Overall, I think the film and the stills we produced together were very successful as we achieved our goal of creating an image that represents chaos, confusion and discrimination against humanity. of the LGBTQ community and religion. community suffered and, with the film, found an interesting solution. Some aspects of the film that I think worked well and worked well were the religious setting, in which we were able to shoot on location, in a real church. . Also, using clothes to signify the comfort of the characters in different contexts, like wearing conservative white clothes in church and comfortable casual clothes in dream sequences, I think has helped increase our importance. . Another thing that helps with filming is the use of camera frames to make moving camera scenes smoother. While that doesn’t mean the camera is completely stable, it certainly helped us produce more professional results. In my opinion, I think we can improve the riot scenes because we used the original video to make it more real. However, I think if possible we could use scenes more closely related to the theme of the film, such as religious protests against progressive legislation for the LGBTQ community. With our digital images, I think that by using the medium of embroidery to put the collage together, it creates a sense of vulnerability that these people have to endure. Indeed, it has helped to show how destructive the sexual worms and their comments are to their targets while also stabbing them and shattering their disease. If I could comment on something that could be improved in this image, it would be to make the colours in each photo darker, by printing them on canvas or canvas, instead of the heavyweight paper we use. Watching the movie, it can be said that we were inspired by artist NFT Littleocious, whose story of our hidden and repressed LGBTQ identities can also be seen through the engineering art of his acting. . In addition, artist NFT Hackatao can be considered as the inspiration for the composition of our final photo, as our photos incorporate signs of protest similar to the text of our work. To sum up, I believe that these two works are a successful response to the theme of community, with a message of solidarity and acceptance between LGBTQ and religious communities.
Benitah is a French visual creator UN agency worked for 10 years as a dressmaker before turning to photography in 2001, exploring memory, family and therefore the passage of your time. usually pairing recent family photos with skilled worker accents, like embroidery, beads and ink paintings, Benitah seeks to reinterpret her own story as a girl, married woman and mother.
By activity totally different faces and options, the folks photographed are nearly stripped of their identity. I selected to check Benitah as a result of I believe his art best represents the construct I hope to capture during this project.
With beads, coloured thread and scissors, French photographer Carolle Benitah has altered her family photo albums to explore the memories of her childhood, and as a way to help her understand her current identity.
Carolle herself has said:
I started to be interested in my family pictures when I was leafing through a family album and found myself overwhelmed by an emotion of which I could not define the origin.
These photographs were taken 40 years earlier, and I could not even remember the moments they were shot, nor what preceded or followed those moments.
But the photos reawakened an anguish of something both familiar and totally unknown, the kind of disquieting strangeness that Freud spoke about. Those moments, fixed on paper, represented me, spoke about me and my family, told things about my identity, my place in the world, my family history and its secrets, the fears that constructed me, and many other things that contributed to who I am today.
I decided to explore the memories of my childhood to help me understand who I am and to define my current identity.
To begin, I carry out “excavations”. Like an archeologist, I dig out the pictures in which I appear from family albums and the shoe boxes full of photographs. I choose snapshots because they are related to memories and to loss.
These photographs are fragments of my past. I interpret them from a subjective perspective as confessions. I order them, classify them, scan them, then I print them. I don’t do anything directly on the original photo; I transpose this reality on a different paper. Sometimes I crop a detail that calls out to me, and I choose my format. The work of interpretation begins with these steps.
Once these choices of images are made, I start to tell my version of the story. I turn my attention to my own history, sometimes with 40 years of distance and the life experiences that changed my perception of events. The past of a human being, unlike the remains of an antique temple, is neither permanent nor finished, but reconstructed in the present time.
For the next step, I add needlework: embroidery and beads.
Embroidering is primarily a feminine activity. In the past, the embroiderer was seen as a paragon of virtue. Waiting was tied to this activity: women embroidered, hoping for the return of the man to the home. Embroidery is intimately linked to the milieu in which I grew up. Girls in a “good family” used to learn how to sew and embroider — essential activities for “perfect women”. My mother embroidered her trousseau.
There is nothing subversive about this activity, but I pervert it with my purpose. I use its decorative function to re-interpret my own history and to expose its failings. The two activities — interpretation and needlework — come together again in a kind of dispute: embroidery is the sign of a good education yet the words that I speak don’t show me to be what I was supposed to be: a well behaved girl, a wise spouse and a loving mother.
With each stitch I make a hole with a needle. Each hole is a putting to death of my demons. It’s like an exorcism. I make holes in paper until I am not hurting any more.
– Carolle Benitah
Benitah’s work is linked to ours as both share the nature of images hand-composed to tell a story or present an idea through embroidery
Louise Bourgeouis
Louise Bourgeois was a French-born sculptor best known for her monumental abstract and frequently biomorphic sculptures that deal with men and women’s interactions. She was born December 25, 1911, in Paris, France, and died May 31, 2010, in New York, New York, United States.
Bourgeois’ early sketches were created to aid her parents in the restoration of antique tapestries. She received her education at the Sorbonne, where she majored in mathematics. She switched her concentration to art at the age of 25, studying at the École des Beaux-Arts, the Académie de la Grande Chaumière, and Fernand Léger’s studio, and in 1938 she married and returned to New York City with her American husband, art historian Robert Goldwater. She started displaying her surrealist paintings and engravings there. She began experimenting with sculptural forms in the late 1940s, making a series of long, slim wooden figures that she displayed single and in groups.
Those were the first of her autobiographical pieces, which were characteristically abstract but emotionally strong. In the decades that followed, she created a number of frequently unnerving settings out of latex and found materials, as well as constructions out of marble, plaster, and glass. Betrayal, anxiety, revenge, obsession, anger, unbalance, and loneliness are among the most common. She frequently revisited subjects, techniques, and forms that had previously piqued her interest. Because she refused to confine her creative output to a single style or medium, she became more difficult to label and remained on the periphery of the art world. She was given a retrospective show at the Museum of Modern Art in New York City in 1982, an honor rarely bestowed on a living artist, and she represented the United States at the Venice Biennale in 1993. She was awarded the Praemium Imperiale medal for sculpture by the Japan Art Association in 1999.
Long into her 90s, the sculptor maintained her vibrancy and originality. She constructed a massive steel-and-marble spider (Maman, 1999) from which six monumental bronze counterparts were cast in 2003, and the bronzes were shown at various locations across the world. Louise Bourgeois: The Spider, The Mistress, and the Tangerine, a documentary, was released in 2008. Her house and studio, as well as a neighboring town house in New York City’s Chelsea neighborhood, were opened to the public in 2016 as a museum commemorating her life and work.
Art analysis
Louise Bourgeois is an artist that implements her own life struggles and thoughts into physical art.
Substance:
This project was clearly created using physical works like wood, linen, thread, metal and more
This artefact is stored in a museum for the public to see.
This is called “Cell of Hysteria” and Louise states that in this exhibition
Composition:
The key focus of the project is obviously the sculpture sort of hovering over the bed which has “Je t’aime” stitched through ought.
The artist has also added an antique sewing machine in this exhibition.
The dominant colours here are grey and red, successfully suggesting dark and gloomy times that have come upon Louise.
Lighting:
In this exhibition, the lighting is set towards the sculpture; powerfully drawing the viewers attention to the dis-membered sculpture.
There are a variety of lighter tones across the model, which provides better illumination for the sculpt to concentrate on, resulting in a precisely exposed cut
Techniques:
Embroidery has evidently been used to stitch the word s “Je t’aime” repeatedly
Atmosphere:
This form makes me feel empathetic because of the following:
the sculpture is dis-membered. This suggests that Louise is slowly getting rid of a memory of someone, considering the bump on the carve we can powerfully see that she’s attempting to “kill” the memory of a man. I know this because she repeatedly has called herself the murderer for this exhibition.
Also, “Je t’aime” is repeatedly stitched throughout the bed in which the sculpture is lying powerfully suggesting that the memory of this man (her husband who passed away) is killing slowly killing/ hurting her, nonetheless she still loves her husband. This is suggested by the fact the sculpture is only missing bits of its body like head, arms, and feet successfully showing the slow “murderous” process of getting rid of a memory.
The idea behind this project is to form a narrative that highlights the 2 communities of faith and also the LGBTQ community. With this we tend to touched upon the problems of bias and hate, inside bound religions, during this explicit Christianity, towards the LGBTQ community and the way usually folks ar created to selected between the 2. This was galvanized by the stress that’s usually seen in Jersey between these 2 entities, and sometimes the dismissal and disapproval of the 2 existing within the same area. Our presentation of this idea in image type, showcases a tapestry, which contains parts of the LGBTQ community and incompatible spiritual aspects. Here pictures are seamed over and along, a number of couples in an exceedingly colour of the LGBTQ flag and a few of harmful spiritual quotations. Our film elevates this idea, through the story of a lesbian couple United Nations agency are torn between the spiritual aspects of their lives, and their desire to be along and faithful their identities, while still being accepted to follow their religion. Displaying scenes of serenity and violence, we tend to showcase the turmoil that’s occurring in their heads. The aim of this film isn’t to condemn either of those communities however to supply a route to acceptance, that permits for a harmonious existence between the 2 for Jesus teaches:
25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?
28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendour was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well.”
Matthew 6:25-33
This quote powerfully shows that individuals should not be worrying whether people should be together or not for if they seek God first, everything else they need or want will fall into place and God will show to them if it is right or not. Because in Christianity it’s not if they’re the same sex or not that may be an issue it’s:
are they dating for marriage? For the bible says in 1 Corinthians 7:9, “But if they cannot control themselves, they should marry, for it is better to marry than to burn with passion.” This powerfully shows that the prime objective of dating is to marry. It’s smart really because if you do it with the wrong person before marriage, you become emotionally attached to them and it is harder to heal.
Are they equally yoked (share similar beliefs)? In the 2 Corinthians 6:14 it says, “Do not be yoked together with unbelievers. For what do righteousness and wickedness have in common? Or what fellowship can light have with darkness?” This suggests that a healthy relationship will have individuals with similar beliefs because otherwise they will clash.
and obviously, Matthew 6:33 says that couples should keep God first.
Additionally, Ruth 2 teaches us that if the person you are meant to be isn’t going to help you and support you physically, emotionally and faith, then it is probably not worth getting in to as you might get heartbroken.
We area all inclined to believe that our project, that is joined to the Metaverse, might exist within the close to future, due to the undeniable fact that it’s made public a potential utopia. this means that for this idyllic and peaceful on-line world to exist, bridges should be designed between divided communities, like this one, facultative a secure on-line area.
Whilst shooting our film we tend to took the chance to require stills of varied scenes, giving additional images that tell our story of the crossover between the spiritual and LGTQ communities, also as our studio pictures. These images embrace scenes like the couple within the church active Christianity while additionally feeling as if they need to repress a part of their identity. Aa well as this, there are still pictures of the dream sequence in our film that showcase the couple running through the sphere during a idealistic world for them, during which they’re free from restraints. Here Olivia actually has tried to edit in Lightroom and sorted through that images she assumed were best within the sense that they best sent our message and were clear and focussed. when this I went on to rate every of those best choice of pictures, rating them out of 5 stars. Once that was done, I proceeded to edit the still images for which I had rated four or five stars.
Editing and Developing
This still image shows one of the women working on her faith, reading the Bible, presenting another essential part of her identity. This establishes a personal relationship with the Christian religion for the character. To edit this image, I started by reducing the exposure a bit and increasing the discriminant, creating a lot of dramatic background that could later show the light match of the dream sequence. . I then adjusted the shadows, highlights, whites and blacks inside the image, increasing the highlights and whites, while reducing the shadows and blacks, further creating a larger difference. Finally, I improved the brightness and vibrancy of the image, increasing the earthy tones of this image.
This still image shows a scene where people of the same sex are separated for interest, but still looking at each other. However, in some cases, it brings happiness to the 2 communities who need to hide part of their identity to be accepted. Here, Olivia has even modified the image in the same way thanks to the previous scene, to preserve tonal consistency across the interval scenes in the church.
We tend to contradict this view that such communities should only exist in isolation, they can help each other while keeping the faith. Whether they should be together (as friends or more) is up to God for in Matthew 6:25-33 it says:
25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?
28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendour was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well.“
This quote successfully shows that you shouldn’t be worrying if you’re to be with this person or not but seek God first and let him handle everything.
This image could be a still image of 1 of our installation scenes for the dream sequence. it’s a large shot that stages a surreal and surreal scene, because of the castle and therefore the shiny inexperienced grass within the background. Here, this colour grading helps the film by transportation the vibration to life as hostile the marginally darker dark tones of the church. For the dream sequence, Olivia emended the still image reducing the exposure thanks to the big quantity of daylight already within the image. additionally, I conjointly exaggerated the distinction and adjusted the highlights, shadows, whites, blacks and saturation of the image.
This threshold image is taken from a dream scene that shows the 2 figures holding hands, demonstrating the liberty to remain faithful themselves during this idyllic world, that they worry during a spiritual setting.
I emended this image a similar because the previous dream sequence, to keep up consistency in tone and heat throughout the dream world setting, to make a stark distinction to the church scene.
Here, this still image additionally from the dream sequence shows another scene within which the couple have the liberty to think of how it would bee to be in a same sex relationship, as they’re once more seen holding hands on the brink of the Radio Castle ruins. . By having a scene during this castle structure with the sunset on the left within the background, it reinforces the concept that this is often a fantasy and sadly not their reality. I additionally emended this image with constant method for alternative stills within the dream sequence, this point solely slightly reducing the exposure and increasing the achromatic colour of the image. this is often as a result of a tiny low quantity of sunshine enters the frame once taken at sunset.
The final scene during this dream sequence shows the couple holding hands once more, feeling asleep with each side of their colours, walking through the colourful inexperienced landscape because the sun sets. This another time reinforces the thought of the thought idyllic world that the characters imagine. To edit this image Olivia followed constant method because the alternative dream sequence photos, though this point I reduced the brightness and vividness thanks to the big quantity of sunshine within the frame, ensuring that it’s not washed out.
Edited Still Images
These are the final emended versions of still pictures taken throughout the shooting of our film, every showing a special stage of the plot, most of that correspond to the storyboard of the first film, with the exception of the protest scenes and d riot, that we are going to take from actual recorded events to feature genuineness to our film. These pictures conjointly build it potential to reconstruct the filming, costumes and props of the stage. For scenes within the church setting, for instance, we tend to created certain that the figures were wearing white to symbolize purity through the eyes of Christianity. Additionally, for the unreal sequence, the characters are given additional relaxed and flamboyant costumes, to any increase their freedom of expression.
Using edited images from our photoshoot, Bethany created a single embroidery job that combines all of these photos. Here we are using images of different colours to create an image that represents the pride flag.
To try and do this, Bethany 1st sorted these photos into a variety of formats and orders, finding the arrangement worked the best. After choosing a composition, she proceeds to embroider in pictures which form her own patterns and styles on each picture, for example by crossing out negative words in the Bible passages shown and creating dotted lines on the word board and in the middle. . Additionally, Bethany also did this by harnessing colour-matched filaments to the colours in each image, enhancing the colours depicting the LGBTQ flag when some of the colours light up slightly as a result of writing the images onto more paper. thick. , allowing embroidery without tearing. In addition, she also uses black for paints in their original colour. She then sewed the images onto a piece of size A2 fabric, which served as the backdrop for the collage. besides for that, she also pasted some photos on the document, so that there is no need for tinkering on the image that the photos can overlay. With all the photos in place, Bethany ensured that all the items lay flat and then framed them in a very sturdy window holder, so that the item’s slightly worn edges were not visible, and then the image has a stable background.
This is our final image for our identity and community project, highlighting both religious and LGBTQ communities, combining them by presenting their differences and how they are still there to be able to get along with each other despite this.
During our short film edit, Tiago took screenshots at various stages to show our thought process behind how we pieced together scenes from our film. For our movie, we had a soundtrack that we thought would match the vibe of the movie. To do this, we searched for classical and cinematic music on websites with royalty-free sounds. In the end, we found a track that we thought would work the best called Sailing Away by Shane Ivers. When editing a movie, Tiago first puts the video clips in order, shows the plot, then cuts those clips and cuts them, to show the best part of the scene and cut to the beat. . In addition to the sound of the music, we have also included an excerpt from the bible verse “Love thy Neighbour”, which is related to the title of our film. This is placed at the end of the movie to end the message we want to convey; you should preach the gospel with love because telling others they are going to hell will decrease the chances of them ever seeking God.
Here we have chosen to alternate scenes of serenity and chaos to represent the binary opposition of faith and interpretation found in religion, especially Christianity. We obtained these riot footage through a search of royalty-free stock footage footage because we believe using an actual recorded event will have more impact on The message of prejudice and homophobia being expressed through our film. Plus, we think these clips in particular would work better, as they match the colour grading of the film, with the flames recreating the sunsets in dreamy sequences and the warm tones of the rows of church chairs.
To go with said passage of scripture, we have chosen the scene where the couple read and showed the Bible as the final shot as it not only represents the passage we are referring to, but also refers to the idea that a strong faith . able to withstand trials and hardships caused by those who show hostility to others. Here, Tiago added a diagonal blur to smoothly transition from the violence and chaos of the riots to the peaceful final scene.
Finally, I added a credits scene at the end of our movie, which showed our names, movie title, royalty free music, actor names, and our school name. This was converted to with a crossfade, as well as the end of the credits. It also attenuates the music to give the movie a gradual ending, using an ever-increasing sound effect.
Embroidery is an art that works with a needle and thread. It works by stitching thread, yarn or other materials through a piece of fabric to create shapes and patterns.
“Photography is art with light, embroidery is art with a needle and thread.” – Julia
Embroidery adds colour, texture, richness and dimensions to express one’s wealth, ethnic, social identity and more.
It may also be used to mend clothing.
Louise Bourgeois
Louise Bourgeois was a French-born sculptor best known for her monumental abstract and frequently biomorphic sculptures that deal with men and women’s interactions. She was born December 25, 1911, in Paris, France, and died May 31, 2010, in New York, New York, United States.
Bourgeois’ early sketches were created to aid her parents in the restoration of antique tapestries. She received her education at the Sorbonne, where she majored in mathematics. She switched her concentration to art at the age of 25, studying at the École des Beaux-Arts, the Académie de la Grande Chaumière, and Fernand Léger’s studio, and in 1938 she married and returned to New York City with her American husband, art historian Robert Goldwater. She started displaying her surrealist paintings and engravings there. She began experimenting with sculptural forms in the late 1940s, making a series of long, slim wooden figures that she displayed single and in groups.
Those were the first of her autobiographical pieces, which were characteristically abstract but emotionally strong. In the decades that followed, she created a number of frequently unnerving settings out of latex and found materials, as well as constructions out of marble, plaster, and glass. Betrayal, anxiety, revenge, obsession, anger, unbalance, and loneliness are among the most common. She frequently revisited subjects, techniques, and forms that had previously piqued her interest. Because she refused to confine her creative output to a single style or medium, she became more difficult to label and remained on the periphery of the art world. She was given a retrospective show at the Museum of Modern Art in New York City in 1982, an honor rarely bestowed on a living artist, and she represented the United States at the Venice Biennale in 1993. She was awarded the Praemium Imperiale medal for sculpture by the Japan Art Association in 1999.
Long into her 90s, the sculptor maintained her vibrancy and originality. She constructed a massive steel-and-marble spider (Maman, 1999) from which six monumental bronze counterparts were cast in 2003, and the bronzes were shown at various locations across the world. Louise Bourgeois: The Spider, The Mistress, and the Tangerine, a documentary, was released in 2008. Her house and studio, as well as a neighboring town house in New York City’s Chelsea neighborhood, were opened to the public in 2016 as a museum commemorating her life and work.
Art analysis
Louise Bourgeois is an artist that implements her own life struggles and thoughts into physical art.
Substance:
This project was clearly created using physical works like wood, linen, thread, metal and more
This artefact is stored in a museum for the public to see.
This is called “Cell of Hysteria” and Louise states that in this exhibition
Composition:
The key focus of the project is obviously the sculpture sort of hovering over the bed which has “Je t’aime” stitched through ought.
The artist has also added an antique sewing machine in this exhibition.
The dominant colours here are grey and red, successfully suggesting dark and gloomy times that have come upon Louise.
Lighting:
In this exhibition, the lighting is set towards the sculpture; powerfully drawing the viewers attention to the dis-membered sculpture.
There are a variety of lighter tones across the model, which provides better illumination for the sculpt to concentrate on, resulting in a precisely exposed cut
Techniques:
Embroidery has evidently been used to stitch the word s “Je t’aime” repeatedly
Atmosphere:
This form makes me feel empathetic because of the following:
the sculpture is dis-membered. This suggests that Louise is slowly getting rid of a memory of someone, considering the bump on the carve we can powerfully see that she’s attempting to “kill” the memory of a man. I know this because she repeatedly has called herself the murderer for this exhibition.
Also, “Je t’aime” is repeatedly stitched throughout the bed in which the sculpture is lying powerfully suggesting that the memory of this man (her husband who passed away) is killing slowly killing/ hurting her, nonetheless she still loves her husband. This is suggested by the fact the sculpture is only missing bits of its body like head, arms, and feet successfully showing the slow “murderous” process of getting rid of a memory.
Response:
For my own experimentation
Additional Inspiration
Carolle Benitah
Own experimentation
For my own embroidery creation, I have been inspired by Louise in terms of; using my own struggles and life experiences and implementing them in to a physical art work.
For example:
The words “Je t’ai aim” suggests that an event happened in a love story and all you want to say is “I loved you” but you can’t get yourself to finish the phrase because there are lots of people around, a lot of opinions, thoughts and worries.
Embroidery is an art that works with a needle and thread. It works by stitching thread, yarn or other materials through a piece of fabric to create shapes and patterns.
“Photography is art with light, embroidery is art with a needle and thread.” – Julia
Embroidery adds colour, texture, richness and dimensions to express one’s wealth, ethnic, social identity and more.
It may also be used to mend clothing.
The Bayeux tapestry
The Bayeux tapestry depicts the battle of Hastings in 1066 and is over 900 years old. However its embroidery still remains in thoughtfulness and in fitness with pop colour. The tapestry is culturally necessary because it shows a chunk of history that has determined the Royals that currently rule over our country and also the approach our country’s culture has grownup.
The tapestry is believed to have been created by queen Matilda, adult female of the victor of the battle of Hastings, William the vanquisher and is one in all the foremost famed tapestry’s ever created, still because the most long-lasting. The tapestry is seventy metres long and in an elaborate way designed showing the battle of Hastings in vivid detail. Most recognizable is that the killing of King Harold and also the crowning of the New King William the vanquisher.
With the separate embroidery we tend to create, we tend to decide to be a part of along to form our own tapestry and placed on show on exhibition
NFT stands for Non-fungible token. This means that you cannot re-sell it or exchange it for an asset of equal value
An NFT is a type of digital asset that can be bought or sold. Similar to cryptocurrency, the creator of the asset has its details “engraved” on the internet in a shared ledger known as blockchain. What this does is certify that the asset is legitimate, unique and non-interchangeable. These NFTs can be used to represent photos, videos, films, art, and more. It can be seen as a way to sell digital files.
NPR states that:
“..you are also purchasing a kind of bar code, almost a certificate of authenticity that serves as proof that a certain version of something is uniquely yours”
“Take CryptoPunks, pixelated avatars that have fetched millions of dollars. Sure, you could download one of the alien avatars, but collectors would not consider it authentic. A real alien CryptoPunk costs, on average, $900,000.”
“Come to me, all you who are weary and burdened, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy and my burden is light.” – Matthew 11:28-30
What will the future of Jersey look like as a community in the metaverse?
– Inclusion
– Equality
– Harmony
A community that is inclusive and fights for equality and lives in harmony.
I believe the community in Jersey are going to be one that fights for the inclusion of everyone; loves thy neighbour regardless. A community that’s social and makes certain nobody gets left behind, one that lives harmonised with one another and is Just.
