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Artlist is a leading creative technology company offering content creators powerful video and image editing software, and over 900,000 professional digital assets under a revolutionary, global license that covers every project worldwide.

In its mission to empower people to tell stories through video, Artlist offers four products: Artlist.io, a royalty-free music and SFX platform; Artgrid.io, a curated stock footage platform; MotionArray.com, an all-in-one marketplace for creators including video templates, presets, music, SFX, stock footage, motion graphics and stock photos; and FXhome, a cutting-edge video, VFX and image editing software. Artlist works with a growing team of contributors across the globe, updating its catalogs daily with fresh content while preserving a consistently high level of quality across its media and platforms.

Since its founding in 2016, Artlist has revolutionized the industry by offering subscription-based products under an unmatched license, and is becoming the ultimate 360-degree solution for content creators. Recognized as a top startup by LinkedIn and WIRED, Artlist counts Google, Apple, Nike, Coca-Cola, Ikea, Mercedes, Samsung, Wix, Netflix, Dior and many more among its 16 million clients.

Artlist

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Imbas kod QR yang terpapar di dalam video untuk maklumat lanjut. Kredit muzik: Randy Sharp- Mr Garita daripada Artlist. Joran van der Sloot finally comes clean about Natalee Holloway after 18 years of lying 10 die of heart attacks while playing Garba dance ...

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Below are some of the most notable products they have on display: Mattel debuted Skipper, Barbie's younger sister, in 1964. But in the 1970s, the company decided that it was time for Skipper to grow up.

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Kredit Muzik: Do It Boy by CustomMelody dari www.artlist.io Chinese film 'No More Bets' causes controversy in Southeast Asia [Watch] Child Tumbles Out Of Moving Honda In Kelantan ‘He didn’t want to be a father’, Britney Spears details abortion while ...

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Music: "Prelude Carmen" by Jerusalem Symphony Orchestra via Artlist; "Life's Journey Begins" by idokay via Artlist; "Thoughts" by ANBR via Artlist; "Cherubinos Aria Voi che sapete" by Jerusalem ...

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AI is growing faster than ever. MarketsandMarkets that the artificial intelligence market will skyrocket to $407 billion by 2027. In this constantly changing environment, you either adapt or risk falling behind. As a result, companies and businesses around the world are incorporating AI into their day-to-day operations. According to a conducted by Forbes Advisor, a whopping 64% of businesses are confident that artificial intelligence will boost their overall productivity. A very optimistic outlook, isn’t it? predicts survey Today, it’s hard to imagine any aspect of our lives without AI, and influencer marketing is no exception. According to a by the micro-influencer platform SocialPubli, recent study 82% of marketers view AI as an opportunity for growth and success, with 76% already using AI in their work. Last year, Meta's of partnerships with "cultural icons and influencers" sparked many discussions. The company created AI-powered chatbots with unique interests and personalities and their own Instagram and Facebook profiles. Some resemble such celebrities as Snoop Dogg, Charli D’Amelio, Kendall Jenner, Tom Brady, Paris Hilton, and others. announcement While some see AI as a threat that could eventually take over human jobs, it's important to understand the many benefits that it can offer to marketers. Right now, However, the potential of AI certainly spreads far beyond these areas. AI is in influencer marketing to brainstorm ideas (45%), write social media posts (47%), create images and videos (39%), do editing (36%), and conduct research (35%). already being used How AI Can Revolutionize Influencer Marketing Discover relevant influencers with a relevant target audience When it comes to choosing influencers for collaborations, understanding their target audiences is key. While some platforms claim to be well-fitted for this task, manual review and verification seem to be more reliable at the moment. AI tools are already here to help, but in my experience, their current data doesn't quite match up with actual sales performance. They either miss important factors, or their methods are off. So, let's just imagine that AI keeps getting better and will one day reach a point of perfection. How could it help with searching for relevant influencers? When working with influencers, you should always watch out for certain red flags like low-quality followers, low frequency of posts, or low engagement rates. AI could help by performing initial checks on influencers and eliminating those who don't meet these standards. I can’t even begin to explain how much time it could save. Moreover, AI could check subscriber engagement, comment frequency, the sentiment of comments, any involvement in scandals, and alignment of political views with the brand's policy. In theory, interests could be analyzed as well. But automatic assessment of interests can be very complex because each audience category can have many subcategories. For example, imagine trying to sell a healthy vegan product. The system might suggest a list of influencers interested in healthy eating, but what if one of them supports healthy living but opposes veganism? You'd only catch these nuances through manual review. AI could also consolidate data from various platforms. Instead of manually copying and pasting links and calculating average metrics, AI could streamline this process by integrating all the data. It would also be a significant time-saver. Create and edit content According to the , 52% of video content creators are already incorporating AI into their workflow. However, I don't believe in AI replacing creative professionals anytime soon. I’d say that at this stage, it primarily produces content at the level of a junior manager. Artlist Trend Report 2024 Nevertheless, there are numerous areas where AI can be very beneficial. For example, many creators struggle with writer's block or feel lost when they need to come up with a cutting-edge and highly effective creative. AI can inspire and generate ideas as a starting point. AI is very accessible and very cost-effective. This makes content creation more budget-friendly, as even basic free versions of AI can offer some guidance. However, most AI platforms today have significant limitations and require validation. You need to check their outputs carefully because results can be very different — some are just funny, while others are alarming. Streamline your daily workflow Once again, AI is still in its early stages, so there are plenty of mistakes, and most of the data isn’t very accurate. While AI can provide guidance and explain some processes, you still need to proofread and verify everything carefully. But we're here to dream about the future. AI could help create spreadsheets, develop formulas, or even generate reports. Imagine you could simply say, "I need to design a spreadsheet for this advertising campaign. I'm stuck on the layout; can you help?" And it would create a template for you. Moreover, if you work with many managers or agencies, they are likely to send you information in various formats, and AI can help you standardize it. I once had an experience where AI proved incredibly effective for a similar task. I was collaborating with different agencies and needed to create a stop list of influencers to ensure they wouldn't be approached with conflicting proposals. There were two main requirements: the list had to be dynamic, and it had to be easy to input new influencers and check if they were already on the list. AI helped me develop a script for the spreadsheet. As a result, this tool has been refined and it’s being widely used today, saving a lot of time. Analyze Campaigns and Launches AI could monitor and analyze engagement, click-through, and conversion rates, as well as other metrics, providing insights for future strategies. Today, many businesses are flooded with data that includes sales figures, lead generation statistics, influencer performance, various marketing channels, methodologies, and timeframes. If we imagine that the future is here and ChatGPT-6 is already available, you could just ask, "Hey, I'd like to know the impact of these content creators on our overall business performance," or "I want to determine the most and the least effective creators." In general, every brand employs at least one analyst dedicated to tasks like these, spending days or even weeks writing scripts, utilizing SQL, and extracting data. But with AI, you could just write a query, and you're good to go. In my personal experience, AI helped me build regression analysis models to examine the correlation between sales and influencer marketing campaigns. It suggested certain tools, allowing me to discuss them with an analyst and implement them later on. Detect Fraud Currently, most fraud detection is handled manually by managers. For instance, if an influencer produces boring content but has a lot of likes, it can raise suspicion. Other red flags include frequent spelling mistakes, abnormal likes, or comments that don't match the post. Managers have to manually verify each account, checking for consistent content or a detailed profile description. Sometimes, it's easy to spot fake accounts, like those with a single profile picture, a mismatched description, or a random link. AI could automate this process using mathematical models. It would analyze subscription patterns, saving managers time and allowing them to focus on more important tasks. Increase outreach One of the most crucial parts of the influencer sales funnel is outreach. Your goal is to enhance the funnel's early stages with basic messages like, "Hi, I work with this amazing brand, and we have this fantastic product. We'd like to collaborate with you." Such tasks can be easily delegated to a bot, ideally programmed to simulate human interactions. After the initial contact, a manager can take over. Certainly, AI’s conversion rate may not match that of your top-performing managers. Moreover, since you're not making personalized approaches to content creators, there's also a risk of missing out. For instance, if you simply send a generic message to an influencer saying, "Hey, let's collaborate," they might ignore it. However, if you had taken the time to mention something specific about their content, it would have been more personalized, increasing the chance of a response. The risks of using AI Some experts argue that AI lacks authenticity and emotional connection. But I disagree, and I believe you can customize it to have a specific tone of voice and even add some humor. However, the ethical implications are significantly more important. Let's face it: not everyone enjoys talking with a bot, especially when it pretends to be human. The issue of ethics can arise when content creators are contacted by a bot and later feel deceived because they thought they were interacting with a real person. Moreover, as I’ve already mentioned many times, current AI platforms are not flawless, and depending on them for analytical tasks or calculations can be risky. To make things worse, some errors may not be immediately obvious. For instance, while mistakes in math formulas can be identified and corrected, it’s not that easy to see errors in influencer selection. You might think you have received a comprehensive list while actually missing out on some valuable influencers. Lastly, there are some concerns about data security. There's a risk that AI might start uploading data inputs from other users, possibly including your own. Avoid using confidential sales data, revenue figures, or other sensitive information. However, most influencer statistics, such as links, reach, likes, and comments, can generally be used without concern. The Recipe for Success How can everyone in influencer marketing use AI to boost their performance and make their work more effective right now instead of waiting for the perfect AI tools of the future? Instead of 'Google it,' try 'AI it': Use AI as your search engine, especially if you have an unresolved issue. AI can guide you to some unconventional solutions. Study all market cases: Understand AI's capabilities and gather case studies to anticipate future development. Technologies evolve at a rapid pace, and falling behind means having to play catch-up for a long time. Engage with AI when you're bored: Sometimes, interacting with AI and asking random questions can be quite intriguing. Like, what was the first-ever social media post? Exercise critical thinking: Since all AI platforms have their limitations, it's essential to validate their outputs. Stay curious and open-minded: While AI isn't an immediate game-changer or a genius, it's a valuable tool that can significantly simplify and speed up many tasks.

6 Game-Changing Ways AI Can Boost Your Influencer Marketing

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is none other than a series of low-cost highly effective marketing experimentations done repeatedly until you find the strategies that work. Growth Marketing Here is a list of that have worked for me that I invite you test out in 2023. 6 growth marketing strategies Growth Marketing Strategy #1 - YouTube Content Marketing As per Oberlo, , right after Google. YouTube is the world's second biggest search engine Most startups are generally intimidated when it comes to creating YouTube Content, primarily because they think they'll have to compete with creators along the lines of Mr. Beast. But that's not the case. As of now, the YouTube content delivery system consists of 3 algorithms: The Home Feed. The Shorts Feed. The Search Feed. One of the lowest-hanging fruits out there is getting your content to rank on both high & low intent keywords of the so-called search feed. Here's how I did it: I run a Growth Hacking Course ( ) and a Lead Generation Agency. Growth Hacking Bootcamp Throughout the past couple of years, since November 2017, YouTube has been an essential part of my client acquisition strategy. To this day, videos that I created years ago, still bring me an influx of leads, clients & community members. The only investment required from my side was some keyword research, and a few hours to record & edit the content. The strategy is simple: Identify high volume - low competition keywords using tools like & to understand what content is worth ranking for. VidIQ Google Trends Create videos around those keywords. Edit the videos. Create some appealing thumbnails using tools like Canva or Adobe Photoshop. Post your videos onto YouTube. Rinse & Repeat. Do this process enough times, and after several weeks to months, enjoy the benefit of YouTube traffic converting on your website. What's great about this, when compared to ad spend, is that YouTube traffic is continuous. Post something on LinkedIn & Twitter and it's off the feed within 48 hours. Positioning something on Youtube, however, lets you take advantage of what's called evergreen content - content that's positioned to never die out. Growth Marketing Strategy #2 - TikTok Content Marketing TikTok is among the most generous platforms out there when it comes to giving new creators a worthwhile number of views & overall engagement. Just about anyone can roll up on TikTok with a fresh account and become the next influencer if they dedicate the right amount of time & consistency necessary. But there's a catch. They need to understand & adhere to some best practices. This applies EVEN MORE to companies looking to generate both revenue & targeted traffic from TikTok. The issue with most companies & entrepreneurs getting on TikTok today is that THEY THINK they can just post content on anything and have it pop off. But that's not the case. Here's how you can do it right: Successful "TikTok-ers" follow several best practices when it comes to creating content that's positioned for at least some form of virality. Firstly, they understand the limitations of the TikTok algorithm. They know it's good, but they also know that it'll be unable to connect SUPER SPECIFIC content with a large audience. An example of content that TikTok can easily connect to an audience is content like: How to make money as a teenager. How to file your taxes. How to cook risotto. How to find a partner. The issue is though that most people attempting to become TikTok Content Marketers create content that's way too niched, giving the algorithm a very hard time when it comes down to pairing your content with an audience that may be interested in what you have to show. An example of hyper-niched content: How to generate leads for the accounting industry In this example, TikTok must not only find individuals that are interested in lead generation, but also people interested in generating them in the accounting industry. In addition to the above, most people also give up after pumping a few hyper-specific videos that: Are not subtitled. Have no hook within the first 3 seconds of the video to capture the attention of the viewer. Have no overlay content on top of the core video to make the video more appealing. Have no background music. Do not educate, amuse, or intrigue the audience. So the real question is, why should TikTok give you views, engagement & traffic when you can't even get the basics right? It shouldn't. It should instead prioritize the content creators that understand & follow the best practices of the platform. Growth Marketing Strategy #3 - Community Building Communities are some of the biggest Growth Marketing hacks any company can employ regardless of the year they're in. Communities can be built around entertainment or information and can be hosted on a variety of platforms. The thing with online communities though is that they require time & manpower. But once you get it right, you have a huge asset in your growth marketing arsenal. Here's how I did it: I built my own communities using both WhatsApp & Facebook Groups as hosting platforms. The process was simple. I identified where my target market lies and launched numerous outreaches across both LinkedIn & Reddit inviting fellow marketers & growth hackers into our growth hacking communities. The invitation was very simple, I simply invited them to a free community where they can network & learn FOR FREE from marketers & entrepreneurs from a wide array of industries. Many joined, and many didn't. Once I hit a good number of initial people in the community, I not only started engaging with them daily, but I also started creating relevant content for them related to the topic of the community (in this case Growth Hacking). This helped develop somewhat of a business flywheel, where I: Created a community. Created content for the community to help keep it engaged & lively. Added a join our community call to action on all the content I produced for the community. Had more people join the community from platforms like YouTube, LinkedIn & TikTok. More content. More community. And so on. Having your own community means that you have your own target market within our own distribution channel which you can market to at any time whatsoever without having to spend any additional ad spend whatsoever. Additionally, it also gives your prospects the ability to go through a successful buyer journey and engage with your brand/offer FREELY until they're ready to buy or commit to you. What I mean by this is that not everybody is ready to buy from you today. Some people are just interested in learning about what you're offering. If you have a community, they can join it, spend a few days interacting both with your brand and other community members, increase their level of trust to you/your brand. If they successfully go through this buyer journey whilst being in your community there's no doubt whatsoever that you'll be in their top 1% of preferred vendors as they trust you and know you. ALREADY BUILD A COMMUNITY. Or at least try to. Growth Marketing Strategy #4 - TikTok Ads TikTok has been growing at an alarming rate over the past couple of years. As a matter of fact, it's been growing so alarmingly fast that majors companies like Instagram and Youtube felt threatened to the extent that they even had to launch their own variation of a short-form content feed. This led to Instagram & Facebook launching Reels, and Youtube launching what's known as Youtube Shorts. Direct copycat variations of TikTok. Everybody knows this, but what most companies seem to be forgetting is the TikTok Ad Platform. Here's how I took advantage of it: One of the latest tests that I'd run for both the agency & the Growth Hacking Bootcamp is to test whether I'd be able to generate leads at a cost-effective rate within the Solar Installation industry at a cost-effective rate. TikTok was one of the platforms that I wanted to test running ads for quite a while, so I thought why not test out this offer on the TikTok audience? And so I did. I created a quick script for the TikTok Ad itself. I made sure that my script included a hook & a pitch to follow it. I went on Fiverr to hire a paid spokesperson specifically for TikTok Ads. I sent them the script. They sent me over the raw video of them saying exactly what I want them to say. I opened up the raw video in Premiere Pro, subtitled it, and added some relevant b-roll content and some dynamic background music from Artlist.’ And voila, that was my TikTok Ad. I then opened up the TikTok Ad Manager, uploaded my ad, connected to my ad account (the software that would push the leads from TikTok to a Google Sheet via API), and set the ad to run on a budget of €30 a day for a few days targeting men & women within the UK aged between 35 to 55. LeadsBridge The result? 7 leads of people interested in installing solar within their households for a total spend of 250. Total CPL of €35. TikTok is definitely an ad platform worth checking out. Growth Marketing Strategy #5 - Cold Email Automated Outreaches Automated Cold Email is one of the most cost-effective B2B & B2C marketing strategies out there. And yes, it's applicable to the B2C sector too when you're aim is to onboard influencers & celebrities that are going to promote your product to their audience. The issue though with most attempted automated cold email outreaches is that the setup is all wrong. This results in most emails being TOTALLY ignored as they just hit the spam box. Resulting in a waste of money, time & domain deliverability. What the experts consider: Cold Email is an art. And every art has its way. A successful cold email strategy is much more than just connecting your primary inbox to some automation tool and hoping for the best. Instead, a successful automated cold email outreach also takes the following elements into account: Satellite Domains Records Provider Automation Tool Warming Tool Rotation Cycle List Copy are essentially the domains you're going to be emailing from. And no, you never do cold email outreaches from your main domain as this will result in you eventually hitting spam, being blacklisted, and possibly even having your website delisted. Satellite domains: Examples of satellite domains include the following: Say you own magicagency(.)com and that's your main domain. A collection of relevant satellite domains would include: magicagency(.)co magicagency(.)biz magicagencyteam(.)com etc. The point is that you want to set up relevant domains that will take the heat for your cold email outreach. You'll warm the up, and those will be the key domains that you end up sending emails from, whilst savouring your main domain's deliverability for warm email marketing targeting users that have actually opted into your communications. Once you purchase your satellite domains, you'll want to set up the necessary DKIM, SPF & DMARC records necessary for utmost deliverability. Records: These records let ISPs know that your domains are set up correctly and are immune to malicious practices like spoofing and other forms of spamming. Who will host your inboxes & how will this decision affect your cold email outreach? Provider: Will you let Gsuite host the entire campaign and suffer poor deliverability when it comes to sending to Outlook inboxes? Will you host on Outlook and suffer poor deliverability when it comes down to sending to Gmails & other Gsuite domains? It's a serious decision that needs to be made. Once you've decided on the above elements, you've also got to make a decision on which automation tool you'll be using for the cold email outreach. Automation Tool: Will you be using Instantly? Lemlist? Snov.io? This decision will have an effect on your cost per email sent & your overall deliverability as no two tools are made the same. Deliverability is key when it comes down to Cold Email Outreaches. Warming Tool: And it's a pretty simple concept - it's your email's overall ability to land in your prospect's inbox. The question is, how do you improve deliverability? The answer is simple. Warming Tools. Warming tools essentially fake positive email interactions over a given period of time with a wide array of inboxes from numerous providers. This tricks the system into thinking that you should be granted a much higher deliverability than you already are allowed. It's a fact that when you expose any domain to any cold email outreach you'll see its deliverability drop over time. Rotation Cycle: So what do you do once a domain starts hitting spam consistently? Do you forget about it? No, you plug back it back into warming. Hence, a rotation cycle. A pre-planned inter-changeable cycle that says that an X Group of domains will be outreaching for a specified number of days whilst a Y Group of domains will be in warming for a specified number of days. These are some of the key elements experts take into account when launching successful automated mass cold email outreach domains. For more on it make sure to check out our updated , the Growth Hacking Bootcamp. Cold Email module in our Growth Hacking Course Growth Marketing Strategy #6 - Reddit Content Marketing Reddit is the internet's biggest collection of online forums for EVERYTHING! They've got subreddits for just about ANY interest out there. Reddit has r/accounting for accountants looking to discuss anything accounting related. They've got r/vegan for vegans & aspiring vegans to discuss anything related to the topic of veganism. And much more! So the question is, why not use this to your benefit? Here's how I did it: As part of the community-building campaign of our Growth Hackers Inc. groups on WhatsApp, Telegram & WhatsApp, I first had to identify all relevant subreddits related to what we're offering. After some research I realized that my most relevant subreddits were the following: r/marketing r/growthhacking r/digitalmarketing r/entrepreneurialridealong Next up, I had to find out what type of content the aforementioned subreddits liked. To do this, I simply researched the content that received the most upvotes within the past year. Once I realized what clicked within my targeted subreddits, my mission became very simple. I had to create content alike to the content I'd researched previously and make sure I adhere to the best practises of every individual subreddit. And so I did. Here are some results: with 196 upvotes, 36 comments & a Reddit award. One post , tons of reach & another award. Another with 53 upvotes And so on. Lastly, here's an extra Growth Marketing Strategy you should never forget… Never stop testing! Constant testing is the backbone of any successful growth marketing strategy. Just make sure that your analytics are set up right so that you can analyze both your successes & failures equally and it won't be long till you discover a strategy with hockey stick growth potential that's worth doubling down on. Hope you enjoyed this article.

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List of the Best Mobile App Development Companies & Developers — 2018 Reviews Is it a really harder for you to find best App Development company from a collection of thousands or maybe more?To save you from such a striving task, I collected here a prime list of the best app development companies in india. They have made business-growing apps since years and still making them with latest introduced technology. All of them are the solid ground of the best mobile app developers with exceptional technical skills plus heart winning strategies. So, what are you waiting for? Let’s start with the list of the best app development Companies in India: Best 10+ app development Companies in India 2018 IndiaNIC Infotech Ltd IndiaNIC is a leading mobile app, web and mobile games development company. Since 1998, we have successfully bagged 7000+ projects, building lifetime relationships with over 3500+ happy clients, for providing IT solutions to every industry sector out there. With the employee strength of over 400 mobile & web developers, designers and marketing experts working from our head office in Ahmedabad, Gujarat, we hail from a background of specialising in Mobile Apps, Games, Web Portal, Ecommerce, Custom Business Applications, Software Development using latest technologies as per the current and changing trends. Our expertise lies in Open Source Technologies, CMS’s, Microsoft Technologies, JAVA, MEAN Stake, iOS, Android, XAMARIN and other related trending tools and technologies. We are an ISO certified company and member of NASSCOM. Our client list includes names like Adidas, Cisco, Pepsi, Vodafone, McDonald’s, Gulfstream, Incentex, Jackson & Coker, Sancho BBDO, TATA, Kotak Mahindra Bank, Nirma Limited, and many more. Pricing: < $25/hr Location: India Employees: 250–999 Founded: 1998 2. Peerbits Peerbits is a global IT solution company delivering web development, mobile application development and IT consulting services of any complexity to clients worldwide. Peerbits has a strong team of 50+ highly skilled IT experts. Peerbits carries trust of more than 200+ clients spread across diverse business verticals.We are committed to excellence through the systematic and disciplined process. Our expertise guarantees quality, competence and rapid execution of any projects ranging from mid-sized portals to complex app development and custom mobility solutions.Our vision is to provide the utmost integrity and client satisfaction through our services, creating lasting relationships with our clients. Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2011 3. Quytech An award winning bespoke mobile app development agency quy technology pvt ltd providing enterprise mobility solution, chat application, Augmented reality application & cross platform services . We have been rated among the top 20 most promising enterprise mobility company by CIO review. Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2010 4. Finoit Finoit is a product engineering Company providing strategic and technology consulting in the field of Mobile, Software and IoT domain. We are focused on designing and developing customer-centric products and applications for startups to elite business groups across the globe. With our technology consulting and implementation services using Web, Mobile and IoT development technologies, we have delivered intuitive digital experiences and scalable products while solving business problems to over 250 customers across North America, Europe and Australia. Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2010 5. Hopinfirst Hopinfirst is a leading edge custom software development, web and mobile offers development of websites, mobile applications, AR/AR development, Digital marketing services app development company Pricing: < $25/hr Location: India Employees: 10–49 Founded: 2016 6. konstantinfo Konstant Infosolutions is an industry leader in delivering successful Mobile and Web development solutions across the Globe. We have been working since 2003, and have 2500+ happy customers worldwide. Having delivered 3500+ successful applications, we have served 30+ large Enterprises as well as start-ups. We are committed to success and our endeavor is to build highly performant and cost-efficient solutions. We have partnered with distinguished industries and firms worldwide like Amazon Web Services, Member of iOS Developer Program, Registered Google Play Developer, Microsoft Certified Partner, Adobe Solution Partner, Intel Partner, Acquia Partner, Authorize.Net Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2003 7. Octalsoftware Octal IT Solution is a global IT service provider having a strong presence in UK, USA, Singapore and India. The company has the reputation of delivering niche solutions in the areas of web and mobile app development. Octal has repeatedly prescribed quality as its virtue. With the ISO 9001:2008 certification and strict discipline towards the prominent quality standards, the company has produced flawless results since last decade. In its history of ten years, Octal has earned notable associations from technology leaders like Microsoft, NASSCOM, Amazon Web Services, Acquia, STPI, Dun & Bradstreet and Drupal Organization etc. Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2007 8. OpenXcell Incorporated in 2008 and headquartered in the USA, OpenXcell is an industry-leading software and mobile app development company known for delivering innovative software solutions and engaging mobile apps. Due to our unstoppable quest for making perfect mobile and web apps, we have slowly evolved into a one stop destination for all mobile and web app development needs. We have made a stellar reputation in the technology industry by adhering to strict timelines and quality deliverables. We are considered to be one of the most reliable partners by our clients as we follow a customer-oriented service model. Pricing: < $25/hr Location: India Employees: 50–249 Founded: 2009 9. 360 Degree Technosoft 360 Degree Technosoft is global solution provider of web development and mobile applications development dealing in various platforms like iOS and android. Having developed more than 500+ mobile applications on various platforms, 360 Degree Technosoft is well-accustomed with Google and Apple tools desired to develop a mobile application. Pricing: < $25/hr Location: India Employees: 10–49 Founded: 2010 10. Spaceotechnologies Space-O is one stop solution for all your mobile software development needs. From concept to development to marketing to ongoing maintenance, Space-O delivers. We are now one of the top mobile app development companies in India by following the success mantra of “Design-led-Engineering”. We work with best-of-the-best fine art grads from top design institutes such as NID and best-of-the-best engineers. Pricing: $25 — $49/hr Location: India Employees: 250–999 Founded: 2010 11. Cumulations Technologies Cumulations Technologies is Bangalore based most trusted mobile app development company serving to the industry from past 8 years. Delivered 100+ projects for more than 70 clients. Specialty lies in solving challenging problems and converting to a viable solution. More than 95% of Projects delivered on time. Worked in almost every industry and niche including smart home, healthcare, e-commerce, ticket booking, Wearable devices, Fintech and more. Pricing: $25 — $49/hr Location: India Employees: 10–49 Founded: 2010 12. Arka Softwares Arka Softwares is the one-stop solutions for all your mobile app requirements. From developing websites for industry giants to providing seamless user experience, there are plethoras of reasons that you can find to hire Arka Softwares as your development partner. With a team of 100+ developers and designers, Arka Softwares have delivered more than 100+ mobile apps to clients all across the globes. With a primary focus on agile development methodology, Arka Softwares offers great benefits to all the clients. As a custom mobile app development company, we provide robust, scalable and high-end development solutions to all our clients from small start-ups to large enterprise. Pricing: 18$ to 20$/hr Location: India, USA, UK Employee: 100+ Founded: 2010 These are the best app development companies in India that you can look out. You can also give me your suggestions in the comment box below. PS: This list is in progress and I update it every fortnight. Would you Like to list your App Development Company? Please do comment with your company name.

Best 10+ app development companies in India

Sydney Bencriscutto on His Journey From Music Artist to Options Trader to eCommerce Success

The Value of Diversity and Inclusivity in the Arts Since time immemorial, the arts have been an effective tool for encouraging diversity, campaigning for reform and fostering inclusive societies, for example, the Egyptian civilization, like building the pyramids of Giza and the Sphinx! Ancient Greek society building beautiful pottery, and sculpture! Artistic variety is essential for creative originality and creativity. Further, the and the highlighted the value of the marginalized people expressing their experiences and viewpoints in the form of art to empower them and make them be heard. feminist art movement in 1970s Harlem Renaissance When the art experience is shared with different audiences, it improves and becomes more representative of the diverse aspects of society. In terms of the labor force, having a diverse workforce for programming and community participation jobs makes art more relevant and approachable. An artistic society leads to more innovation and creativity all around, which leads to new discoveries and inventions….. The era of the renaissance was so critical in Europe’s history because the artistic tendencies of the human were awarded, which led to better outcomes for the medieval society. Even though it may appear tough, numerous organizations have successfully navigated the hurdles of in the arts. PepsiCo and , for example, have profited from a diverse workforce by allowing them to innovate and give excellent customer service to a wider spectrum of clients. Initiatives such as East-West Players' 51% Preparedness Plan for the American Theatre are excellent examples of how enterprises in the arts and culture sector may thrive by embracing diversity at all levels, including board members, artists, and audiences. Further, cultural instructions such as the and the theater demonstrated the importance of diversity and inclusivity but promoted empathy and diversity through sharing stories from various backgrounds, thereby bringing and democratizing art for everyone to enjoy and share. establishing diversity AT&T Sundance Film Festival Alvin Ailey American Dance The Palm Collective's Visionary Leap The Palm Collective is spearheading a new generation of Web3 and art in New York City. The Obscura Community is a groundbreaking platform created by this forward-thinking artist collective. Its goal is to empower artists in the rapidly expanding Web3 landscape. As we celebrate Women's History Month, this initiative serves as a testament to the transformative power of art and a beacon of inclusivity. The registration link for artists to register to the Palm Collective, can be found here. Participants must ensure that they follow the Palm Collective’s terms and conditions, and must be ready to provide a high-definition version of their work for projection in case it’s selected. Call x Digital Art: Egalitarian Utopia is accepting submissions in all formats ofall digital media, including images, videos, music, 3D, and artificial intelligence (AI) works though submissions using AI must be disclosed. Celebrating Womxn's Month with a Vision of Utopia March marks the arrival of spring as well as the commemoration of women's accomplishments across history and cultural contexts. Taking advantage of this historic time, The Palm Collective presents "Call x Digital Art: Egalitarian Utopia". It is a call for designers and artists of all gender identities to present their utopian worlds that are based on egalitarian values. This project advances the discussion on diversity and inclusiveness into the field of digital art in addition to honoring Women's History Month. With the transformation and shift to the digital age, artists now have unprecedented means of expressing their creativity at scale. The Palm Collective's most recent initiative, which provides artists with enticing incentives and a unique space to display their work, serves as more evidence of this move towards building an artistic society which fosters creativity and innovation at scale, for the people and by the people. Final Thoughts An important turning point in the history of the relationship between art, technology, and social reform has been reached with the introduction of the showcase project by The Palm Collective and the Obscura Community, as it brings together blockchain technology, NFTs, artistic creations and creative mindfulness together to create value for the society just like in the days of Renaissance. This innovative initiative is a celebration of the strength of the human imagination and the impact that artists have on the future. Through the celebration of Womxn's Month, The Palm Collective not only pays tribute to the accomplishments of women throughout history, but also lays the groundwork for a more equitable and inclusive creative community. The Palm Collective's effort is not just an art competition; it is a desperate cry to artists everywhere to imagine, make, and inspire a better future. It's evident from gazing out over this new terrain that art, in its most imaginative manifestations, possesses the keys to unlocking a more inclusive and harmonious world. Don’t forget to like and share the story! This author is an independent contributor publishing via our brand-as-author program. Be it through direct compensation, media partnerships, or networking, the author has a vested interest in the company/ies mentioned in this story. HackerNoon has reviewed the report for quality, but the claims herein belong to the author. #DYOR Vested Interest Disclosure:

Empowering Artists in the Digital Age: The Palm Collective's Visionary Platform

ডিজিটাল যুগে শিল্পীদের ক্ষমতায়ন: দ্য পাম কালেক্টিভের ভিশনারি প্ল্যাটফর্ম

Künstler im digitalen Zeitalter stärken: Die visionäre Plattform des Palm Collective

Empoderar a los artistas en la era digital: la plataforma visionaria de The Palm Collective

Donner du pouvoir aux artistes à l’ère numérique : la plateforme visionnaire du Palm Collective

डिजिटल युग में कलाकारों को सशक्त बनाना: द पाम कलेक्टिव का दूरदर्शी मंच

デジタル時代のアーティストに力を与える: パーム コレクティブの先見の明のあるプラットフォーム

디지털 시대의 예술가 역량 강화: The Palm Collective의 비전 플랫폼

Capacitando Artistas na Era Digital: A Plataforma Visionária do Palm Collective

Расширение прав и возможностей художников в эпоху цифровых технологий: концептуальная платформа The Palm Collective

Dijital Çağda Sanatçıları Güçlendirmek: Palm Collective'in Vizyoner Platformu

Trao quyền cho các nghệ sĩ trong thời đại kỹ thuật số: Nền tảng tầm nhìn của The Palm Collective

为数字时代的艺术家赋能：The Palm Collective 的愿景平台

Vincent van Gogh, one of the most celebrated artists in history, is not only known for his mesmerizing and emotionally charged paintings but also for the tumultuous state of his mental health. This article delves into the intricate connection between van Gogh's artistic brilliance and the complexities of his mental well-being, exploring the profound impact of mental health on his life and work. The Artistic Genius: Vincent van Gogh's artistic genius is evident in his vibrant and emotive paintings that have left an indelible mark on the world of art. His distinctive use of color and expressive brushstrokes, exemplified in masterpieces like "Starry Night" and "Sunflowers," continues to captivate audiences worldwide. Van Gogh's ability to convey raw emotion and deep introspection through his art is a testament to his profound connection with the human experience. The Unraveling Mind: Behind the canvas, however, lies a tumultuous story of mental turmoil. Van Gogh's life was marred by periods of intense emotional instability, leading to strained relationships and isolation. He struggled with episodes of severe anxiety, depression, and psychosis, which significantly impacted his ability to navigate the challenges of daily life. Diagnoses and Mental Health: While a definitive diagnosis is challenging due to the historical context, contemporary experts speculate that van Gogh may have experienced various mental health conditions. Bipolar disorder, characterized by alternating periods of mania and depression, is a commonly suggested diagnosis. Van Gogh's frenetic periods of creative energy followed by deep depressive episodes align with the characteristic mood swings of bipolar disorder. Another possible diagnosis is borderline personality disorder, as evidenced by his intense interpersonal relationships, impulsivity, and emotional instability. Van Gogh's struggles with self-harm and suicidal thoughts further underscore the profound impact of mental health on his life. Art as a Coping Mechanism: Van Gogh's art is not only a reflection of his internal struggles but also a coping mechanism. Painting served as a therapeutic outlet, allowing him to channel his emotions onto the canvas. The act of creation provided a temporary respite from the torment of his mind, offering a glimpse into the intricate relationship between artistic expression and mental health. Legacy and Awareness: Vincent van Gogh's legacy extends beyond his artistic contributions; it serves as a poignant reminder of the intersection between creativity and mental health. His story prompts reflection on the challenges faced by individuals grappling with mental health issues, both in the past and present. As society continues to destigmatize mental health discussions, van Gogh's experiences offer a unique perspective on the complex interplay between brilliance and vulnerability. Vincent van Gogh's tumultuous journey through life, marked by artistic brilliance and mental health struggles, remains a compelling narrative that transcends time. By exploring the intricacies of his mental well-being, we gain a deeper understanding of the complex relationship between creativity and the human psyche. Van Gogh's enduring legacy prompts us to reflect on the importance of mental health awareness and compassion in both the art world and society at large.

Brushstrokes of Turmoil: Vincent van Gogh's Artistic Brilliance and Mental Struggles

Sonorus is rapidly gathering momentum as a platform that unites fans and artists, creating a transparent and fair music chart. By leveraging technology, the blockchain-based dApp offers a dynamic space for active engagement in discovering new music. Web3 With over 200,000 global users, is changing the game for music appreciation and valuation. Industry giants such as Haskey, Mask, and Y2Z - among others - have invested $2 million in this project during its seed round, fueling the platform’s growth. Today, we'll dive deeper into TrendFi, Sonorus' innovative system that empowers fans to shape the music landscape. Sonorus Getting to Know Sonorus and TrendFi Sonorus has been in this business for a long time as a decentralized app ( ), reaching an impressive number of users. It aims to create a fair and transparent chart that reflects real trends driven by the community. Fans are rewarded for their impact, while artists benefit from wider recognition and new earnings opportunities. dApp The platform aims to democratize the music industry, where fans' passion determines success, not industry gatekeepers. Sonorus envisions a world that encourages sharing creations and recognizes fans' genuine engagement in music trends. TrendFi is the innovative mechanism launched by Sonorus, allowing fans to actively discover and share new music. TrendFi represents the instrument making Sonorus' vision a reality, where music charts reflect the community's collective voice. The platform goes beyond the classic passive listening experience and encourages active participation through voting for favorite tracks. Charting a New Path: The Innovation of TrendFi The key to understanding TrendFi is to see it as the beating heart of Sonorus. It is a unique system where fans' engagement directly impacts the success of songs. First of all, the voting's impact here goes beyond showing support. It adds value to the track, creating a dynamic music chart that reflects the community's engagement. Moreover, early supporters who identify trends can earn rewards as tracks gain momentum from votes. This rewards fans' passion for music and gives them a sense of involvement with their favorite songs. But TrendFi is not just for fans; artists also benefit from it by receiving transparent recognition and rewards. As their songs gather votes, creators see the resonance of their music with authentic fan engagement. The real-time charts on Sonorus result from the active fan support, not just sales or plays. This ensures that they accurately reflect the current excitement of music lovers. Finally, TrendFi empowers discovery by allowing fans to nominate songs for the platform. This democratizes music discovery and gives emerging artists a chance to spread their work. How Sonorus Empowers their Community & Undiscovered Artists Sonorus is a game-changer for unrecognized artists. It's an inclusive platform that encourages artists to upload their music directly. Unlike traditional platforms, the project's nomination process is transparent and rapid. As a practical example, let's say you previously released a track. All you need to do is to find the song's link on , add it to Sonorus, and that’s it. The more votes such a track receives on Sonorus, the faster its value grows. Spotify Voting follows a simple reward-penalty system. For every vote received, a song's price escalates by 0.000002 BNB. As you may guess, selling votes causes the value to decrease by the same amount. Consider, to have the full picture of this system, that the song's initial price will always be 0.0002 BNB. Sonorus also has its governance token, $SNS. This token affords decisions shaping the future of the project. $SNS holders will have access to staking rewards and other utilities that further embed the token into the Sonorus experience. This ensures that $SNS will continue to play a crucial role in the project's development, empowering artists and fans. Sonorus encourages users to be trendsetters, nominating and sharing their favorite tracks early. It's a win-win mechanism for artists and fans alike: the platform provides an opportunity for new artists to thrive and for fans to discover fresh music. Bottom Line - An Ecosystem for Music Lovers and Creators Sonorus, through its innovative TrendFi system, is redefining music appreciation. It's a platform that integrates blockchain technology, empowering fans and artists alike. It fosters a community that rewards engagement, promotes undiscovered talent, and ensures transparency. The future of music, driven by fan passion and open participation, appears to be decentralized. In fact, decentralization aims to bypass middlemen and ensure artists' works are valued and respected. To learn more about Sonorus and TrendFi, the project's can offer insight into the platform's vision and potential. You can also keep in touch with the team through the project's official and channels. website Telegram Discord

TrendFi - A New Way to Empower Music Fans and Artists via the Blockchain

TrendFi - ব্লকচেইনের মাধ্যমে সঙ্গীত অনুরাগী এবং শিল্পীদের ক্ষমতায়নের একটি নতুন উপায়৷

TrendFi – eine neue Möglichkeit, Musikfans und Künstler über die Blockchain zu stärken

TrendFi: una nueva forma de empoderar a los fanáticos y artistas de la música a través de Blockchain

TrendFi - Une nouvelle façon d'autonomiser les fans de musique et les artistes via la Blockchain

ट्रेंडफाई - ब्लॉकचेन के माध्यम से संगीत प्रशंसकों और कलाकारों को सशक्त बनाने का एक नया तरीका

TrendFi - ブロックチェーンを通じて音楽ファンとアーティストに力を与える新しい方法

TrendFi - 블록체인을 통해 음악 팬과 아티스트에게 힘을 실어주는 새로운 방법

TrendFi – Uma nova maneira de capacitar fãs e artistas de música por meio do Blockchain

TrendFi — новый способ расширить возможности любителей музыки и исполнителей с помощью блокчейна

TrendFi - Müzik Hayranlarını ve Sanatçıları Blockchain Aracılığıyla Güçlendirmenin Yeni Bir Yolu

TrendFi - Một cách mới để trao quyền cho người hâm mộ âm nhạc và nghệ sĩ thông qua Blockchain

TrendFi - 通过区块链赋予乐迷和艺术家权力的新方式

I’ve had the pleasure of talking to Matvei Lisitsa, a promising concept artist and talented graphic designer, with hands-on experience in the film industry, creative agencies and entrepreneurship. Through our engaging conversation, Matvei unveiled his unique journey to becoming a concept artist and shared his perspectives on creativity, the wellsprings of his inspiration, and how modern technologies like artificial intelligence are shaping—and sometimes shaking—the realms of art and design. Matvei, share with us your path towards embarking on a career as a concept artist. Starting from early childhood, I have been keen on drawing and painting and have shown certain artistic abilities. Later on, I graduated from a prestigious college majoring in design. However, due to initially engaging in business with my brother and later developing my own retail business, I didn’t work in any specialized design fields for a long time. Still, attending to the design needs in the projects I was involved with allowed me to significantly hone my design skills. A few years ago I joined a large creative design agency and created storyboards for advertisements, various visuals, billboards, interfaces for promotional websites, icons, and did a lot of routine work. Although being a designer in a creative agency has never been my dream, I accepted the offer as they reached out to me via LinkedIn, and that was an intriguing new experience. Then, my story with concept art began to unfold. A friend of mine went to study in Florida and met a guy who was studying film directing there and was engaged in a film project. Their team was looking for a concept artist at the time, and so my friend recommended me. They reached out, saying they needed someone to draw a location and characters for an upcoming movie, provided a formal description and script, and I took on the task. I drew the concepts, and everyone liked it. At that moment, it felt like a new aspect of myself had been unlocked, as dreams of venturing into filmmaking had always been harbored since childhood. Somehow, the realm of concept art had passed me by, and when I discovered it, it was a bit upsetting that it took me so long to get there. And so, a voracious search for information began. When a field is entirely new, you can either learn it from scratch by yourself or go to a professional to learn. As a concept artist, you need to know a lot about films, different camera angles, frame composition, types of camera lenses, color, and light. Basically, all the film-related stuff, in addition to artistic skills, because you have to draw or create 3D models. In my case, it seemed more appropriate to turn to a professional, as it's an extremely vast topic. I enrolled in courses by Jama Jurabaev, who had collaborated with Disney, Lucasfilm, Steven Spielberg, and Guy Ritchie. Essentially, all the necessary fundamentals were covered in these courses and I also completed my first pilot project there. Later on, I was offered a job as a concept artist at the Hemlock project by DNA Studio, a mystical thriller in a Japanese setting. Meanwhile, I began creating some designs for my portfolio. For instance, there was this concept art contest called Mission to Minerva. Although my works didn’t win, they made it to the final featuring the best artworks chosen from nearly 32,000 participants from 174 countries (my works are shown starting from 1:49). showreel For another contest, I developed concept art called Swan Lake. When I was 14-15 years old, my mom and I went to a theater to see the ballet Swan Lake, and somehow imagined how cool it would be to make a movie to this music. Now, this thought found its embodiment in the concept art, for which I received a special mention from the jury. The American project I'm currently involved in thanks to my friend's recommendation, “Rain and Max Saga” by Synergetic Media Development, is in the pre-production stage and, if things go well, is meant to be a franchise. I've already done quite a lot for this project, regardless of its future fate: created full-fledged concepts of key locations, character sketches, and some simple stylistic concepts, as the idea is to have a “90s-like” style. Actually, it all started as a collaboration with Stan Lee in his later years. When they told me this, I couldn’t believe it at first. But quick googling has shown that this was true. It's very inspiring! Why did you choose concept art as your main direction? Well, because it's a blend of a creative approach and the cinematic, entertaining aspect. As a concept artist, I need to be an independent unit artistically, and a well-versed individual. If you bluntly recreate things already done in other projects, it might be received oddly. To avoid crafting clichéd narratives, you need broad exposure, extending beyond just movies. Even in many films, you'll find numerous references to classical paintings embedded in frame compositions, or outright reproductions of famous paintings, albeit in different attire or locations. Fashion, in terms of key photoshoots for magazines, along with celebrities and mass media, closely interlinks with painting, fashion, and movies since music videos often take cues from cinematography. So, you need to understand all these facets. All these elements inspire me, hence I probably chose this direction, intertwining various art forms. Whereas before I'd watch a movie and merely feel inspired, now I watch and notice—this technique, that camera angle, this special effect, that lighting. This adds an extra advantage, as you're not merely procrastinating while watching a movie, but extracting something useful for your work. In addition to your creative pursuits, you also ventured into entrepreneurship. Can you share a couple of insights you gained from this experience? The company I founded with my brother is called StickArt. We specialize in creating custom interactive portraits. The process goes like this: a client contacts us, sends a photo they want to be turned into a portrait, and our artists redesign it into an interactive format. Once approved, the portrait goes into production. What the client receives is not a finished portrait, but a canvas with a sketch, which they can then paint themselves using the set of paint included. When all this began, I was still in college, around 18 years old. My brother was exploring business ideas at the time and proposed this venture. I was responsible for the creative aspect of the project; for instance, I devised how we would draw the sketches, what tools to use, and how to technically implement all of it. My brother handled general management and marketing. Our business picked up fairly quickly, and I was deeply involved for about two to three years. Once the processes were streamlined, my involvement lessened. From a business standpoint, we were quite successful. People really enjoyed this format, and we had a good number of clients. The portraits were popular as gifts for weddings, birthdays, and so forth. However, to be honest, I didn't perceive it as a creative endeavor. It was more of a mass product. So, after a few years, I started to feel bogged down in routine, lacking a sense of tangible fulfillment, and began seeking something new. That’s when I realized the importance of avoiding a stagnant state. Whenever you feel you’ve outgrown something or it no longer brings you joy, it’s crucial not to fear letting go and seeking what intrigues you, where you can continue to grow. In my case, it took quite a bit of time. I started developing my own business, unrelated to creative work, and acquired many new skills—negotiating with clients, suppliers, marketing, and so on. This helped me grow both personally and professionally. I concluded that it’s beneficial to try new things, even if they seem daunting, as that’s how you can accelerate your development. You begin to realize that everything that seemed unattainable is actually achievable and realizable. What are your primary sources of inspiration? Many things inspire me, but ever since childhood, I've had a fondness for movies and music, along with drawing. Among these, cinematography has been the most inspiring as it transports me to a different world. Movies can spark visual ideas or concepts within me. For instance, I was very taken with Damien Chazelle's La La Land. It's essentially a classic musical adapted to modern realities, with a message to ponder. I love the visuals in this movie. I've been fascinated by Los Angeles since childhood, and in La La Land, it's depicted precisely as I feel it myself. This resonated with me, and I have good memories of watching it at a premiere in New York. Early contemporary art like Impressionism or Pop Art, especially Andy Warhol's works, also inspire me. Sometimes, I appreciate what our contemporaries create, but selectively. Unlike earlier times when Pop Art or Malevich's Black Square captured attention and gained value due to their unique approach, nowadays, there's so much created that it's hard to surprise anyone. I also draw inspiration from the fashion industry and mass media stories. I like keeping up with celebrities, though I do it less now due to time constraints. Previously, I keenly followed music videos, the ideas therein, and contemporary agendas. Because what's showcased in videos and movies often results from focus group analyses determining current trends. By following this, you stay in the loop. In one of your interviews, you mentioned, "A designer is not someone who creates beautiful visuals, but rather, someone who solves a client's business task." How do you strike a balance between commercial interests and self-realization? I believe the most useful skill every designer and commercial artist should master is switching off their ego. Creative individuals often wish to infuse their own vision into their work. It happens quite often that a person receives a task, conceives something unique, falls in love with the idea, but at the moment you present it to the client, they might not share your enthusiasm. Even if you are guided by your knowledge of good design principles, it doesn't always resonate—clients often have their own vision. Or, if we talk about design agencies, it’s common for creative director to fall in love with their own ideas and, consequently, they might not appreciate yours. Initially, this caused me a lot of emotional turmoil—I mean, when I created and proposed something, and it wasn’t appreciated. But with experience, I've come to a point where I strive to do well, pay close attention to the client's request, and just add my touch. However, if the client expresses disapproval, I react calmly because if it's a commercial task, I set aside my ego. I understand that I'm not the creator of this product, nor will I live with it; I merely strive to do my part well. And if there are any criticisms, I don’t take them personally, but understand it as a work-related expense. Certainly, there are designers and artists who are highly recognized, and clients may approach them saying, "We need your vision." But that’s more the exception. Every creative individual, while working on commercial projects, invariably faces these constraints. A good example is the animated film Spider-Man: Across the Spider-Verse. When the project was still in pre-production, concept artist Alberto Mielgo was invited as the art director and given quite a lot of freedom. He came up with his own stylistic approach, somewhat dark, to make it a more mature story. However, as I understood, Sony's producers weren’t thrilled with this concept since they wanted a balance of this explosive new style while targeting a teenage audience. In the end, they didn’t agree, and Mielgo left the project. He about this on his Instagram. wrote This is to say, designers of any status encounter this issue. Therefore, it seems to me it's essential to realize the nature of the project you are working on. Because if you are creating something for yourself or your portfolio, you have the freedom to do as you wish, and the only person to reprimand you is yourself. But when working for a client, it’s better to set aside your ego at the moment and think about the opportunity to create something cool. Yes, it won’t be a hundred percent your creation, as most of the time it’s a collaborative effort, and you are just part of the team. Perhaps, that’s where the balance lies. What do you think about current trends in art and design, such as the active adoption of AI? Regarding artificial intelligence, there's a utopian and a dystopian way to view it. Given how people often have a knack for messing things up, I'm not entirely sold on the positive aspects of AI. This notion has been around for a while. We've had bots and various software integrations for a long time; it's just become a hot topic recently. AI has indeed rocked the creative industry, sparking debates and discussions among artists and designers. Of course, there are certain fears. I try not to succumb to these fears. However, it's not the potential job loss due to AI that scares me most since humans generally adapt to changes quite well. For instance, there was a time when everything was drawn by hand, then photography and videography came along. Now, most things have transitioned to digital, yet there's still a demand for many artists, and technology hasn't fully replaced humans in the industry. With AI, honestly, I fear that the artist's job could become very mundane and uninteresting. The essence of being an artist lies in the creative process itself. Yes, the final result is pleasing to the eye, but usually, that joy is fleeting. When it comes to artificial intelligence, the scary part is that it might rob people of this process. You write a prompt, hit a button, and it gives you the final result. It's cool, but you didn't do it; you didn’t go through the process, and didn't experience the joy of creating. Life is not just about the final result; it's about the process. On the positive side, I'd be happy to use AI if everyone used it as an additional source of inspiration. It's foolish to argue that every artist gets inspired either by other artists or external materials. When they get an idea, the first thing they do is gather references. You go to Pinterest or Google and see what's out there on the topic. If artificial intelligence were perceived as a reference generator for a given topic, that would be a good use. For example, you ask it to show versions of future cities. It generates images, you add them to a folder, and you take something from there for inspiration. I think it would be better not to rush with the active implementation of AI, or at least, I'd like the charms of the creative process to remain with humans. In the creative sphere, it's precisely what gives people the stimulus to work and somehow express themselves. Hence, I'm more skeptical than positive about AI for now.

Exploring Creativity, Entrepreneurship, and AI Debates with a Concept Artist

Copyrights and Artistic Expression: The Stein v. Mazer Case

Baker v. Selden Court Filing, retrieved September 29, 2023, is part of . You can jump to any part of this filing . This part is 1 of 1. HackerNoon’s Legal PDF Series here Opinion of the Court Charles Selden, the testator of the complainant in this case, in the year 1859 took the requisite steps for obtaining the copyright [100] of a book, entitled 'Selden's Condensed Ledger, or Book-keeping Simplified,' the object of which was to exhibit and explain a peculiar system of book-keeping. In 1860 and 1861, he took the copyright of several other books, containing additions to and improvements upon the said system. The bill of complaint was filed against the defendant, Baker, for an alleged infringement of these copyrights. The latter, in his answer, denied that Selden was the author or designer of the books, and denied the infringement charged, and contends on the argument that the matter alleged to be infringed is not a lawful subject of copyright. The parties went into proofs, and the various books of the complainant, as well as those sold and used by the defendant, were exhibited before the examiner, and witnesses were examined on both sides. A decree was rendered for the complainant, and the defendant appealed. The book or series of books of which the complainant claims the copyright consists of an introductory essay explaining the system of book-keeping referred to, to which are annexed certain forms or banks, consisting of ruled lines, and headings, illustrating the system and showing how it is to be used and carried out in practice. This system effects the same results as book-keeping by double entry; but, by a peculiar arrangement of columns and headings, presents the entire operation, of a day, a week, or a month, on a single page, or on two pages facing each other, in an account-book. The defendant uses a similar plan so far as results are concerned; but makes a different arrangement of the columns, and uses different headings. If the complainant's testator had the exclusive right to the use of the system explained in his book, it would be difficult to contend that the defendant does not infringe it, notwithstanding the difference in his form of arrangement; but if it be assumed that the system is open to public use, it seems to be equally difficult to contend that the books made and sold by the defendant are a violation of the copyright of the complainant's book considered merely as a book explanatory of the system. Where the truths of a science or the methods of an art are the common property of the whole world, any author has the right to express the one, or explain and use the other, in [101] his own way. As an author, Selden explained the system in a particular way. It may be conceded that Baker makes and uses account-books arranged on substantially the same system; but the proof fails to show that he has violated the copyright of Selden's book, regarding the latter merely as an explanatory work; or that he has infringed Selden's right in any way, unless the latter became entitled to an exclusive right in the system. The evidence of the complainant is principally directed to the object of showing that Baker uses the same system as that which is explained and illustrated in Selden's books. It becomes important, therefore, to determine whether, in obtaining the copyright of his books, he secured the exclusive right to the use of the system or method of book-keeping which the said books are intended to illustrate and explain. It is contended that he has secured such exclusive right, because no one can use the system without using substantially the same ruled lines and headings which he has appended to his books in illustration of it. In other words, it is contended that the ruled lines and headings, given to illustrate the system, are a part of the book, and, as such, are secured by the copyright; and that no one can make or use similar ruled lines and headings, or ruled lines and headings made and arranged on substantially the same system, without violating the copyright. And this is really the question to be decided in this case. Stated in another form, the question is, whether the exclusive property in a system of book-keeping can be claimed, under the law of copyright, by means of a book in which that system is explained? The complainant's bill, and the case made under it, are based on the hypothesis that it can be. It cannot be pretended, and indeed it is not seriously urged, that the ruled lines of the complainant's account-book can be claimed under any special class of objects, other than books, named in the law of copyright existing in 1859. The law then in force was that of 1831, and specified only books, maps, charts, musical compositions, prints, and engravings. An account-book, consisting of ruled lines and blank columns, cannot be called by any of these names unless by that of a book. There is no doubt that a work on the subject of book-keeping, [102] though only explanatory of well-known systems, may be the subject of a copyright; but, then, it is claimed only as a book. Such a book may be explanatory either of old systems, or of an entirely new system; and, considered as a book, as the work of an author, conveying information on the subject of book-keeping, and containing detailed explanations of the art, it may be a very valuable acquisition to the practical knowledge of the community. But there is a clear distinction between the book, as such, and the art which it is intended to illustrate. The mere statement of the proposition is so evident, that it requires hardly any argument to support it. The same distinction may be predicated of every other art as well as that of book-keeping. A treatise on the composition and use of medicines, be they old or new; on the construction and use of ploughs, or watches, or churns; or on the mixture and application of colors for painting or dyeing; or on the mode of drawing lines to produce the effect of perspective, would be the subject of copyright; but no one would contend that the copyright of the treatise would give the exclusive right to the art or manufacture described therein. The copyright of the book, if not pirated from other works, would be valid without regard to the novelty, or want of novelty, of its subject-matter. The novelty of the art or thing described or explained has nothing to do with the validity of the copyright. To give to the author of the book an exclusive property in the art described therein, when no examination of its novelty has ever been officially made, would be a surprise and a fraud upon the public. That is the province of letters-patent, not of copyright. The claim to an invention or discovery of an art or manufacture must be subjected to the examination of the Patent Office before an exclusive right therein can be obtained; and it can only be secured by a patent from the government. The difference between the two things, letters-patent and copyright, may be illustrated by reference to the subjects just enumerated. Take the case of medicines. Certain mixtures are found to be of great value in the healing art. If the discoverer writes and publishes a book on the subject (as regular physicians generally do), he gains no exclusive right to the manufacture and sale of the medicine; he gives that to the [103] public. If he desires to acquire such exclusive right, he must obtain a patent for the mixture as a new art, manufacture, or composition of matter. He may copyright his book, if he pleases; but that only secures to him the exclusive right of printing and publishing his book. So of all other inventions or discoveries. The copyright of a book on perspective, no matter how many drawings and illustrations it may contain, gives no exclusive right to the modes of drawing described, though they may never have been known or used before. By publishing the book, without getting a patent for the art, the latter is given to the public. The fact that the art described in the book by illustrations of lines and figures which are reproduced in practice in the application of the art, makes no difference. Those illustrations are the mere language employed by the author to convey his ideas more clearly. Had he used words of description instead of diagrams (which merely stand in the place of words), there could not be the slightest doubt that others, applying the art to practical use, might lawfully draw the lines and diagrams which were in the author's mind, and which he thus described by words in his book The copyright of a work on mathematical science cannot give to the author an exclusive right to the methods of operation which he propounds, or to the diagrams which he employs to explain them, so as to prevent an engineer from using them whenever occasion requires. The very object of publishing a book on science or the useful arts is to communicate to the world the useful knowledge which it contains. But this object would be frustrated if the knowledge could not be used without incurring the guilt of piracy of the book. And where the art it teaches cannot be used without employing the methods and diagrams used to illustrate the book, or such as are similar to them, such methods and diagrams are to be considered as necessary incidents to the art, and given therewith to the public; not given for the purpose of publication in other works explanatory of the art, but for the purpose of practical application. Of course, these observations are not intended to apply to ornamental designs, or pictorial illustrations addressed to the taste. Of these it may be said, that their form is their essence, [104] and their object, the production of pleasure in their contemplation. This is their final end. They are as much the product of genius and the result of composition, as are the lines of the poet or the historian's periods. On the other hand, the teachings of science and the rules and methods of useful art have their final end in application and use; and this application and use are what the public derive from the publication of a book which teaches them. But as embodied and taught in a literary composition or book, their essence consists only in their statement. This alone is what is secured by the copyright. The use by another of the same methods of statement, whether in words or illustrations, in a book published for teaching the art, would undoubtedly be an infringement of the copyright. Recurring to the case before us, we observe that Charles Selden, by his books, explained and described a peculiar system of book-keeping, and illustrated his method by means of ruled lines and blank columns, with proper headings on a page, or on successive pages. Now, whilst no one has a right to print or publish his book, or any material part thereof, as a book intended to convey instruction in the art, any person may practise and use the art itself which he has described and illustrated therein. The use of the art is a totally different thing from a publication of the book explaining it. The copyright of a book on book-keeping cannot secure the exclusive right to make, sell, and use account-books prepared upon the plan set forth in such book. Whether the art might or might not have been patented, is a question which is not before us. It was not patented, and is open and free to the use of the public. And, of course, in using the art, the ruled lines and headings of accounts must necessarily be used as incident to it. The plausibility of the claim put forward by the complainant in this case arises from a confusion of ideas produced by the peculiar nature of the art described in the books which have been made the subject of copyright. In describing the art, the illustrations and diagrams employed happen to correspond more closely than usual with the actual work performed by the operator who uses the art. Those illustrations and diagrams consist of ruled lines and headings of accounts; and [105] it is similar ruled lines and headings of accounts which, in the application of the art, the bookkeeper makes with his pen, or the stationer with his press; whilst in most other cases the diagrams and illustrations can only be represented in concrete forms of wood, metal, stone, or some other physical embodiment. But the principle is the same in all. The description of the art in a book, though entitled to the benefit of copyright, lays no foundation for an exclusive claim to the art itself. The object of the one is explanation; the object of the other is use. The former may be secured by copyright. The latter can only be secured, if it can be secured at all, by letters-patent. [...] The conclusion to which we have come is, that blank account-books are not the subject of copyright; and that the mere copyright of Selden's book did not confer upon him the exclusive right to make and use account-books, ruled and arranged as designated by him and described and illustrated in said book. The decree of the Circuit Court must be reversed, and the cause remanded with instructions to dismiss the complainant's bill; and it is So ordered About HackerNoon Legal PDF Series: We bring you the most important technical and insightful public domain court case filings. This court case 2023-0409 retrieved on September 29, 2023, from is part of the public domain. The court-created documents are works of the federal government, and under copyright law, are automatically placed in the public domain and may be shared without legal restriction. cyber.harvard.edu

Baker v. Selden: Tackling the Boundaries of Copyright and Artistic Expression

The Mysterious Stranger, and Other Stories by Mark Twain, is part of the HackerNoon Books Series. You can jump to any chapter in this book . A Fable here A FABLE Once upon a time an artist who had painted a small and very beautiful picture placed it so that he could see it in the mirror. He said, “This doubles the distance and softens it, and it is twice as lovely as it was before.” The animals out in the woods heard of this through the housecat, who was greatly admired by them because he was so learned, and so refined and civilized, and so polite and high-bred, and could tell them so much which they didn't know before, and were not certain about afterward. They were much excited about this new piece of gossip, and they asked questions, so as to get at a full understanding of it. They asked what a picture was, and the cat explained. “It is a flat thing,” he said; “wonderfully flat, marvelously flat, enchantingly flat and elegant. And, oh, so beautiful!” That excited them almost to a frenzy, and they said they would give the world to see it. Then the bear asked: “What is it that makes it so beautiful?” “It is the looks of it,” said the cat. This filled them with admiration and uncertainty, and they were more excited than ever. Then the cow asked: “What is a mirror?” “It is a hole in the wall,” said the cat. “You look in it, and there you see the picture, and it is so dainty and charming and ethereal and inspiring in its unimaginable beauty that your head turns round and round, and you almost swoon with ecstasy.” The ass had not said anything as yet; he now began to throw doubts. He said there had never been anything as beautiful as this before, and probably wasn't now. He said that when it took a whole basketful of sesquipedalian adjectives to whoop up a thing of beauty, it was time for suspicion. It was easy to see that these doubts were having an effect upon the animals, so the cat went off offended. The subject was dropped for a couple of days, but in the meantime curiosity was taking a fresh start, and there was a revival of interest perceptible. Then the animals assailed the ass for spoiling what could possibly have been a pleasure to them, on a mere suspicion that the picture was not beautiful, without any evidence that such was the case. The ass was not troubled; he was calm, and said there was one way to find out who was in the right, himself or the cat: he would go and look in that hole, and come back and tell what he found there. The animals felt relieved and grateful, and asked him to go at once—which he did. But he did not know where he ought to stand; and so, through error, he stood between the picture and the mirror. The result was that the picture had no chance, and didn't show up. He returned home and said: “The cat lied. There was nothing in that hole but an ass. There wasn't a sign of a flat thing visible. It was a handsome ass, and friendly, but just an ass, and nothing more.” The elephant asked: “Did you see it good and clear? Were you close to it?” “I saw it good and clear, O Hathi, King of Beasts. I was so close that I touched noses with it.” “This is very strange,” said the elephant; “the cat was always truthful before—as far as we could make out. Let another witness try. Go, Baloo, look in the hole, and come and report.” So the bear went. When he came back, he said: “Both the cat and the ass have lied; there was nothing in the hole but a bear.” Great was the surprise and puzzlement of the animals. Each was now anxious to make the test himself and get at the straight truth. The elephant sent them one at a time. First, the cow. She found nothing in the hole but a cow. The tiger found nothing in it but a tiger. The lion found nothing in it but a lion. The leopard found nothing in it but a leopard. The camel found a camel, and nothing more. Then Hathi was wroth, and said he would have the truth, if he had to go and fetch it himself. When he returned, he abused his whole subjectry for liars, and was in an unappeasable fury with the moral and mental blindness of the cat. He said that anybody but a near-sighted fool could see that there was nothing in the hole but an elephant. MORAL, BY THE CAT You can find in a text whatever you bring, if you will stand between it and the mirror of your imagination. You may not see your ears, but they will be there. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Mark Twain (2008). The Mysterious Stranger, and Other Stories. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/3186/pg3186-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

Once upon a time an artist who had painted a small and very beautiful picture

DJ Casper, creator of the world famous “Cha Cha Slide,” passed away recently at the age of 58. While his massively viral hit lives on, its rights remain largely with Universal Music rather than its creator. Casper’s story highlights the need for greater transparency and control for artists over their work. Blockchain technology offers a path forward. The Opacity of the Current System Under the current music industry system, creators lack visibility into the full earnings their work generates. Opaque accounting practices mean artists depend on intermediaries like record labels and collecting societies to distribute royalties. But convoluted processes make tracking compensation nearly impossible. Blockchain Creates Transparency Blockchain’s distributed ledger technology enables direct relationships between artists and fans. Musicians can register work on blockchain platforms to manage rights, track usage in real-time, and view royalty data transparently. Smart Contracts Automate Payments Smart contracts built into blockchain code can automate royalty distribution. Artists get paid quickly and accurately, sans middlemen skimming profits. Platforms are already using crypto tokens to facilitate direct artist support from fans. The Future Looks Brighter with Blockchain While adoption challenges remain, blockchain promises to empower artists with rights, profits, and legacies preserved on transparent, decentralized ledgers. DJ Casper’s legacy lives on, but blockchain could give future creators fuller control over their work. Sources: Fox News People Chicago Sun-Times “. Thank you for reading “DJ Casper, 'Cha Cha Slide' Icon, Dies at 58: A Blockchain Tribute for Artist Empowerment. Subscribe to our newsletter: Consensus Protocol Follow us on Twitter: Twitter Also published . here

DJ Casper, 'Cha Cha Slide' Icon, Passes Away at 58: A Blockchain Tribute for Artist Empowerment

Off on a Comet! a Journey through Planetary Space by Jules Verne, is part of the HackerNoon Books Series. You can jump to any chapter in this book . INTRODUCTION TO VOLUME NINE here INTRODUCTION TO VOLUME NINE Among so many effective and artistic tales, it is difficult to give a preference to one over all the rest. Yet, certainly, even amid Verne’s remarkable works, his “Off on a Comet” must be given high rank. Perhaps this story will be remembered when even “Round the World in Eighty Days” and “Michael Strogoff” have been obliterated by centuries of time. At least, of the many books since written upon the same theme as Verne’s, no one has yet succeeded in equaling or even approaching it. In one way “Off on a Comet” shows a marked contrast to Verne’s earlier books. Not only does it invade a region more remote than even the “Trip to the Moon,” but the author here abandons his usual scrupulously scientific attitude. In order that he may escort us through the depths of immeasurable space, show us what astronomy really knows of conditions there and upon the other planets, Verne asks us to accept a situation frankly impossible. The earth and a comet are brought twice into collision without mankind in general, or even our astronomers, becoming conscious of the fact. Moreover several people from widely scattered places are carried off by the comet and returned uninjured. Yet further, the comet snatches for the convenience of its travelers, both air and water. Little, useful tracts of earth are picked up and, as it were, turned over and clapped down right side up again upon the comet’s surface. Even ships pass uninjured through this remarkable somersault. These events all belong frankly to the realm of fairyland. If the situation were reproduced in actuality, if ever a comet should come into collision with the earth, we can conceive two scientifically possible results. If the comet were of such attenuation, such almost infinitesimal mass as some of these celestial wanderers seem to be, we can imagine our earth self-protective and possibly unharmed. If, on the other hand, the comet had even a hundredth part of the size and solidity and weight which Verne confers upon his monster so as to give his travelers a home—in that case the collision would be unspeakably disastrous—especially to the unlucky individuals who occupied the exact point of contact. But once granted the initial and the closing extravagance, the departure and return of his characters, the alpha and omega of his tale, how closely the author clings to facts between! How closely he follows, and imparts to his readers, the scientific probabilities of the universe beyond our earth, the actual knowledge so hard won by our astronomers! Other authors who, since Verne, have told of trips through the planetary and stellar universe have given free rein to fancy, to dreams of what might be found. Verne has endeavored to impart only what is known to exist. In the same year with “Off on a Comet,” 1877, was published also the tale variously named and translated as “The Black Indies,” “The Underground City,” and “The Child of the Cavern.” This story, like “Round the World in Eighty Days” was first issued in “feuilleton” by the noted Paris newspaper “Le Temps.” Its success did not equal that of its predecessor in this style. Some critics indeed have pointed to this work as marking the beginning of a decline in the author’s power of awaking interest. Many of his best works were, however, still to follow. And, as regards imagination and the elements of mystery and awe, surely in the “Underground City” with its cavern world, its secret, undiscoverable, unrelenting foe, the “Harfang,” bird of evil omen, and the “fire maidens” of the ruined castle, surely with all these “imagination” is anything but lacking. From the realistic side, the work is painstaking and exact as all the author’s works. The sketches of mines and miners, their courage and their dangers, their lives and their hopes, are carefully studied. So also is the emotional aspect of the deeps under ground, the blackness, the endless wandering passages, the silence, and the awe. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Jules Verne (1998). Off on a Comet! a Journey through Planetary Space. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/1353/pg1353-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

Among so many effective and artistic tales

In the vibrant world of digital fashion, 3D artist KJ from Low Poly Models is making her mark. With her unique blend of technology and artistry, she's helping shape this exciting landscape. Today, I am sharing an interview where KJ sheds light on her creative journey, her process, and what she envisions for digital fashion's future. KJ also discusses her recent collaboration with Union Avatars and Droffo. She gives us a glimpse of how technology has reshaped her design process, offering a unique perspective on the intersection of fashion and tech. KJ, tell us a bit about yourself and how you entered the digital fashion space. Hey there! I'm KJ, a 3D artist at Low Poly Models. I’m fascinated by both technology and art, which led me into the exciting world of creating digital content for the metaverse, including wearables. I found that 3D modeling for virtual worlds was the ideal fusion of my interests. It allows me to explore the intersection of design and technology, experiment with different techniques, and express myself creatively. https://twitter.com/LowPolyModelsW/status/1666623800048340992?embedable=true What's your creative process like? When it comes to my creative process, it begins with a client’s brief or an idea / feeling I want to convey. I explore the concept and look for interesting ways to represent it visually. As I brainstorm, you'll often find me blocking in shapes in Blender or jotting down ideas in a notebook. Then it's time to dive into the 3D modeling, texturing, and weight painting, making sure the end result meets all of the platform's requirements. How do you envision the future of digital fashion? Digital fashion is already closely intertwined with traditional fashion. Nowadays, many garments go through rigorous digital processes, including design and printing. The future of digital fashion presents exciting opportunities to tackle issues like fast fashion waste by providing a way to try on garments virtually before they are physically created or shipped. It has also become a fashion genre in its own right, tailored to the digital world we live in today. Virtual environments are becoming an integral part of our personal and professional lives, with our identities expressed through profile pictures and 3D avatars. Digital fashion plays a significant role in shaping our online identity, much like physical garments do in real life. Tell us more about your creations for Union Avatars. What was the idea behind them, and what was your process? For Union Avatars, we wanted to bring the Low Poly Models TechWear collection to life on more platforms. After the original launch of the collection in Decentraland, our team started sending wearable airdrops to collectors. Being advocates of interoperability, the idea of making these outfits available on another platform like Union Avatars was a natural next step. Before proceeding, we made sure to involve our collectors in the decision-making process. We asked for their input through a poll, and their enthusiastic response confirmed that bringing the collection to Union Avatars was indeed a no-brainer. In terms of the process, we adapted the previously created TechWear wearables to the Union Avatars guidelines. How have technological advancements influenced your designs? Are there any specific technologies or platforms that have significantly impacted your creative process? Technological advancements have had a profound impact on our designs. Without the evolution of computer science in the past couple of decades, the platforms we create wearables and scenes for wouldn't exist. Similarly, the software tools we rely on, such as Blender, Substance Painter, and Photoshop, have greatly advanced enabling us to bring our creative visions to life. It has also been exciting to incorporate cutting-edge technologies like Midjourney and Chat GPT into our creative arsenal. These tools have revolutionized idea generation and comparison, allowing us to explore and refine concepts in ways that were previously unimaginable. A version of this article appears . here

Digital Fashion from a Techno-Artistic Perspective: KJ from LOW POLY MODELS

An increasing number of artists, singers, and authors have entered the blockchain and cryptocurrency markets in recent years. The drive behind the shift is the want to retain ownership of their creations, get just compensation for their efforts, and connect with their audiences on a more personal level. NonFungible that the value of the NFT industry will expand from $41 million in 2018 to $338 million in 2020, with most of this expansion attributable to new entrants into the blockchain and cryptocurrency markets as developers. Non-fungible tokens (NFTs) make it possible for artists and musicians to sell their one-of-a-kind digital creations directly to consumers on blockchain networks. Since galleries and record labels typically take a sizable cut of the profits, this eliminates the need for them. predicts Sharing in profits is just one perk of being involved in the blockchain and cryptocurrency markets. The creators may use the technology to have a more personal connection with their audience. Musicians, for instance, may use blockchain-based platforms to provide fans unique access to backstage material or early album releases, while authors might use NFTs to sell signed copies of their works. In addition, blockchain technology may aid in the defence of authors' rights to their own works. By keeping their digital assets on distributed ledgers, artists may establish their rights to those assets and the legitimacy of their work, making it harder for others to steal their creations. Considering how simple it is to duplicate and distribute digital media, this is of paramount importance. Although getting involved in the blockchain and cryptocurrency market has many advantages, doing so is not without its difficulties. It may be difficult for creators to understand the technical language and elaborate procedures that are part of the blockchain and cryptocurrency industries. Snapmuse.io bridges the gap between web2 and web3 audiences Polygon's new platform, , aims to enable artists earn money from their work and give back to their most devoted followers. The system allows artists to incentivize their communities and provide genuine value to their viewers. Snapmuse.io's combination of NFTs, blockchain technology, and a user-friendly interface streamlines the process of purchasing virtual items. In return, fans purchase CreatorPasses, which provide them three months of access to the artists' private channels and a variety of perks available nowhere else. Snapmuse.io : Vested Interest Disclosure The author is an independent contributor publishing via our . Be it through direct compensation, media partnerships, or networking, the author has a vested interest in the company/ies mentioned in this story. HackerNoon has reviewed the report for quality, but the claims herein belong to the author. #DYOR brand-as-author program To commemorate the occasion, Mariana Avila, a popular YouTuber, is the first creator to sell her CreatorPass on . On April 29th, Mariana began a campaign offering a free NFT to everyone who signed up for her Snapmuse.io fan club. With 9.5 million YouTube subscribers and 16 million on TikTok, the influencer has a sizable social media following in LATAM. After registering for Snapmuse.io, anyone can claim Mariana's gift. This is a special opportunity for Mariana's fans to attend the online debut of her new music video on May 4th, with the artist herself. Snapmuse.io bridges the gap between web2 and web3 audiences, allowing artists to easily earn steady income while encouraging and rewarding dedicated fan participation. The platform provides artists with a new method of monetization while also assisting them in securing the financial resources necessary to expand their channels and foster deeper, more meaningful connections with their audiences. Snapmuse.io makes it easy to get started with the web3 by requiring just a Google login for access and accepting both credit cards and debit cards for payments. Snapmuse.io Snapmuse.io's readily available artists and the simplicity with which they may join the site might attract millions of new users to web3. The launching of Snapmuse.io on Polygon and the expanding use of blockchain and cryptocurrency in the creative industry suggest that more artists will follow in Mariana Avila's footsteps and join the blockchain and cryptocurrency market. Don’t forget to like and share the story! Image credits: AI.

Snapmuse.io on Polygon: Empowering Artists to Earn and Engage with Fans

Snapmuse.io en Polygon: Capacitar a los artistas para ganar e interactuar con los fanáticos

Snapmuse.io sur Polygon : donner aux artistes les moyens de gagner de l'argent et de s'engager auprès des fans

बहुभुज पर Snapmuse.io: कलाकारों को कमाने और प्रशंसकों के साथ जुड़ने के लिए सशक्त बनाना

Snapmuse.io on Polygon: アーティストが収益を上げてファンと交流できるようにする

Snapmuse.io no Polygon: capacitando artistas para ganhar e se envolver com os fãs

Snapmuse.io trên Polygon: Trao quyền cho các nghệ sĩ kiếm tiền và tương tác với người hâm mộ

Polygon 上的 Snapmuse.io：使艺术家能够赚钱并与粉丝互动

The Brothers Karamazov by Fyodor Dostoyevsky is part of the HackerNoon Books Series. You can jump to any chapter in this book here . Smerdyakov Chapter VI. Smerdyakov He did in fact find his father still at table. Though there was a dining‐ room in the house, the table was laid as usual in the drawing‐room, which was the largest room, and furnished with old‐fashioned ostentation. The furniture was white and very old, upholstered in old, red, silky material. In the spaces between the windows there were mirrors in elaborate white and gilt frames, of old‐fashioned carving. On the walls, covered with white paper, which was torn in many places, there hung two large portraits—one of some prince who had been governor of the district thirty years before, and the other of some bishop, also long since dead. In the corner opposite the door there were several ikons, before which a lamp was lighted at nightfall ... not so much for devotional purposes as to light the room. Fyodor Pavlovitch used to go to bed very late, at three or four o’clock in the morning, and would wander about the room at night or sit in an arm‐chair, thinking. This had become a habit with him. He often slept quite alone in the house, sending his servants to the lodge; but usually Smerdyakov remained, sleeping on a bench in the hall. When Alyosha came in, dinner was over, but coffee and preserves had been served. Fyodor Pavlovitch liked sweet things with brandy after dinner. Ivan was also at table, sipping coffee. The servants, Grigory and Smerdyakov, were standing by. Both the gentlemen and the servants seemed in singularly good spirits. Fyodor Pavlovitch was roaring with laughter. Before he entered the room, Alyosha heard the shrill laugh he knew so well, and could tell from the sound of it that his father had only reached the good‐humored stage, and was far from being completely drunk. “Here he is! Here he is!” yelled Fyodor Pavlovitch, highly delighted at seeing Alyosha. “Join us. Sit down. Coffee is a lenten dish, but it’s hot and good. I don’t offer you brandy, you’re keeping the fast. But would you like some? No; I’d better give you some of our famous liqueur. Smerdyakov, go to the cupboard, the second shelf on the right. Here are the keys. Look sharp!” Alyosha began refusing the liqueur. “Never mind. If you won’t have it, we will,” said Fyodor Pavlovitch, beaming. “But stay—have you dined?” “Yes,” answered Alyosha, who had in truth only eaten a piece of bread and drunk a glass of kvas in the Father Superior’s kitchen. “Though I should be pleased to have some hot coffee.” “Bravo, my darling! He’ll have some coffee. Does it want warming? No, it’s boiling. It’s capital coffee: Smerdyakov’s making. My Smerdyakov’s an artist at coffee and at fish patties, and at fish soup, too. You must come one day and have some fish soup. Let me know beforehand.... But, stay; didn’t I tell you this morning to come home with your mattress and pillow and all? Have you brought your mattress? He he he!” “No, I haven’t,” said Alyosha, smiling, too. “Ah, but you were frightened, you were frightened this morning, weren’t you? There, my darling, I couldn’t do anything to vex you. Do you know, Ivan, I can’t resist the way he looks one straight in the face and laughs? It makes me laugh all over. I’m so fond of him. Alyosha, let me give you my blessing—a father’s blessing.” Alyosha rose, but Fyodor Pavlovitch had already changed his mind. “No, no,” he said. “I’ll just make the sign of the cross over you, for now. Sit still. Now we’ve a treat for you, in your own line, too. It’ll make you laugh. Balaam’s ass has begun talking to us here—and how he talks! How he talks!” Balaam’s ass, it appeared, was the valet, Smerdyakov. He was a young man of about four and twenty, remarkably unsociable and taciturn. Not that he was shy or bashful. On the contrary, he was conceited and seemed to despise everybody. But we must pause to say a few words about him now. He was brought up by Grigory and Marfa, but the boy grew up “with no sense of gratitude,” as Grigory expressed it; he was an unfriendly boy, and seemed to look at the world mistrustfully. In his childhood he was very fond of hanging cats, and burying them with great ceremony. He used to dress up in a sheet as though it were a surplice, and sang, and waved some object over the dead cat as though it were a censer. All this he did on the sly, with the greatest secrecy. Grigory caught him once at this diversion and gave him a sound beating. He shrank into a corner and sulked there for a week. “He doesn’t care for you or me, the monster,” Grigory used to say to Marfa, “and he doesn’t care for any one. Are you a human being?” he said, addressing the boy directly. “You’re not a human being. You grew from the mildew in the bath‐house. That’s what you are.” Smerdyakov, it appeared afterwards, could never forgive him those words. Grigory taught him to read and write, and when he was twelve years old, began teaching him the Scriptures. But this teaching came to nothing. At the second or third lesson the boy suddenly grinned. [2] “What’s that for?” asked Grigory, looking at him threateningly from under his spectacles. “Oh, nothing. God created light on the first day, and the sun, moon, and stars on the fourth day. Where did the light come from on the first day?” Grigory was thunderstruck. The boy looked sarcastically at his teacher. There was something positively condescending in his expression. Grigory could not restrain himself. “I’ll show you where!” he cried, and gave the boy a violent slap on the cheek. The boy took the slap without a word, but withdrew into his corner again for some days. A week later he had his first attack of the disease to which he was subject all the rest of his life—epilepsy. When Fyodor Pavlovitch heard of it, his attitude to the boy seemed changed at once. Till then he had taken no notice of him, though he never scolded him, and always gave him a copeck when he met him. Sometimes, when he was in good humor, he would send the boy something sweet from his table. But as soon as he heard of his illness, he showed an active interest in him, sent for a doctor, and tried remedies, but the disease turned out to be incurable. The fits occurred, on an average, once a month, but at various intervals. The fits varied too, in violence: some were light and some were very severe. Fyodor Pavlovitch strictly forbade Grigory to use corporal punishment to the boy, and began allowing him to come upstairs to him. He forbade him to be taught anything whatever for a time, too. One day when the boy was about fifteen, Fyodor Pavlovitch noticed him lingering by the bookcase, and reading the titles through the glass. Fyodor Pavlovitch had a fair number of books—over a hundred—but no one ever saw him reading. He at once gave Smerdyakov the key of the bookcase. “Come, read. You shall be my librarian. You’ll be better sitting reading than hanging about the courtyard. Come, read this,” and Fyodor Pavlovitch gave him Evenings in a Cottage near Dikanka. He read a little but didn’t like it. He did not once smile, and ended by frowning. “Why? Isn’t it funny?” asked Fyodor Pavlovitch. Smerdyakov did not speak. “Answer, stupid!” “It’s all untrue,” mumbled the boy, with a grin. “Then go to the devil! You have the soul of a lackey. Stay, here’s Smaragdov’s Universal History. That’s all true. Read that.” But Smerdyakov did not get through ten pages of Smaragdov. He thought it dull. So the bookcase was closed again. Shortly afterwards Marfa and Grigory reported to Fyodor Pavlovitch that Smerdyakov was gradually beginning to show an extraordinary fastidiousness. He would sit before his soup, take up his spoon and look into the soup, bend over it, examine it, take a spoonful and hold it to the light. “What is it? A beetle?” Grigory would ask. “A fly, perhaps,” observed Marfa. The squeamish youth never answered, but he did the same with his bread, his meat, and everything he ate. He would hold a piece on his fork to the light, scrutinize it microscopically, and only after long deliberation decide to put it in his mouth. “Ach! What fine gentlemen’s airs!” Grigory muttered, looking at him. When Fyodor Pavlovitch heard of this development in Smerdyakov he determined to make him his cook, and sent him to Moscow to be trained. He spent some years there and came back remarkably changed in appearance. He looked extraordinarily old for his age. His face had grown wrinkled, yellow, and strangely emasculate. In character he seemed almost exactly the same as before he went away. He was just as unsociable, and showed not the slightest inclination for any companionship. In Moscow, too, as we heard afterwards, he had always been silent. Moscow itself had little interest for him; he saw very little there, and took scarcely any notice of anything. He went once to the theater, but returned silent and displeased with it. On the other hand, he came back to us from Moscow well dressed, in a clean coat and clean linen. He brushed his clothes most scrupulously twice a day invariably, and was very fond of cleaning his smart calf boots with a special English polish, so that they shone like mirrors. He turned out a first‐rate cook. Fyodor Pavlovitch paid him a salary, almost the whole of which Smerdyakov spent on clothes, pomade, perfumes, and such things. But he seemed to have as much contempt for the female sex as for men; he was discreet, almost unapproachable, with them. Fyodor Pavlovitch began to regard him rather differently. His fits were becoming more frequent, and on the days he was ill Marfa cooked, which did not suit Fyodor Pavlovitch at all. “Why are your fits getting worse?” asked Fyodor Pavlovitch, looking askance at his new cook. “Would you like to get married? Shall I find you a wife?” But Smerdyakov turned pale with anger, and made no reply. Fyodor Pavlovitch left him with an impatient gesture. The great thing was that he had absolute confidence in his honesty. It happened once, when Fyodor Pavlovitch was drunk, that he dropped in the muddy courtyard three hundred‐rouble notes which he had only just received. He only missed them next day, and was just hastening to search his pockets when he saw the notes lying on the table. Where had they come from? Smerdyakov had picked them up and brought them in the day before. “Well, my lad, I’ve never met any one like you,” Fyodor Pavlovitch said shortly, and gave him ten roubles. We may add that he not only believed in his honesty, but had, for some reason, a liking for him, although the young man looked as morosely at him as at every one and was always silent. He rarely spoke. If it had occurred to any one to wonder at the time what the young man was interested in, and what was in his mind, it would have been impossible to tell by looking at him. Yet he used sometimes to stop suddenly in the house, or even in the yard or street, and would stand still for ten minutes, lost in thought. A physiognomist studying his face would have said that there was no thought in it, no reflection, but only a sort of contemplation. There is a remarkable picture by the painter Kramskoy, called “Contemplation.” There is a forest in winter, and on a roadway through the forest, in absolute solitude, stands a peasant in a torn kaftan and bark shoes. He stands, as it were, lost in thought. Yet he is not thinking; he is “contemplating.” If any one touched him he would start and look at one as though awakening and bewildered. It’s true he would come to himself immediately; but if he were asked what he had been thinking about, he would remember nothing. Yet probably he has, hidden within himself, the impression which had dominated him during the period of contemplation. Those impressions are dear to him and no doubt he hoards them imperceptibly, and even unconsciously. How and why, of course, he does not know either. He may suddenly, after hoarding impressions for many years, abandon everything and go off to Jerusalem on a pilgrimage for his soul’s salvation, or perhaps he will suddenly set fire to his native village, and perhaps do both. There are a good many “contemplatives” among the peasantry. Well, Smerdyakov was probably one of them, and he probably was greedily hoarding up his impressions, hardly knowing why. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Fyodor Dostoyevsky (2009). The Brothers Karamazov. Urbana, Illinois: Project Gutenberg. Retrieved October https://www.gutenberg.org/cache/epub/28054/pg28054-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

My Smerdyakov’s an artist

The markets are down and crypto has been falling — so it’s the perfect time for artists to get to work on their next creation. The economic news these days isn’t great. But instead of turning to despair, turn to art. It’s a great time for artists who create NFTs to put their heads down and create in order to be ready for the next wave and to get some work in while the highs aren’t as distracting. This might mean taking the time to focus on your next big idea, or to experiment with different ways of sharing your work and engaging with the community. Here's my advice to artists on how to create good work now, how to increase your resilience, and how to prepare for the future of the NFT market. Focus on Building Your NFT Portfolio and Sales If you want to increase your NFT artistic output, or if you’re looking to create your very first NFT, keep these best practices in mind as you prepare for the next upturn in the market. If you're not familiar yet with the crypto ecosystem, be proactive in learning about the technology. If you're brand new to the space, setting up a wallet is your first step. Learn how to scan blockchain activity as well (transactions are available to see on etherescan.io), where you can see who is collecting work similar to yours. Overall, learning about the different blockchains available to you, their benefits, and their fees, will help you make more strategic decisions for your career. Learn about the technology: If you haven't already, start following other artists and collectors on Twitter or Discord. Connecting with the NFT community will not only help you get to know others in the industry, but will help you keep on top of trends, new drops, and other goings-on. Interact with the community: As with any other activity online, security should be the highest concern. If you're new to the space, setting up a hardware wallet will be the most secure option, and of course, keep your keys and passwords private. Having a knowledge of how blockchain activity works will keep you safe from exploitation as well. Make online security a priority: The success of minting and selling your NFTs depends heavily on the platform you chose. Do you want to be on a platform that offers a wide variety of NFTs, or that just features artwork? A platform that offers more lower-priced NFTs, or one that is more highly curated and offers fewer premium-priced NFTs? Get to know the space, so that you can make the best decision for your future career. Find the right platform: You not only need to choose the best platform for your career but which works you want to mint. With the market in a downturn, now's the time to choose art that best represents who you are and your artistic vision. As you put that art out into the world, you'll find an audience that resonates with it and finds value in your practice. Be strategic about what you mint: NFTs aren’t for everyone — and they don’t have to be. It’s great to experiment and try new things, but it’s also OK to step away if you ultimately find that you’re trying to force your work to fit into the NFT box. Always make art that you find exciting, whatever it may be. Be realistic: Address Artist Frustrations Artists can often find their work adversely impacted when they are distracted by externalities and expectations—whether they’re mired in frustration about the market or are feeling insecure about their talent, resources, or inspiration.  Don’t just build your portfolio, but build your resilience. The best solution when facing frustration is to channel that energy into your creative process. Simply let yourself respond to the world around you through work. that the more time artists spend creating work, the higher their overall satisfaction becomes. Research has found If the creative process feels stuck, shake it loose by experimenting with a different medium or exploring a style that’s new to you. For our genesis NFT drop, , many artists who participated said that experimenting with NFTs as a new medium was really liberating for them—and challenging in a good way. The Other Avatars Another way to lessen frustrations is by connecting with other artists and growing your community. You can do that through engaging with social media channels like Twitter and Discord; participating in a project around which a community is built, such as an NFT drop; or showcasing your work at art fairs IRL. Expand your circle to include not only fellow artists but new audiences and collectors as well. Collaborating with other artists can not only , it can enhance an artist’s overall well-being. build pride and self-reliance Additionally, artists who are more financially stable say that it’s , not because of a strong work ethic. because of their relationships and support network many artists lack the time to market themselves and do it at the expense of creating new work. This is why partnering with an online gallery is a good step for your career, as they often already have established channels and followings in place to promote artists. Finally, lessen frustrations by getting help with your promotion; Create Today Artists have always created, no matter the state of the economy. While things may seem challenging now — especially if you’re an artist who creates NFTs watching the crypto market — the best things you can do is to reevaluate your approach to marketing, connect with other artists on new projects, remain thoughtful about which selling platforms you’re using, and, above all, put your head down and create.

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