job, Pratik hasn’t made any progress, which is why he started looking for more options to earn. He realized that making money online was the best option, and as a result he began to study intensively in digital marketing courses. However, due to lack of finances, he could not pay his fee and was forced to abandon the course on the way. However, he never lost courage and was re-employed, and he made money. After that, he returned to the digital marketing course. “I had only 300 rupees in my bank account. It was a tough time thanks to my friends who helped me grow.” Pratik is currently creating content on digital marketing, web3 and branding. Inspired by American entrepreneur Gary Weinachuk, Platic launched his own collection of redeemable NFTs.

Chirag Jain, co-founder of SocialTag, a talent management and influencer marketing company, said: “More than 50 people have access to luxurious suites and participated in activities such as go-karting, indoor cricket and ice hockey. Facilities such as swimming, tennis, VR games and cinemas are complete, including exclusive ones. Now it’s free. VIP dinner with guest speakers. “

Devansh Seth, a 26-year-old college student and owner of Jorr Parivar NFT, follows Pratik online. He believes Platic has become his father in his life. “I had no goal. But his video was encouraging, having this voice there 10 times a day, every day, constantly sending out all this content,” you do this. I can do it, “reminded me. Seth owns two bronze NFTs and spends all of his savings over Rs 17,000 on the purchase of these NFTs.

Another NFT holder, Vaishakh Sabu, 31, flew all the way from Kerala to get a glimpse of Pratik. He has Gold, Silver and Bronze Tier NFTs. He realized that Pratik was real and genuine and wanted to get closer to him. Thanks to the NFT, he felt it. “I spent about 10,000 rupees on NFTs,” he said. “I continue to buy.” Sabu aims to be a content creator.

NFT holders enjoying the event. (Express photo)

For some participants, it’s a dream come true. People want to see their boss in real life. Some want to hang out with him, others want to build networking. NFT artist Netra Acharya, 22, who was attending the event, was absent from college and attended the event. “NFTs are all about the community. It doesn’t matter what art is or how creative it is. But trust in a particular content creator is the driving force. We believe in Platic. And I know he will be the way to our success. “

Despite regulatory uncertainty, NFT holders still appear to be bullish on cryptography and NFTs. Two young entrepreneurs, Harshil Anand, 20, and Hiran Banerjee, 21, said: Regulation still has a long way to go. India still understands cryptography and it stays here. We are not here in the short term. Hiran holds 16 animated animals, Jorr Parivar NFT.

Interestingly, the market has fallen sharply. This means that the price of NFTs has plummeted to 50% of the purchase price. “… it doesn’t matter, these prices will skyrocket quickly. This is what we call a market fix,” Harshil added.

Anshul Rustaggi, one of the event’s sponsors and the founder of a mythical metaverse called “Zionverse,” believes that the Pratik community is the driving force behind the event. “They love him and understand that redeemable NFTs have never been introduced in India and can be very successful.” “Because NFTs are more than just a collection of images. I wanted to do this. They have real utility and we are here to provide it. “

NFT tickets are digital assets that hold access credentials to events. (Express photo)

NFT tickets are digital assets that contain credentials for the event. These tickets allow NFT holders to enjoy benefits such as pick-ups and exclusive merchandise. This creates an even more immersive fan experience. It is worth noting that NFT tickets provide ongoing loyalty to artists, event organizers, and stakeholders. This is a system that can disrupt the traditional ticketing industry by resolving the inefficiencies faced by current ticketing systems.

“Paper tickets and QR codes can be forged, but this is one of the major drawbacks of traditional ticketing systems. This creates a security gap at the event venue and fans who unknowingly buy fake tickets. Each transaction is recorded in the blockchain ledger, so the NFT ticket resolves all of this. Event organizers and attendees verify the authenticity of all tickets on the chain. You can also track the history of ownership, thus making it impossible for a malicious person to tamper with the ticket, “Sanchit, event’s technical director, told indianexpress.com.


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Art Industry News is a daily digest of the most important developments that emerge from the world of art and the art market. Here’s what you need to know on Wednesday, June 16th:

Need to read

Ada Calhoun about being the daughter of an art critic – “The brilliant eyes and dazzling wisdom loved by my readers, my art critic’s father, Peter Sheldal, are often directly encountered as a kind of mean thing, frankly. ” Journalist Ada Calhoun, who writes by middle name to avoid it, writes.She is with her New Yorker The father of a critic. “In public, he’s enthusiastic. In private, he’s merciful, unreliable, and prefers to smoke in the office rather than playing with his grandchildren.” Calhorn in her new book I’m recording a complex relationship, Also poet: Frank O’Hara, my father, and me.. She didn’t expect Schjeldahl, who was diagnosed with stage 4 lung cancer three years ago, to live to read it. In the end, he did, and he thought it was great. ((((New York Times).

Peter Max’s daughter filed new proceedings over guardianship – The ongoing battle for the care of aging pop artist Peter Max with dementia has taken a new direction this week. His daughter, Tenbinza, causes her serious emotional distress by the artist’s current court-appointed guardian refraining from information about her father’s health and isolating him from friends and family. He filed a new proceeding claiming that he had given it. Her guardian, Barbara Listener, appointed in the artist’s court, claims that Libra is cooperating with the “Free Britney” movement for her own purposes. ((((Rolling stone).

Bill Gates hates NFTs – Microsoft co-founders opposed the NFT and described the digital collection epidemic as “more than 100% based on stupid theory” in a TechCrunch talk on Tuesday. Described the entire industry as an elaborate way to avoid taxes in essence, he had a particularly tough word for the boring Ape Yacht Club. “Obviously, expensive digital images of monkeys will greatly improve the world,” he said with a laugh. “As you know, I think it’s great.” (((ARTnews).

Dan Koren is moving to better high fashion – A bad boy artist who turned to a farmhouse in northern New York, he reinvented himself as a fashionable designer. Sky High Farm’s early apparel companies, which direct their revenue directly to nonprofits, work with Comme des Garcons, Balenciaga, Denim Tears and others. Currently available are a $ 746 recycled cashmere cardigan and a $ 536 work jacket. ((((The Wall Street Journal).

Mover & Shaker

Han Bing joins Thaddaeus Ropac – A Chinese-born Paris-based artist joins her leading Sadaeus Ropak in Europe and South Korea. She is still represented by Antenna Space in China and Night Gallery in the United States. Bing’s work goes back and forth between abstraction and sculpture, and artists are particularly attracted to the “glitch” that occurs in the city, such as when an ad is torn from a wall. ((((press release).

Sotheby’s expands in Monaco – The auction house has turned Monaco’s pop-up gallery, launched last summer, into a permanent private sales space. It is headed by Louise Glacier, the newly appointed director of Sotheby’s Monaco. The gallery is part of the ongoing expansion of Sotheby’s’ private sales hub, which recently opened in Aspen, Palm Beach, and East Hampton. ((((press release).

Artist and activist Hunter Reynolds dies at age 62 – An artist with a memorable and inspirational piece focusing on the AIDS crisis and the damage it has caused for generations died at his home in East Village, his gallery PPOW said. confirmed. Reynolds’ art took many forms, including performances, photography, and large installations, and was widely known by the altar ego, Patina du Prey, which he created in the year he learned that he was HIV positive. .. An active member of ACT UP, he remained a vibrant and tenacious activist until his death. ((((ARTnews).

Nontsikelelo Mutiti joins the Yale School of Art Faculty – Zimbabwe’s designers, artists and educators have been appointed directors of graduate studies in graphic design at top art schools. Mutiti will take office in August. She succeeds Professor Sheila Levran de Brettville, who has led the division for 32 years. ((((Contemporary &).

For art

Welsh Congress Announces Portrait of Terry Higgins – – Approximately 40 years after his death at the age of 37, Terry Higgins, who was first confirmed to have died of an AIDS-related illness in the UK, was honored with a portrait on The Senedd. The work of Cardiff artist Nathan Wyburn is made from Welsh red and green colored heart-shaped stamps. The government has launched a 12-week public consultation on proposals for plans to end new HIV infections by 2030.Independence).

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Innovations in the creation and purchase of NFTs permeate the evolving world of digital art, but the same cannot be said about its exhibits. Generally, collectors and buyers are restricted to viewing their work online from mobile apps or web browsers and cannot bring their work beyond the computer into the real world. For Master & Dynamic CEO Jonathan Levine, entrepreneur Dan Merritts, and co-founder Scott Gralnick of the cryptocurrency wallet Portis, art is intended to be seen, so NFTs rely on its usefulness. That’s why the trio co-founded LAGO. It creates a sophisticated real-world frame that carries digital art to the wall in a way that preserves the depth and dimensions inherent in computerized works.

Art: Tristan Eaton, provided by LAGO

Founded in May 2021, LAGO has set out to create an advanced mint art display that allows digital works to be displayed alongside traditional works. A 33-inch high-resolution square frame with ambient light and motion sensors, a product of the same brand, is the only display with built-in premium sound. This combination of technologies allows LAGO displays to provide an interactive and immersive experience unique to mint art pieces with dynamic elements. As a multi-faceted canvas that can display works obtained by owners and works obtained by other collectors, the frame exhibits art that is faithful to the artist’s vision while maintaining certification and security.

“Days Of Dreaming” by Eric Pose from Brian Brinkman’s collection (courtesy of LAGO)

LAGO is currently announcing its latest release, the LAGO Pass (limited to 3,000 scrutinized Minters). This pass not only serves as an access card to LAGO’s community of digital artists and collectors, but can also be used for exclusive events such as art and culture travel, private auctions, gallery opening and artist dinners. All pass owners will also receive the LAGO frame and soon the company’s next generation frame, LAGOX.

“Our mission is to bridge the gap between the Metaverse and the real world. The LAGO Founders’ Edition Frame was the first step in achieving that,” says Gralnick. “Then we recognized the opportunity to enhance the dynamics between Web 2.0 and web3 that replaced the LAGO pass. In creating this community, we are unique to our customers to truly bring the Metaverse home. We provide an experience. “

Courtesy of LAGO

In addition, Pass helps future buyers navigate the world of digital art, providing access to concierge services that support and inform art transactions, the latest drops, and digital markets. The award catalog is rotated and diversified every month.

LAGO has worked with artists such as Gmunk, BT and Ben Mauro to mint the original NFT exclusively for pass owners for the first founder, Mint. Every month, LAGO releases commissioned works from a roster of over 100 artists, as well as additional works from 8-9 up-and-coming artists.

“In-Visible” by Kidmograph from the Illestrater and Sevens Foundation collections (courtesy of LAGO)

LAGO frames and paths are an advanced and enhanced way to enjoy NFTs. The display not only brings justice to the artwork itself, but also blends the gap between traditional art and digital art, which is the motivation for establishing LAGO. You can create a LAGO pass now on their website.

Hero image provided by LAGO

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Dmitri Cherniak Ringers # 29, Non-Fungible Token (ERC-721) Created January 31, 2021 Estimate: £ 1.1-1.3 million

Philips announced Ex-Machina: History of Generative Art, Exhibitions and online auctions. Curated by Georg Bak, Former Makina Shows the history of generative art that began in the 1950s, from computer art pioneers to today’s generative NFT artists. Featuring the invisible works of pioneers Bella Mornal, Hebert W. Franke and Gottfried Jaeger, Former Makina It will also bring the work of generative NFT artists Snowfro and Dmitri Cherniak to market for the first time.

A public preview of the highlights will be available today from May 31st to June 17th, before the full-scale exhibition at Berkeley Square 30 in London from July 11th to August 5th, at Ruedue Bac’s Philips Pari Gallery. It will be held at. The work will be available at Phillips.com for an online auction from July 13th to 20th. Prices range from £ 2,000 to £ 1.1 million.

“Philips is excited to bring so many historic pieces to market, and this is the first such large-scale exhibition and sale to date. In Paris and London. Former Makina For a total of a month and a half, there is a conscious decision to allow the general public to work on and experience this unique product.Bella Mornal (Des) orders Directly commissioned from her studio – works of this size and condition have never been published. I’m also looking forward to receiving works directly from Herbert W. Franke and Edwald Cuck. The latter was acquired by Tate Modern and MoMA from his Minitel series. “

Benjamin Candler, Philips, Digital Art Project Leader,

Distributed Gallery Chaos Machine Oak, Steel, Slate, Glass This work, performed in 2018, is number one in the second edition. Estimate: £ 40,000-60,000

Former Makina Featuring several historical and new works by generative NFT artists, it bridges the evolution of generative art over the last 70 years.The most important digital work is from Dmitri Cherniak Ringer # 292021, comes from part of the prestigious collection of Narcissus Gallery and the artist’s famous Ringer series. Ringer # 29 Is one of four ringers with “extra green” dots out of 1,000 and has been on the market for the first time since the project was released. Originally released on ArtBlocks, Cherniak used a p5js script to explore the concept of “how many strings can be wrapped around a set of pegs”. He worked on algorithms for years and culminated in the release of ArtBlocks. Each piece is unique in that it doesn’t exist until the collector buys it. The transaction data interacts with preset variables to create very different pieces with unique characteristics.

The highlights of the breadth and creativity of the media in generative art spaces are: Chaos machine By Distributed Gallery, a collection of artists and engineers who create works based on distributed technology, usually blockchain-based. The Chaos machine An Ethereum-based jukebox that activates when fiat money is inserted into a machine and incinerated. Jukebox playlists are generated by the user, and when activated, they play from both jukeboxes, regardless of how far they are from each other. Once the note is written, the user will be issued a QR code that allows them to add another song to the playlist. Only two chaos machines have been manufactured so far.

Paris Preview May 31st-June 17th 46 Rue du Bac, Paris 75007
London Preview July 11th-August 5th Berkeley Square, W1J 6EX
Online Auction July 13-20, 2022 Phillips.com/exmachina




Mark Westall

Mark Westall is the founder and editor of FAD Magazine, the founder and co-publisher of the Art of Conversation, and the founder of the platform @worldoffad.

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