MacNerd and “SuperCrip” Mint NFTs with Sharp Humor to Make a Point

HOLLYWOOD, California., February 2, 2023 /PRNewswire/ — MacNerd and SuperCrip Productions today announced a groundbreaking line of digital collectibles to help fund the “SuperCrip” feature film and raise awareness about the lack of Hollywood roles for disabled people. The movie stars Tobias Forrest, a talented actor and C5 quadriplegic. “I am delighted to get my film off the ground with this innovative funding source,” says Tobias. The NFTs have varying levels of rarity and special details; the first run will be 5501 individually hand-crafted GIFs digitally rendered by MacNerd.

“About 26% of the population has some form of disability,” says SuperCrip writer/producer Randall Miller (writer/director of Sundance hits Bottle of shock and Marilyn Hotchkiss), “but less than 1% of movie and TV roles are given to disabled people. Even disabled roles are given to skilled actors. No one is more qualified to portray the disabled than someone who lives with a disability 24 hours a day, 365 days a year. We decided to disrupt this pattern by creating a parody line of NFTs as outlandish as the current situation Hollywood.”

These digital collectibles are a tonic for Hollywood, depicting parody versions of famous movie characters. Instead of Forrest Gump, there is Forrest Gimp. Instead of James Bond, there is Lame Bond. Hannibal Lectric has an electric wheelchair. Each character in the collection bases its likeness on SuperCrip’s Tobias Forrest.

MacNerd is busy hitting and facilitating the NFT sale. “This collection is fantastic,” says MacNerd’s CEO Steve McKeon. “Not only are these intricate pieces of art, but they also fund the film and raise awareness for thousands of artists who are underrepresented in TV and film.”

The collection has three levels: Super-Powered, Stand Alone, and Franchise. Additionally, there are plans for two additional seasons of Supercrip characters, a racing game, and a Supercrip coin. With Tobias Forrest, Randall Millerand Steve McKeonthe team includes illustrator Michael Davis (writer/director of ShootEm On and 8 Days A Week) and Jody Savin (writer/producer Bottle Shock and Marilyn Hotchkiss).

In addition to fundraising for the film, NFT sales will support donations to organizations and non-profits within the disability space. These companies and foundations include ABILITYMagazine, Fodac, Ralph’s Riders, Triumph Foundation, CinemAbility Foundation, abilityEntertainment, RespectAbility, Artists For Trauma, and Permobil.

For more information on SuperCrip projects, visit the SuperCrip website.

SuperCrip Twitter: https://twitter.com/SupercripNFT

Steve McKeon Twitter: https://twitter.com/macguyvermedia

Team info: https://supercrip.io/info

For more information about MacNerd, visit our website.

Chip Turner
(570) 369-3306
[email protected]


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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: https://budblockz.io/nfts

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: https://budblockz.io/
Presale Registration: https://app.budblockz.io/sign-up
BudBlockz Community Links: https://linktr.ee/budblockz

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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Bored Ape Yacht Club NFTs are Plunging in Value and Mired in Lawsuits
A Bored Ape Yacht Club NFT billboard in Times Square. (Photo by Noam Galai/Getty Images)

The demise of crypto companies like FTX has not only depressed the cryptocurrency market, but has raised questions about the once-thriving market for non-fungible tokens (NFTs).

The Bored Ape Yacht Club (BAYC), a collection of 10,000 NFTs made up of various digital monkeys, was perhaps the most emblematic symbol of last year’s NFT boom. “It got the most attention from the media,” said Andrea Baronchelli, a professor at City University of London who studies crypto and NFTs. “It exploded because of the movements of various celebrities, it was seen as a status symbol.”

However, in December, the celebrities behind BAYC promotions were sued for allegedly artificially inflating the value of the NFTs. Stars such as Justin Bieber, Madonna and Paris Hilton were named in the suit, which alleged that influential figures were secretly paid to advertise the collection through misleading promotions.

The investment value of the BAYC collection has also taken a hit in recent months. In December, there were $76 million in Bored Ape NFT sales on the secondary market, compared to a peak of $346 million in January 2022, according to Crypto Slam, an NFT aggregator that publishes sales data. During that time, the average sale of an NFT from the collection dropped from $238,000 to $86,000.

The demise of FTX and other crypto companies not only weighed against NFT sales, but led to increased regulation, according to Merav Ozair, a blockchain expert and fintech professor at Wake Forest University. The US Securities and Exchange Commission (SEC) is reportedly investigating Yuga Labs, which owns Bored Ape Yacht Club, over whether its offering of digital assets violates federal laws. It is also investigating ApeCoin, a cryptocurrency given to holders of BAYC NFTs. “Regulation is coming to the crypto market, and NFTs are no exception,” Ozair said.

Yuga Labs, a Miami-based company, is also at the center of a dispute over trademark and copyright laws. In June, Yuga Labs filed a lawsuit in a Los Angeles court against artist Ryder Ripps, claiming that his use of BAYC images in his own NFT collection infringes on Yuga Lab’s trademark.

Questions arise about Bored Ape copyright protection

While the lawsuit deals with trademark rights, which would apply to Ripp’s use of the BAYC logo and name, Ripp subsequently filed a counterclaim regarding copyright rights, which would cover the BAYC NFT images themselves. In December court filings, Ripp demanded that the court declare that BAYC NFTs are not subject to copyright protection.

This could have major implications for Yuga Labs, which claims to transfer copyright interests to holders of BAYC NFTs, thereby increasing their value to NFT owners.

But as Yuga Labs tried to persuade the court to stay away from copyright issues instead of trademark infringement, it revealed that it had not actually obtained copyright registration for BAYC NFTs. “The court should not determine whether Yuga Labs has a copyright in its Bored Ape images, because such an opinion would be merely advisory; Yuga Labs does not have a registered copyright,” Yuga Labs responded in a January 18 court filing.

Although copyright is created automatically when you create an original work, it must be registered to enforce it by filing an infringement suit in the US, according to Christian Tenkhoff, a Munich-based attorney at the law firm Taylor Wessing who specializes in IP rights and NFTs. However, he said it remains unclear whether there is any copyright in the artwork underlying many NFT projects, due to the use of AI in creating the images.

The US Copyright Office has consistently taken the position that works of art must be human-made to be registered, according to Zahr Said, a professor specializing in copyright and trademark law at the University of Washington School of Law.

“The larger question, still unanswered in the legal community, is whether the artwork associated with NFTs can be eligible for copyright protection if it was created with the help of artificial intelligence and algorithms,” Tenkhoff said.

Yuga Labs maintains it owns its copyright, Eric Ball, an attorney for Yuga Labs, said in a statement. “It is well established law that a copyright is created the moment an author creates something original that they put down on paper. Copyright registration with the federal government is also voluntary and not required.”

Bored monkeys were in the middle of the NFT tree.  Now they are mired in lawsuits and falling in value

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SBF, Bored Ape Yacht Club, and the Spectacular Hangover After the Art World’s NFT Gold Rush

We got on the horn with Benedict Evans, A tech thinker who partnered at Mosaic Ventures and Andreessen Horowitz, who led the $450 million fundraising round for Yuga Labs — before the crypto winter. We wanted an outside read on the state of the art world’s soul, following its brief embrace of the crypto phenomenon. If an art dealer gets in and out unscathed, how bad must they feel?

“Does a real estate agent feel any obligation to tell you that you’re in a real estate bubble, and you shouldn’t buy?” Evans said. “None. It’s not their job. Their obligation is still to the seller.”

For more insight into how the sky-high prices of certain NFTs were built up, there is an explosive lawsuit filed by the US District Court in the Western Division of the Central District of California against the founders of Bored Ape and their most famous fans. The 95-page complaint reads like an episode of Consequence set in the middle of the crypto-crazy early 20s, with a Mad Libs grab bag of rappers, zeitgeist hitters and A-listers: Diplo, The Weeknd, Gwyneth Paltrow, Snoop Dogg, Post Malone, Future, Kevin Hart, and—last but not least—The Chainsmokers. The suit, which seeks class-action status for buyers of Apes or ApeCoin, weaves a tale of alleged crypto fraud, Hollywood machismo, social media spam, celebrity worship and a bit of Bono. Ultimately, it claims that the rise of Planet of the Bored Apes was nothing more than a scheme to make the apes look like assets that celebrities and art dealers spent millions to acquire. Those deals were staged, the suit alleges: The famous and influential got their monkeys for free and were paid to promote the stuff, a fact they didn’t disclose.

“These famous celebrities, they come in, and they’re going to cause an increase in price as they continue to interact in the ecosystem. They’re part of the club, and more people are going to want to be part of the club with the celebrities to have it,” says lawyer John Jasnoch, a partner at the San Diego firm Scott+Scott, which filed the suit on behalf of a pair of aggrieved Bored Ape and ApeCoin owners called Adonis Real and Adam Titcher, as well as other claimants yet to be named. “And so, ‘Oh, they’re unique and they’re rare’—that drives the thought that this will be a successful investment for you.”

You may have noticed in early 2022 that almost every celeb was on a crypto company’s payroll – Stephen Curry made bank as the spokesperson for FTX and several celebrities posted Instagram stories about their expensive NFTs. And there it was Larry David Super Bowl commercial. According to the suit, the alleged scheme began when Yuga Labs partnered with the music industry veteran Guy Oseary, who drives Madonna and U2. Named as a defendant in the suit, Oseary brought in high-profile friends and clients to buy and promote their NFTs.

But what the lawsuit alleges is that Oseary and the company used a consumer crypto app called MoonPay — think Venmo or PayPal but for crypto — to make the “transactions” happen without money changing hands, so the bolded names never had to actually spend money on the NFTs they said they were buying. In addition, the suit alleges that Oseary’s venture capital firm Sound Ventures (of which Ashton Kutcher, who is not named as a defendant in the suit, is a partner), along with several of the other well-known Ape underwriters named elsewhere in the lawsuit, were early investors in MoonPay, enabling them to “benefiting financially from the cross-pollination and promotion”. efforts for the Yuga Financial Products.”

“Together, Oseary, the MoonPay Defendants and the Promoter Defendants each shared the strong motive to use their influence to artificially create demand for the Yuga Securities, which in turn would increase the use of MoonPay’s crypto-payment service to handle this new demand,” the suit read. “At the same time, Oseary may also be using MoonPay to disguise how he paid off his celebrity cohorts for their direct or off-label promotions of the Yuga Financial Products.”

Asked for comment, a Yuga Labs spokesperson said: “In our view, these claims are opportunistic and parasitic. We strongly believe they are without merit, and look forward to proving as much.” Oseary did not respond to requests for comment last week, and the court filing shows he was granted a delay in responding to the case.

While the lawsuit is in its earliest stages, it may already have some much-needed context for one of the more baffling exchanges of our entire pandemic-era screen consumption: the “I bought a monkey” back-and-forth between Jimmy Fallon and Paris Hilton on The Tonight Show in January 2022, in which the pair, Ape owners each, discussed the finer parts of NFT shopping. Fallon, in the somber tone of a man who has come to terms with the state of his soul, says he chose his Breton-striped Monkey because he also likes striped shirts. Hilton, as if she didn’t have the faintest idea what she was saying, offered, “I saw you on the show with Beeple and you said you had it on MoonPay.” As the suit claims, the exchange helped build the idea of ​​Bored Apes as investment pieces worth millions — a Tinker Bell game of sorts — and attract more buyers, for all its unintentional comic gold. As the plaintiffs and their lawyers tell it, celebrities who talk about their Apes on social media, or late night TV, became public part of a scheme in which their hundreds of thousands of dollars worth of NFTs translated into the popularity of ApeCoin. Which translates to a $450 million seed fundraise, and a $4 billion valuation.

Neither Fallon nor Hilton responded to requests for comment last week.

“Do you have the DJ Khaled one?” Jasnoch, the lawyer, asked me.

He referenced footage of DJ Khaled, hip-hop’s walking exclamation point from the era, standing on a yacht looking at various phone screens while various people tell him, “You bought a monkey! You got ‘ bought a monkey!” while Khaled shakes around in confusion.

“Yeah, it’s pretty bad,” Jasnoch said. “He’s just like, ‘I don’t know what it is.'”

In the auction world, selling the digital future was a relatively subtle proposition: The houses had to accept the cultural cognoscenti and implant the idea that NFTs were art. Was Beeple’s Every Days-a series of tens of thousands of images and illustrations, some of which are sexist or just plain childish – real fine art worthy of a downtown gallery opening and a celebratory private dinner at Frenchette, which Beeple really did last March for threw him? In retrospect, it’s a bit crazy to say things like “I look at life as pre-Beeple and post-Beeple – as the world thinks of before Jesus Christ and after,” like Noah Davis, who organized the $69 million Beeple sale at Christie’s as the house’s head of digital really once said. (Davis has since left Christie’s and now, as it happens, works as a brand chief at Yuga Labs for CryptoPunks, another one of his NFT offerings. They kind of look like the Apes, if they were comic book guys with a punk appearance was.)

But it doesn’t quite matter if it’s art—auction houses sell wine and constitutions and sneakers and watches and first editions. If it sells, you sell it.

“It’s like Hollywood making movies about how Hollywood sucks. You actually embrace it,” said Evans, our crypto sherpa. “Like, yeah, I’ll take that money.”

The auction houses have their boilerplate explanations of why a certain NFT should be contextualized as art, making sure to remain as committed as ever to the seller, not the buyer. Did Beeple really “achieve something historic” when Christie’s ditched his NFT-cum-walking-man sculpture, human one, in his evening sale between paintings Issy Wood and Stanley Whitney?

Jasnoch, the plaintiffs’ attorney in the Yuga case, attempted to thread this needle by comparing the Bored Ape NFTs and their crypto-complement, ApeCoin. The former can be argued as a work of art in the broadest sense. The latter is simply a currency with no artistic value whatsoever – which, in his estimation, makes it a viable thing to be regulated. Connecting the two entities so closely is where things get tricky – and the lawyers get involved.

“I think the concept of an NFT can have intrinsic value, and that a token can represent value in some way, and I think there’s value in people liking the look of the artwork,” he said. “But in terms of it being a financial product and how it’s marketed and how it’s sold, it really is an unregistered security and it should be subject to proper disclosure. And once you start generating all that hype around the Bored Ape itself, they release the ApeCoin token, which doesn’t even have the pretense of an artwork or anything. And it’s just a straight unregistered security used for speculation and for trading.”

Evans offered another conundrum. When a market offers something for sale at a large amount, there is an understanding among the public at a base level that it has some legitimate interest. Maybe the artwork isn’t up to par, but it has provenance and the artist is in museum collections – or there’s historical relevance to something that makes it at least a curiosity.

“When you buy vintage vinyl, or rare sneakers, or Marilyn Monroe’s shoes, or a Salvador Dalí print, or whatever it is, you’re getting something that has no tangible physical value, but cultural value,” Evans said. said. “There’s like a deep cultural base that thinks Jordan sneakers are worth something, early Sex Pistols vinyl is worth something. And the challenge with all these NFTs was that you didn’t really know that there was that broad, deep cultural base. It was just, ‘Oh my god, someone just bought one for 200,000.’

For now, some in the art world still act as if the dedication to NFTs might produce some kind of windfall. Sotheby’s Metaverse is having a sale right now. It presents the first NFTs by the artist Sebastião Salgado, but they don’t exactly set the place on fire. They cost $250 each. Back in 2021, Sotheby’s Natively Digital sale netted $17 million, with $11 million paid for a single NFT from the CryptoPunks series.

But in February 2022, Sotheby’s set up a special sale where it expected a set of 104 CryptoPunks to go for as much as $30 million, only to see the thing collapse minutes before the hammer when the consignor backed out, allegedly due to a lack of interest from bidders. By last December, the Natively Digital sale seemed to have completely lost its luster. Sotheby’s offered the first-ever Keith Haring NFT as the star lot of the sale, but it sold for $25,000, well below the $80,000 high estimate.

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Rolls Royce’s unique Phantom Series includes charitable NFTs – Ledger Insights

British luxury car manufacturer Rolls Royce has a NFT series related to six new Phantom Series cars. The company teamed up with artist Sacha Jafri for this venture: the interiors of each car include unique hand-painted artwork by the artist representing one of six elements – Earth, Water, Fire, Wind, Air and Humanity.

The Six Elements project started in 2020 and the cars were unveiled last month. The NFTs are sold with the car, and the owner can sell the NFT independently of the car. The royalties collected from trading the NFT are stored in a digital wallet to raise funds for charity. In its latest announcement in December 2022, the company said it had already surpassed its goal of raising more than $1 million for charity.

“I am delighted with the success of this project. We and our dealer partners in Dubai and Abu Dhabi have embarked on an amazing journey with a specific goal, which I am delighted to have not only achieved but surpassed,” said César Habib, Regional Director, Rolls-Royce Motor Cars , Middle East & Africa, referring to the cars sold to customers in the Dubai and wider Middle East region.

Other luxury car companies have pursued similar collaborations with artists to create NFTs. In January 2022, Lamborghini launched an NFT collection featuring a set of digital space keys modeled on a carbon fiber assembly sent to the International Space Station. McLaren has partnered with InfiniteWorld to launch NFTs based on McLaren’s luxury cars. And BMW announced a metaverse-inspired concept car, with digital windshield displays that project a virtual world.

The Volkswagen Group has invested in its digital strategy, with its investment reflected in its brands Porsche, Audi and Skoda. Audi introduced fractional NFTs, which sell parts of a single artwork. Volkswagen’s South African subsidiary also launched NFTs through OpenSea, as part of an advertising campaign for the new Polo car. Most recently in November 2022, Porsche announced its first official marketplace for NFTs, which would feature 7,500 custom pieces of art from the Porsche 911 model. Porsche also incubates mobility technology startups. Launched Forward31, a company started by Porsche Digital Fan zone in 2021, a platform for digital trading cards using blockchain technology.

With the metaverse projected to have an impact from $5 trillion by 2030, various sectors seek value in the metaverse. The initiatives listed indicate that the automotive industry is creating unique virtual experiences for deeper digital engagement of their projects. As a result, executive reports indicate that the automotive industry is among the leaders in current metaverse adoption. Seventeen percent of the sector plans to invest a significant portion of their digital budgets in the metaverse.

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8 Art Memes That Defined 2022, From ‘I Will Avenge U Mr Van Gogh’ to ‘I Like It, Picasso’

In a year that opened with a gold cube landing in Central Park and closed with AI rising to test the limits of artist copyright, the internet has had a lot to chew on when it comes to the art world 2022 has come. And more often than not, the cyber mob has chosen to do so via the medium of the meme — that instantly recognizable, sometimes humorous piece of content that has come to infect most online conversations.

As a shared language, memes have not only documented some of the year’s art-related moments, but illuminated entire situations with side-eyed sadness and madness. Below, we’ve selected some of the best memes that captured 2022 in digital shorthand.

‘I will avenge you mr van gogh’

In one of Just Stop Oil’s most sensational protests, the climate activists threw an entire can of tomato soup at Van Gogh’s Sunflowers in London’s National Gallery in October. The painting was protected by a glass screen, but rapper Lil Nas X thought a comeback was in order nonetheless, offering a photoshop job of him squirming. Sunflowers at Andy Warhol’s soup cans. “I will avenge you, Mr. Van Gogh,” he wrote.

FIAC vs Paris Art Basel

In January, Art Basel announced the launch of Parys+, its new fair to take place in the Grand Palais in October – effectively occupying the place and time slot long reserved for FIAC. When Paris’ flagship show took this knock on its reputation, the memes wrote themselves.

British Museum:

For a few years now, internet memes have abounded about the British Museum’s historical penchant for taking other people’s things, an observation that is not entirely unfounded. But it’s the “Nobody:” meme that has has captured the museum’s acquisition policy in ways that are both brutal and on point, again and again and again.

Kevin the Pixelmon

In February, the Pixelmon NFT project rode the twin tides of hype and anticipation to bring in $70 million in coin. But the big art revelation, with low-res graphics and misshapen characters, immediately deflated all speculator buzz. The only one who survived the entire disaster was Kevin, the Pixelmon creature and “ugly zombie squirtle,” which survived, thanks to its extreme meme ability. And he remains a sign of hubris in the age of crypto.

Ghost Halloween

Because stock Halloween costumes no longer satiate postmodern appetite, the Ghost Halloween meme arrived on the world stage with photoshopped, fake ensembles that ranged the cripple on the rude on the quite funny. The one below, courtesy of the ever-reliable @jerrygogosian, also happens to be totally recognizable to art insiders.

Heidi Klum as a worm

Model Heidi Klum, whose raison d’être these days looks like it’s “winning Halloween,” dressed as a worm for the holiday this year. The now infamous costume was the product of her latest and ongoing collaboration with Mike Marino of Prosthetic Renaissance, and required months of planning. And all for what? Amazing memes.

Elon Musk’s Thirst Trap

In late October, Elon Musk, the world’s one-time richest man, finalized his purchase of Twitter, and couldn’t hold back on the memes. Yes, the image of his sad “bedside table” she had viral momentbut it was his type in the long run Milo Manara meme to thirst Donald Trump, which sums up the unfunny desperation of Musk’s latest effort. By the way, the Italian master of erotic art presented himself his own statement.

Okay, I like it, Picasso

When TikTok creator @itsreefa came across an “art project” in nature – involving an individual in an elaborate costume and a giant orange wig, and a car covered in tin foil, he expressed high praise: “Okay, I like it, Picasso.” It’s a line that’s been around ever since the social media sphere twice over, handily applied to this, that, and any art project, whether by Picasso or not. (The artists featured in the original TikTok, by the way, are part of Array Studios.)

@itsreefa Welcome to Coventry 🤩 #fyp #foryou ♬ What is it I like it Picasso Yes datway – ReefaTV

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“NFTs and Metaverse Become the Must-Have of the Global

NAPLES, Fla., Dec. 27 2022 (GLOBE NEWSWIRE) — Many analysts predict a multi-trillion-dollar market opportunity with the Web3 & Metaverse ecosystem of technologies by 2030. This ecosystem was showcased at the immersive Global Summit, held in Miami on December 5-7. It allowed more than 1000 participants to learn, grow and connect with leaders across many technologies: blockchain, Web3, Virtual and Augmented Reality, NFTs, digital people, 5G networks and cloud connectivity.

Irina Dubovik, Digital Marketing Director at Intetics, a leading global technology company, attended the IGSMiami to find out where the industry is headed. Intetics summarized the trends observed to follow for both enterprise and consumer market players and published an overview on their blog.

Web3 is a future, and it is where everything is going
The company briefly introduces Web1, Web2 and Web3 and explains their differences. In short, Web 1 focuses on reading, Web 2 – on engagement and contribution, and Web3 is the next evolutionary leap forward of the Internet.

Opinions on the exact definition of Web3 vary from expert to expert. Web3 is evolving day by day, with new initiatives and use cases appearing. But the main principle of this concept is this: it’s all about decentralization. Web3 is all about decentralized and fair internet where users, not governments or corporations, control their data, identity and destiny.

Despite the disputes surrounding the concept definition, real value and future, Web3 has become a fundamental driver for startups and venture capital in recent years.

Many speakers and companies participating in the immersive Global Summit said that almost every industry is expected to adopt Web3.0 blockchain technology within the next decade – from e-commerce and media to healthcare, automotive and energy. Intetics studied the use cases of businesses that are already on stage adopting Web3-related concepts such as NFTs and Metaverse.

NFTs and Metaverse are becoming the must-have of the global leaders and enterprise digitization strategy

Non-fungible tokens (NFTs) have many blockchain features that make them practical and integrable with Web3. NFTs are digital blockchain-based assets with metadata and unique identification codes that distinguish them from each other. NFTs can represent images, videos, songs, in-game items, clothes or shoes, and other real-world objects. Such things can be bought and sold online using cryptocurrency or fiat money.

Many brands are building and announcing their NFT strategies and digital assets, trying to take advantage of this technology and gain a competitive advantage. Intetics highlights several use cases of the implementation of NFTs by global leaders in the fashion, foodservice and automotive industries.

Nike .SWOOSH, a new Metaverse community
Nike introduces “.SWOOSH”, a Web3-enabled platform to ensure a safe and trusted space. Nike members can learn about, collect, and ultimately help co-create virtual objects, typically interactive digital assets like virtual shoes or jerseys.

The .SWOOSH metaverse platform is operating in beta, with registration opening later in January 2023. Now, Nike is creating an inclusive community by inviting members who support diversity and equality initiatives, starting with the United States and several European countries.

“We are shaping a marketplace of the future with an accessible platform for the Web3 curious. In this new space, the .SWOOSH community and Nike can create, share and benefit together.”

Ron Faris, the Vice President of Nike Virtual Studios

Porsche introduces NFT collection of 911s
Porsche is one of the first automakers to enter the non-slinging drawing industry. On November 29, the company announced its NFT collection. Porsche collaborated with Patrick Vogel, a renowned 3D designer, to create 7500 NFTs featuring the legendary Porsche 911.

The holders of NFTs can use different customization tools and even have their own unique combinations of rare properties. NFT purchases are limited to three per person.

“The NFT artworks allow us to take our understanding of modern luxury and the unique brand positioning of Porsche into the digital world.”

Detlev von Platen, a member of the Porsche Executive Board for Sales and Marketing.

First ever NFT collection by Renault
Following Porsche and other car manufacturers who have already entered the Web 3.0 route, Renault does not want to be left behind. Renault’s first NFT collection, called genR5, was inspired by the Renault 5 and went on sale on December 15.

Based on four models of the Renault 5, the collection includes 100 electric Renault 5 NFTs, 160 Renault 5 Turbo NFTs, 450 Renault 5 Le Car Van NFTs, and 1,262 Renault 5 TL NFTs. Each of them will be randomly assigned and revealed after purchase, with their own perks, including invitations to private events or access to exclusive content.

This is only the beginning of a long-term Web3 project for the automaker. With its first NFT collection drop and the intention to set up a long-term project, Renault is launching its own platform, R3NLT. The automaker aims to form a community of enthusiasts. The platform will offer unique experiences and opportunities such as exclusive test drives and meetings with brand designers for the platform members.

“Joining the R3NLT community is tantamount to entering into a unique relationship with the brand, creating and offering new experiences to all enthusiasts. And there’s no better way to start than with a collection of NFTs that pay tribute to the sublime Renault 5.”

Arnaud Belloni, global marketing head of Renault

Starbucks introduces its Web3 loyalty program and NFT community to first beta testers
Starbucks launched its blockchain-based loyalty program and NFT community. It’s called Starbucks Odyssey and represents an extension of Starbucks’ existing loyalty program, Starbucks Rewards. It works through a coffee-themed NFTs collection that translates to real-world experiences and leverages Web3 technology. The new initiative has so far been released to the first group of US beta testers.

The goal of the project, which was announced to investors earlier this year, is to earn more diverse and broader rewards than the benefits that users can obtain today, such as free drinks. Instead, Starbucks Odyssey is introducing a new platform where customers can engage in interactive activities called “Journeys” that, when completed, allow members to earn collectible Journey stamps — which is Starbucks’ less geeky name for NFTs.

From a business standpoint, the program allows Starbucks to not only engage its most loyal customers and build community, but also provides a potential revenue stream. From next year, it will release Limited Edition Stamps, which members can purchase to support various initiatives.

The IGSmiami showed exceptional opportunities for businesses to open new innovative channels to create value and improve customer security and digital experience. Keeping up with new technologies like AR/VR, NFTs, etc. is becoming a must for businesses that want to grow and improve their services. There are endless opportunities for using blockchain technology for businesses regardless of industry: security management, cryptocurrency software, smart contracts and international money transfer systems, etc.

The full trend overview is available at the link.

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Intetics is a leading global technology company focused on creating and operating effective distributed technology teams focused on turnkey software product development, digital transformation, quality assurance and data processing.

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At Intetics, our outcomes not only meet client expectations, they exceed them for our 27+ years in business. Intetics is ISO 9001 (quality) and ISO 27001 (security) certified. The company’s innovation and growth achievements are reflected in winning prestigious Inc 5000, Software 500, CRN 100, Deloitte Technology Fast 50, GSA, Stevie People’s Choice, Clutch, ACQ5 and European IT Excellence awards, and inclusion in IAOP Best Global Outsourcing 100 List. You can find more information at https://intetics.com

A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/f2086bd4-2438-42c0-91b4-43ca878bd47d

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US Allows Use Of NFTs For Fundraising Activities, ReelStar Rolls Out NFT Creation Zone

The US Federal Election Commission (FEC) has allowed DataVault Holdings to use non-fungible tokens (NFTs) for fundraising activities, Cointelegraph reported.

In a Dec. 15 notice, FEC declared that DataVault is “permissible” to distribute NFTs as an incentive for political campaigns without violating the rules on corporate contributions. DataVault will track all tokens distributed for its own records and get “appropriate compensation” for each NFT issued to contributors, according to FEC.

“The Commission concludes that DataVault’s proposals to provide political committees with NFTs on the same terms as it routinely provides to its non-political clients would constitute a permissible credit extension in the ordinary course of business,” Allen Dickerson said. , chairman of the FEC, said.

“Under the Act and Commission regulations, an incorporated commercial seller may extend credit to political committees under terms substantially similar to those offered by the seller to non-political debtors. DataVault is a ‘commercial provider’ because its ordinary business involves providing the same services it purports to provide to political committees,” he said.

ReelStar’s Onsite NFT Creation Zone

ReelStar app, a Web3 integrated social media platform, has become the “title” sponsor of The Great Indian Sneaker Festival. Artists will have an opportunity to create NFTs using the ReelStar app on-site. According to the company, the artists will have an opportunity to create works of art under the guidance of ReelStar experts.

To engage with the youth, lifestyle, gaming and artist community, ReelStar has set up an exclusive “ReelStar Experience Zone” for its guests. It will also allow the visitors to see the NFTs that have been created, meet and greet, and access features of the ReelStar app beta, among others.

Navdeep Sharma, the co-founder of ReelStar said, “ReelStar is going to open up a new world of experience and opportunities for Indian creators all over the country.” He said it will also bring new opportunities for the Indian fashion industry.

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The Innovators: Curator Tina Rivers Ryan on Getting Over Her NFT Skepticism and What’s Next for Blockchain Art

She was an NFT hater. As a curator, art historian and critic, Tina Rivers Ryan spent much of her career waiting for the digital art she loved to receive the widespread support that museums gave over traditional mediums like painting and sculpture. A diverse network of artists has been exploring new technologies related to computers since the 1960s, but it wasn’t until outsiders crashed the conversation with speculative financial assets called non-fliptable tokens that most of the art world began to take serious notice. To counter the crypto market’s obfuscation of this history, Ryan went on the attack. “Instead of appreciating the value of digital artworks, NFTs have sold them short,” she wrote Art Forum in May 2021. “They affirm ownership and platform capitalism at precisely the moment when digital art can facilitate a conversation about alternatives.”

The curator of the Buffalo AKG Art Museum’s opinions have become more nuanced in recent months. Ryan immersed himself in the metaverse and cultivated friendships with leading digital artists working with NFTs, including Dmitri Cherniak, Sarah Zucker, and Itzel Yard (known online as IX Shells). For several months, she had weekly conversations with Erick Calderon, the founder of the Ethereum-based Art Blocks platform and creator of the Chromie Squiggles NFT collection. “This [moment] is a prelude to what comes next,” she explained to Artnet News. “And I want to make sure we [in the traditional art world] have people in the room to help shape those conversations while the future is still being set up.”

Ryan is helping to write the first draft of this history through initiatives that include “Peer,” her museum’s recent online exhibition and fundraising auction of blockchain art in partnership with the Feral File platform, and her participation in EAT_Works, a Web3 organization- matches. artists and technologists. And she’s getting recognition for her digital art advocacy: her recent promotion to a full curatorship at the Buffalo AKG Art Museum was due in part to her active involvement in the NFT community. The Andy Warhol Foundation has also awarded her a prestigious Arts Writers Grant for an upcoming series of articles on the impact of blockchain technologies on the critique and curation of contemporary art.

Artnet News recently selected Ryan as one of its 2022 Innovators, a list of 35 professionals pushing the art industry forward. The following conversation is an extension of her entry on the Innovators List and a detailed look at how a skeptical art historian became one of the NFT art community’s biggest boosters.

LaTurbo Avedon, CLUB ROTHKO—ORANGE AND YELLOW STARTER PACK (2022), part of the online exhibition “Peer to Peer” presented by the Buffalo AKG Art Museum in partnership with Feral File. Image: © LaTurbo Avedon. Courtesy Buffalo AKG Art Museum.

When the NFT bubble started about two years ago, you were one of the first museum curators to sound the alarm. There were some great zingers from your articles and interviews during that period, but one that really sticks out in my mind is from a March 2022 New York Times article where you said that NFTs “bring about an impoverishment – and not just of digital art, but of art point, because it reduces art to a frictionless commodity.” Do you still believe that position?

In retrospect, I could have been more specific because I was talking about NFTs as they are promoted by certain platforms and investors coming from outside the digital art community. But it has become increasingly clear that there are other ways to engage with NFTs in the market.

For example, there are certain platforms that prioritize rankings and thus emphasize looking at works of art as investments. Then there are other platforms like Feral File, which we [at the Buffalo AKG Art Museum] along with the “Peer to Peer” exhibition, which has space for commentary and curatorial frameworks. In that case, the NFT is not something that takes precedence over the artwork it is attached to, but something that is used as it was originally intended – as a digital receipt.

What I objected to was the kind of substitution or erasure that happened when signs were given priority. But as the space has evolved, the balance has shifted, especially thanks to the emergence of critical platforms like Outland and the writers who call for historically grounded dialogue. This makes it easier to think about digital art as art again.

Think digital art was your life’s work. But when you completed your PhD dissertation at Columbia University in the early 2010s, it wasn’t a particularly popular topic. How was your experience in academia?

I have always seen digital art as an extension of modern and contemporary art history. When I look at digital art, I see not only the technology, but a series of artists asking the same kinds of questions that others have asked for the last 150 years, such as the conceptual nature of art or the tension. between abstraction and figuration.

As my Columbia advisor Branden Joseph once remarked, I love digging around in the junk of art history. When I was there, I was particularly interested in artists who had not yet been allowed into the canon. My research continues to focus on artists whose practices have been overlooked or even irretrievably lost because the technologies they used became obsolete.

Over the past 15 years, time-based media arts such as film and performance have become increasingly important to the academic field. Now I think that digital art is becoming popular, but it will be hard to know what impact, if any, NFTs will have on the discipline until many years into the future.

Amir H. Fallah, Wheel of Life (2022), from the online exhibition "Peer".  Image: © Amir H. Fallah.  Courtesy Buffalo AKG Art Museum.

Amir H. Fallah, Wheel of Life (2022), from the online exhibition “Eweknie”. Image: © Amir H. Fallah. Courtesy Buffalo AKG Art Museum.

You’re a trained art historian, but has researching NFTs made you feel like you’ve also earned an honors degree in economics?

It’s been really challenging, honestly, because I’m trying to bring more nuance to the intersection of art and finance without reducing it to a straw man argument in which people claim that one side is more polluted or pure than the other.

We need to understand how capital functions in different market ecosystems where there are different advantages and disadvantages. NFTs have not fully solved problems in the art world, although they may represent a step in the right direction. But issues like lack of transparency, faulty provenance records, art browsing and artist royalties need more work. I hope the outcome of these conversations will be that people empowered and empowered by NFTs will realize the importance of these points.

What impact has engagement with the NFT community had on your role as a museum curator?

It is now easier for us to find larger audiences. Previously, audiences for digital art were defined by the general museum audience and our task was to make the digital art as relevant as possible. But now we can also curate for this larger community out there that is extremely interested in that digital art.

Mitchell F. Chan, Winslow Homer's Croquet Challenge (2022), from the online exhibition "Peer".  Image: © Mitchell F. Chan.  Courtesy Buffalo AKG Art Museum.

Mitchell F. Chan, Winslow Homer’s Croquet Challenge (2022), from the online exhibition “Eweknie”. Image: © Mitchell F. Chan. Courtesy Buffalo AKG Art Museum.

If NFTs served as a catalyst for all these changes—the increasing popularity of digital art, the curator’s role in exhibiting it, and the university’s interest in researching it—then what might be next for tokens? Did they play a role in the crypto crash, or is there more to see?

I think we are moving past the first phase when NFTs were fetishized. We all know the knee-jerk reactions and criticisms of the market, so those who want to engage more deeply have the opportunity to move into more interesting conversations about blockchain technology and how it can be used as an artistic medium.

Broadly, we will also see greater adoption and more use cases across NFTs. One example that comes to mind is that during our Art Basel Miami Beach celebration for “Eweknie” we offered a QR code that allowed visitors to collect a digital memento of the event in a digital wallet via ‘ an app called Autonomy, developed by Feral File. The souvenir can then be presented to the Buffalo AKG Art Museum for an adult admission ticket when we open next year after our renovation.

In recent weeks I have been asked a lot about what will happen to NFTs as a result of the FTX scandal and bankruptcy. But that brings me back to the useful distinction between the cryptocurrency market and the underlying technology. I’m not saying they’re completely sharable, but the blockchain doesn’t have to be used to make crypto. It’s worth considering how we might see the blockchain evolve through art in the coming years.

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Trump NFTs Possibly Made By Artist Behind Sylvester Stallone’s Aborted Project, Says Crypto Researcher – Ethereum (ETH/USD)

Wardena crypto researcher and Twitter user, claimed that Donald Trump’s NFT Collection was made by the same artist behind Sylvester Stallone’s now defunct NFT project.

what happened: According to the researcher, Trump’s recently launched NFT project employed the creativity of the same artist who worked on Stallone’s aborted NFT collection.

The researcher noticed this Clark Mitchell provided the artwork for the collection, though it has since come under fire from Twitter users who have noted various inconsistencies. For example, some of the artwork may have actually been copied from stock photos or Amazon costumes.

See more: Best Crypto Day Trading Strategies

So what happened to Sylvester’s project? After gaining a lot of traction, the team mysteriously went dark and the website and Discord invites disappeared, according to the researcher. Everything appeared to be ready to launch, or “presumably still intact, and perhaps still wanting to launch.”

The Stallone’s Collection gave token holders exclusive access to incredible experiences, such as the Ultimate Stallone Experience – a dinner hosted by Stallone himself.

Benzinga found out that Mitchell was part of Stallone’s NFT collection. Clicking on the link on his Twitter bio will give you access to all of Mitchell’s work, including the link to Stallone’s NFT project.

The popularity of the Donald Trump Digital Trading Cards has skyrocketed since their launch on Thursday, with the entire collection selling out within 24 hours. Data from OpenSea shows that the total trading volume of the collection is a staggering 6,658 ETH, or about $7.8 million at current prices – with a starting price of $99.

The Trump Digital Trading Cards project has been incredibly volatile. The floor price peaked at around 0.84 ETH ($1,182) on Saturday, only to drop as low as 0.33 ETH ($390) by early Sunday morning – representing a significant decline in value.

Warden and Clark Mitchell did not respond to Benzinga’s comments by press time.

Price Action: ETH is trading at $1,190, up 1.11% in the last 24 hours, according to Benzinga Pro.

Read next: Bitcoin, Ethereum, Dogecoin Seeking ‘Santa Claus’ Rally: Veteran Trader Says Memecoin Is Running Circles Around ‘Mulberry Bush’

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