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This is my temporary setup until my mac mini arrives..
(I'm thinking about getting a nice 24" monitor like the one I have at work)
Location: Prague - 252km from home.
Another non-standard Austrian plate in Prague, and again my second of this kind. These plates are temporary registrations to foreigners or or foreign companies in Austria. As you can see, this plate has expired already when I spotted it.
W = Vienna
Personal hygiene facilities in temporary housing facility June 26, 2019 in Yuma, Ariz. as part of an ongoing response to the current border security and humanitarian crisis along the Southwest border. U.S. Customs and Border Protection photo by Jerry Glaser
Signage points the way to the new southbound platform at Wilson on CTA's North Side Main Line. The station, over a century old, is being completely rebuilt, and the first new section to reopen is the Track 1 side of the southbound platform. For now, southbound Red Line trains are using it, but will move to the other side of the platform once Track 2 is rebuilt. Here, a northbound Red Line train pulls into the original middle platform. To the left is the disused express platform, which once served North Shore Line trains to Milwaukee and intermediate points. When recontruction is finished, Wilson will once again have local and express service.
The temporary overbridge at Teignmouth railway station, erected during repairs to the very fragile original. Captured on 13 September 2015.
Camera: Olympus FE-120 digital compact.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. Massimo Osanna & Eike Schmidt - Uffizi! Una giungla senza regole! - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte; in: Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000. The ArtNet News (11/07/2022), Art Newspaper (13-14/06/2022) & La Repubblica (24-25/05/2022). Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022). wp.me/pbMWvy-2UP
Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.flickr.com/photos/imperial_fora_of_rome/52210514800
1). FLORENCE - Italy Instructs Museums to Halt Contracts With NFT Companies, Citing ‘Unregulated’ Terms That Could Affect the Country’s Cultural Heritage - The move comes after the Uffizi revealed that a tech company took the vast majority of proceeds from the NFT of a Michelangelo masterpiece. The ArtNet News (11/07/2022).
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S.v.,
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52209026232
--- RARA 2022 (07/10/2021) - Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021).
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When Florence’s Uffizi Gallery sold an NFT of Michelangelo’s Doni Tondo for €240,000 last year, it seemed like it found a major new revenue stream. But it turns out that the tech company it partnered with to produce the digital work took so much in fees that the museum only reaped €70,000 ($70,500) of that. Now, the Italian ministry that regulates the country’s museums has asked institutions to temporarily cease contracts with NFT providers.
The Uffizi sale was orchestrated by the Milan-based tech company Cinello, which had been given a five-year contract (that expired December) to digitally reproduce works of art from the Uffizi’s collection.
Each of the digital works, which Cinello calls DAWs, were certified on the Ethereum blockchain and traded as NFTs in conjunction with Unit, a contemporary art dealership in London. The works were made in editions of nine, priced between €100,000 and €250,000 ($114,000–$284,000) each.
A Cinello spokesperson told the Art Newspaper that the company would split the proceeds with the Uffizi 50/50—after production costs. Those costs—which included taxes, a platform commission, the cost of producing a frame, and a 20 percent operating fee—totaled €100,000.
Initially, the NFT was designed to be in a hybrid digital and physical artifact, combining a wooden copy of the original frame, with a screen and a chip where the copy of the work was recorded as an NFT.
However, the sale generated public scrutiny after the Italian daily newspaper La Repubblica ran a headline this past May wondering who owns the digital rights to Michelangelo’s Doni Tondo. In that article, the Uffizi’s director, Eike Schmidt, admitted that the museum had not done adequate due diligence when it came to structuring the deal around the NFT.
“It’s fundamental to inform yourself not only from a technical point of view, but also from a legal point of view,” he said. Adding that “certain platforms where you register ownership may not give sufficient guarantees, and you risk losing everything,” he said.
By buying digital copies of works in the Uffizi’s collection, new owners can theoretically exhibit and control them in augmented and virtual reality, as well as in emerging environments such as the metaverse. This could leave institutions like the Uffizi high and dry when it comes to controlling the works it sells from its own collection on budding metaverse platforms.
“Given that this matter is complex and unregulated,” a spokesperson for the Italian ministry of museums told the Art Newspaper, “the ministry has temporarily asked its institutions to refrain from signing contracts relating to NFTs. The basic intention is to avoid unfair contracts.”
For its part, Cinello maintains that all rights to the work remain with the museum, adding that its goal is “not to disperse Italian heritage around the world,” but to help the museum receive royalties and assist in raising much-needed funds to protect, conserve, and maintain the originals in its collection.
Though its contract with the Uffizi is technically over, Cinello is currently working with 10 other Italian museums, including the Museo di Palazzo Pretorio and Pinacoteca di Brera di Milano.
The company has not responded to a request for comment on whether it will continue to offer and structure similar NFT deals.
Other companies, such as LaCollection, have also recently announced similar partnerships, including with the British Museum and the Museum of Fine Arts, Boston.
The State Hermitage Museum in Saint Petersburg, Russia, and the Belvedere Museum in Vienna, have also deployed similar schemes. In September, the Hermitage auctioned NFT replicas of its five best-known paintings, netting it $444,000 at the time. The Belvedere digitized and fractionalized an image of Gustav Klimt’s The Kiss, released as a series of 10,000 NFTs last Valentine’s Day, each priced at .65 Ethereum (about $1,950 at the time), generating about $4.5 million.
While moves to digitize priceless works of art appear to be gaining steam (despite the recent calamity around NFT prices as a whole), the question of who ultimately stands to benefit in an as-yet unregulated market remains.
Fonte / source:
--- The ArtNet News (11/07/2022).
news.artnet.com/market/cinello-nft-michaelangelo-2145003
Fonte / source, foto:
--- the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.instagram.com/p/Cf4rqdSs1h8/
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52210029131
2). FLORENCE - Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000
Deal with Cinello company fuels debate about ownership of Old Master masterpieces in the metaverse age. The Art Newspaper (13/06/2022).
The sale of an NFT based on Michelangelo’s famous painting Doni Tondo (1505-06) made €240,000 last year netting the Galleria degli Uffizi in Florence €70,000, a figure recently revealed by the museum. The work was minted by a Milan-based company called Cinello as part of a five-year agreement which should have resulted in the production of 40 digital works. The development is part of an ongoing debate in Italy about ownership and copyright issues linked to major masterpieces housed in national collections.
The Uffizi signed the deal to make DAWs (encrypted digital art works) with Cinello in 2016. “The partnership with Cinello lasted five years and expired in December 2021. During this time Cinello had the right to make NFTs of the works that were part of the agreement; only the Tondo, however, was made,” says an Uffizi spokesperson. The Cinello website states: "For each DAW an NFT token is created on the Blockchain; this certifies the ownership of the work." The Cinello website states: "For each DAW an NFT token is created on the Blockchain, this certifies the ownership of the work."
The spokesperson adds that the contract with Cinello states that “income due to the reproduction of the image is split in half between the company and the museum; the Cinello copy [made] about €140,000 [on the €240,000 sale], so the Uffizi received €70,000 [along with Cinello].” The remainder, €100,000, went on “production costs” according to the Artribune website; Cinello did not respond to a request for comment regarding these sums. According to the Vogon Today website, the Michelangelo NFT was bought by a collector in Rome.
The move has sparked concerns however about whether major works are up “for sale”. An article in the Italian newspaper La Repubblica last month asked: “Who owns Michelangelo’s Doni Tondo?.... who has the legal rights linked to the work? If the buyer ever decides to exhibit it, can he do it without the permission of the Uffizi? Basically: do we not risk losing control of our heritage in a time when we are increasingly moving towards the metaverse?” The newspaper adds that Italian government ministers have also raised concerns about the deal with Cinello.
In a lengthy statement, the Uffizi says: “Basically: do we not risk losing control of our heritage… In reality, [existing laws] give punctual and precise answers to those questions long before the invention of the technology in question, i.e., the Ronchey law of 1994, and again the Urbani code of 2004…. the rights [linked to the works] are in no way alienated, the contractor has no right to use the images granted for exhibitions or other unauthorised uses, and the assets remain firmly in the hands of the Italian Republic.”
Museums worldwide are trying to make money off the back of NFTs. The British Museum (BM) in London has recently sold NFTs of JMW Turner and Hokusai works drawn from its collection, in partnership with the French start-up LaCollection.io. The royalty deal between LaCollection.io and the British Museum remains confidential.
Earlier this year the Uffizi, the Complesso Monumentale della Pilotta in Parma and the Pinacoteca di Brera and Biblioteca Ambrosiana, both in Milan, sold digital facsimiles of works by Raphael and Leonardo da Vinci at Unit London Gallery.
UPDATE: The Uffizi spokesperson says: “The museum didn't sell anything but the use of the image—the DAW (digital art work), the selling of the relative piece, is all [down to] Cinello. It Is false to say that the museum sold the Tondo copy.”
UPDATE (14 June): A spokesman for Cinello says: "We would like to specify that Cinello does not sell NFTs, but DAW® (Digital Artwork). Ours is a patented technology (registered in Italy, China, USA and Europe) that enables the digitisation of the works of art from our partner museums to provide new sources of revenue."
He adds: "Cinello does not hold exclusive rights with public museums. All rights to the artwork remain with the museum that owns the original. We create a new right linked to our patent, which is the DAW®. The collector who buys the DAW® by contract cannot exhibit it in public exhibitions, the work is usable for private use. DAW® are created precisely to maintain control (which remains in the hands of Cinello and the partner museums) and not to disperse the heritage in the digital world."
Fonte / source:
--- The Art Newspaper (13/06/2022).
www.theartnewspaper.com/2022/06/13/uffizi-gallery-makes-o...
Foto: La Repubblica (25/05/2022).
www.flickr.com/photos/imperial_fora_of_rome/52209026242
3). ITALIA - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte - I timori dopo l’accordo siglato dagli Uffizi per 40 capolavori. Il caso stasera alle Iene. Una commissione al lavoro: “Regole certe.” La Repubblica (25/05/2022).
Di chi è il Tondo Doni di Michelangelo? E la Nascita di Venere di Botticelli? Ancora: ma davvero una società milanese ha messo in vendita i Canaletto, un Tiziano, e persino un Leonardo esposti agli Uffizi? Anni fa queste domande non avrebbero avuto cittadinanza. E invece da qualche mese stanno rimbalzando negli uffici del ministero dei Beni culturali, dove sono preoccupati dalla possibilità di perdere - le parole sono dell'ufficio legislativo - "la gestione, il controllo e lo sfruttamento" delle immagini digitali di alcune delle opere più importanti del nostro Paese.
Nota S.v.,
--- Nft, il direttore degli Uffizi: "Serve prudenza ma non abbiamo ceduto i diritti in esclusiva” - Lo storico dell'arte Eike Schmidt dopo la polemica per la riproduzione digitalizzata dei capolavori delle Gallerie fiorentine, da Caravaggio a Leonardo a Botticelli: "E comunque il contratto con la società Cinello è scaduto e non è stato rinnovato." La Repubblica (24/05/2022).
www.repubblica.it/cronaca/2022/05/24/news/nft_il_direttor...
Tanto sono allarmati che il direttore generale dei Musei, il professor Massimo Osanna, ha firmato lo scorso anno una circolare bloccando d'urgenza i contratti con questa società milanese. Ha ordinato oggi di non rinnovare quelli già siglati. E ha insediato una commissione che dovrà cercare di mettere ordine ed evitare che quello che è accaduto si ripeta.
Ma, intanto, cosa è successo? La storia la racconteranno stasera le "Iene" in un servizio firmato da Antonio Monteleone e Marco Occhipinti, che hanno condotto un viaggio nel mondo delle opere d'arte italiane e degli Nft, i not fungible token: opere d'arte digitali che vengono rese uniche grazie alla registrazione in un albo pubblico, la blockchain.Il mercato è enorme: recentemente Everydays: the first 5000 Days, un'opera di Beeple, è stata venduta per 69.4 milioni. Oltre alle nuove opere, c'è un tema che riguarda anche il patrimonio esistente: ciascuna opera d'arte può avere una sua copia digitale che può essere immessa sul mercato. A proporre un'operazione del genere ai musei italiani è stata la società Cinello, che ha un brevetto in materia.
L'idea è semplice: si realizza una copia digitale perfetta dell'opera. La si riproduce su un monitor ad altissima definizione, la si incornicia come si fosse al museo e la si vende a ricchi collezionisti. Il ricavato va diviso 50 e 50 tra Cinello e il museo. I primi a credere all'operazione sono gli Uffizi, che firmano un contratto - come ricostruiranno stasera le Iene - per 40 opere tra le più famose. Nell'accordo vengono stabiliti prezzi e un numero di copie massimo da mettere sul mercato. Alcune potranno essere acquistate, altre anche soltanto noleggiate. Il primo a essere venduto è proprio il Tondo Doni di Michelangelo, come annunciato trionfalmente un anno fa, per 240mila euro. Ma è proprio lì che cominciano i problemi. Qualcuno si chiede: ma ora di chi sono i diritti legati a quell'opera? Se mai il compratore dovesse decidere di esporla, può farlo senza il permesso degli Uffizi? In sostanza: non rischiamo di perdere il controllo del nostro patrimonio in un tempo in cui si va sempre più verso il metaverso?
Gli Uffizi spiegano al Ministero, contratto alla mano, che non è stata data alcuna esclusiva. E quindi, il problema non esiste. Ma a Roma non sono convinti. Le Iene fanno notare due cose: che la Cinello ha ricevuto tutto senza alcuna procedura pubblica. Un regalo. Anche perché Cinello non paga alcun canone, divide gli introiti alla metà (una percentuale molto alta per un'intermediazione). E che, sebbene nel contratto non si parli di esclusiva, nei fatti c'è una clausola che quasi la disegna. Il museo si impegna infatti a non far deprezzare il bene: le copie digitali costano tanto perché sono numerate, ma se ne venissero concesse altre, quelle sul mercato perderebbero di prezzo. Dunque, Cinello potrebbe impedirne la realizzazione.
Ma i problemi sono anche altri. Repubblica ha letto i verbali della commissione di esperti nominata dal ministero "in merito agli Nft e alla Criptoarte". Osanna parla di"contratti stipulati da alcuni musei" (oltre agli Uffizi, la Pilotta di Parma, la Galleria nazionale delle Marche, Capodimonte e l'Archeologico di Napoli) "immediatamente bloccati ed estremamente svantaggiosi per l'amministrazione, perché prevedevano l'alienazione della riproduzione del bene. La necessità imprescindibile è quella di far mantenere allo Stato la proprietà della riproduzione". La questione infatti non è avere paura degli Nft, che possono essere una risorsa. Ma non trasformarli in una giungla senza regole. E con pochi preferiti. Perché quella sì, fa paura.
Fonte / source:
--- La Repubblica (25/05/2022).
www.repubblica.it/cronaca/2022/05/25/news/tesori_in_peric...
"and this too shall pass" a tender voice diligently reminds me.
"it's just another yoga pose; breathe through it. it's temporary," my yoga guru teaches. "how you react in this pose says a lot about how you will handle events in your everyday life."
am i breathing?
am i demonstrating grace?
My office on a cold, very cold tuesday afternoon. The street below is Leiden's busiest shopping street: Haarlemmerstraat. Even though my office (a.k.a. bedroom) is not that well isolated with just one, thin layer of glass, I can hardly hear the people walking by below...
I took the time to only briefly glance over toward the southwest corner at the Horn Lake Goodman Rd. Schnucks Kroger and snap a picture, but it certainly looks like they have used the old salad bar as a temporary deli front counter (or something!). Things have changed so much on this end of the store, it's hard to tell for sure exactly what's going on. Unfortunately, along with the Schuncks decor disappearing, most of the Albertsons stuff looks to be headed for the dumpster as well. Here's this same general area just five weeks prior: flic.kr/p/fPnH9F
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Kroger, (1997-1998) built (as Seessel's), Goodman Rd. at Horn Lake Rd., Horn Lake MS
Here it must be. Will they let me in to take a picture? Temporary basis of the Swiss Army in Buriet, Switzerland, Apr 28, 2008.
I stopped for a coffee at the Western View Café in Eastbourne and loved the cool elegance of its outdoor area. I looked it up when I got home and was amazed to find that the café is only a temporary structure, designed to be there for 2 years until a replacement is built for the old Wish Tower Café, which was demolished last year. I really hope this beautiful area can stay. It's a wonderful sun trap.
Temporary shelter constructed using a timber frame and CGI roofing. The material for the temporary shelter has been supplied by Danish Aid. The household has received the first tranche of the GoN housing reconstruction grant.
Dated; 26 February 2018.
I'm rearranging the home office as I've got so very bored of the current look which has become cluttered. So, the Intel iMac is sharing the same desk as the iMac G3 for tonight until I get another desk (same as the one in the pic) so I can put them side by side and have one huuuuge long desk with more space to put all my peripherals on. It feels nice to be pointing in a different direction :)
Use a "C" Clamp to temporarily hold the antenna mast in place for testing. Move around for the best signal while listening to ATIS for a particular airport. Then "C" Clamp antenna in place.
The temporary entrance to the Slussen metro station at Rysstorget closed last month. Now it is being removed completely.
Early January rain storms created many 'temporary lakes' throughout California's Central Coast. These lakes will dry up as the frequency and intensity of winter rain and snow eases and California returns to its normally bone dry weather pattern
On a dreary day in March 1989, an eastbound Delaware & Hudson freight, now operated by the Susquehanna, approaches the road crossing at Montevideo Rd on CSX's Capitol Subdivision with F45 #3636 leading NS C30-7 #8059. Milepost 15 can also be seen on the north side of the #1 main. The NYS&W was a temporary operator of the D&H ordered by the bankruptcy court until a buyer could be found for the railroad. By 1991 the D&H became part of the Canadian Pacific and these post Conrail trackage rights trains to and from Potomac Yard would continue into the '90s before finally being given up by CP.
Pentax K1000
Kodak TMAX 400
Over the 2013 Christmas period and in to the new year, a period of persistent heavy rain and strong winds combined to cause widespread flooding and countless landslips. One such landslip undermined the carriageway on the approach to Alum Bay, thus curtailing route 7 at Totland over the Christmas period. By the 5th January 2014 when this photo of recently repainted 1102 (HW08 AOR) was taken, a temporary terminus had been established a few hundred yards along the road with buses turning in the entrance to Headon Hall.
Temporary access requires widening to accommodate large equipment for piling equipment and crane to mobilize materials. For more information on the project, visit the project website: www2.gov.bc.ca/gov/content/transportation-projects/bc-hig...