digital art revolution plus costco login

digital art revolution plus costco login

Bahnalifa    April 30, 2023    Comment   

Costco has not been increasing its profits as grocery prices have gone up, the head of the retailer’s Canadian operations told Members of Parliament studying the issue of food inflation – echoing the message of other major grocers who have come before the committee.

Pierre Riel, executive vice president and chief operating officer of Costco Wholesale International and Canada, appeared before the House of Commons committee on agriculture and agri-food on Monday evening – the last of the big five grocers called upon to answer questions about the rapid increase in the cost of food, and growing retailer profits.

“The final price our members pay for food is dependent on many factors at each stage of the supply chain, ” Mr. Riel said in French, pointing to multiple factors such as global commodity markets, labour shortages contributing to higher wages, and prices charged by suppliers. The chief executive officers of other grocers such as Walmart Canada and Metro Inc. also pointed to stresses across the supply chain, emphasizing that retailers are not solely responsible for food inflation.

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The price of groceries has been going up at the highest rate seen in Canada in almost four decades, outpacing the general rate of inflation. The annual inflation rate was 5.2 per cent in February, according to Statistics Canada, but grocery prices grew by 10.6 per cent on a 12-month basis. It was the seventh consecutive month of double-digit increases in food prices.

Mr. Riel told the committee that on a global basis, 58.5 per cent of Costco’s total pre-tax profits come from membership fees. The chain’s overall profit margin on the merchandise it sold worldwide over the past three years was 1.43 per cent, he added. He declined to provide numbers specific to the Canadian market.

“We work every day with our suppliers to reduce costs, ” Mr. Riel told the committee. Asked about the chain’s practices with product vendors, he said that unlike other large grocers, Costco does not charge suppliers listing fees for putting products on its shelves, and also does not charge penalties such as for late deliveries.

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Such fees have been contentious in the sector for years, and have led to discussions among industry groups to create a code of conduct to govern the relationships between retailers and their suppliers. A steering committee has now developed a draft of a self-regulatory code that has been distributed among companies across the industry. Mr. Riel said that Costco was not invited to be part of that committee, but is reviewing the draft now. However, when asked if the company would participate in a code once implemented, he provided conditional support for the process, saying Costco already has a productive relationship with suppliers.

The price of groceries has been going up at the highest rate seen in Canada in almost four decades, outpacing the general rate of inflation. The annual inflation rate was 5.2 per cent in February, according to Statistics Canada, but grocery prices grew by 10.6 per cent on a 12-month basis. It was the seventh consecutive month of double-digit increases in food prices.

Mr. Riel told the committee that on a global basis, 58.5 per cent of Costco’s total pre-tax profits come from membership fees. The chain’s overall profit margin on the merchandise it sold worldwide over the past three years was 1.43 per cent, he added. He declined to provide numbers specific to the Canadian market.

“We work every day with our suppliers to reduce costs, ” Mr. Riel told the committee. Asked about the chain’s practices with product vendors, he said that unlike other large grocers, Costco does not charge suppliers listing fees for putting products on its shelves, and also does not charge penalties such as for late deliveries.

Ingersoll The Jazz Men's Automatic Watch

Such fees have been contentious in the sector for years, and have led to discussions among industry groups to create a code of conduct to govern the relationships between retailers and their suppliers. A steering committee has now developed a draft of a self-regulatory code that has been distributed among companies across the industry. Mr. Riel said that Costco was not invited to be part of that committee, but is reviewing the draft now. However, when asked if the company would participate in a code once implemented, he provided conditional support for the process, saying Costco already has a productive relationship with suppliers.

The price of groceries has been going up at the highest rate seen in Canada in almost four decades, outpacing the general rate of inflation. The annual inflation rate was 5.2 per cent in February, according to Statistics Canada, but grocery prices grew by 10.6 per cent on a 12-month basis. It was the seventh consecutive month of double-digit increases in food prices.

Mr. Riel told the committee that on a global basis, 58.5 per cent of Costco’s total pre-tax profits come from membership fees. The chain’s overall profit margin on the merchandise it sold worldwide over the past three years was 1.43 per cent, he added. He declined to provide numbers specific to the Canadian market.

“We work every day with our suppliers to reduce costs, ” Mr. Riel told the committee. Asked about the chain’s practices with product vendors, he said that unlike other large grocers, Costco does not charge suppliers listing fees for putting products on its shelves, and also does not charge penalties such as for late deliveries.

Ingersoll The Jazz Men's Automatic Watch

Such fees have been contentious in the sector for years, and have led to discussions among industry groups to create a code of conduct to govern the relationships between retailers and their suppliers. A steering committee has now developed a draft of a self-regulatory code that has been distributed among companies across the industry. Mr. Riel said that Costco was not invited to be part of that committee, but is reviewing the draft now. However, when asked if the company would participate in a code once implemented, he provided conditional support for the process, saying Costco already has a productive relationship with suppliers.

digital art videos para leer

digital art videos para leer

Bahnalifa    April 30, 2023    Comment   

Summary. Successful businesses focus on three core principles of their customer experience: They put the digital experience in the business context. They recognize that customers are not created equal. And they make zero-based decisions. Continuous improvement is fine, but it’s important to be willing to think from first principles, and to re-examine and justify what you are doing and what you could do differently. This helps ensure that the digital roadmap is prioritized and focused on the highest impact actions.

An online casual gaming company was testing a new piece of functionality. It did a standard A/B test where half of the players saw variant A and half saw variant B. The test concluded that variant A improved a critical element of the site’s conversion rate with a high degree of confidence, and the business moved all of their players to the winning variant. Unfortunately, revenue immediately started to decline. Only when the business looked further did it make a critical discovery. What is typical in casual gaming apps is that often only 1% of the visitor base spends any money. So, while variant A performed better overall, variant B performed much better for visitors who actually spent money.

This example highlights two of the most common challenges that businesses face when attempting to improve their digital engagement with customers. One is assuming that all customers are the same, and the other is focusing on a siloed digital outcome rather than a business outcome. It was true that variant A improved conversion rate but, in this case, conversion rate was not aligned to profit. As the saying goes, “The operation was successful, but the patient died.”

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Another common challenge is around how to prioritize and focus customer experiences. As businesses increasingly invest in their digital engagement with consumers, there is a never-ending backlog of potential enhancements enabled by new ideas, improved device capabilities, and the relentless progress of AI — all which continuously increase consumers’ expectations. Standing still is never an option, but knowing where to focus and what will make the greatest difference to your customers’ experience is not easy.

As consumers, we all recognize the importance of a seamless customer experience. The purpose of this article is to highlight the typical things that go wrong when developing customer digital experiences, and to propose an approach that will help capture the huge opportunities of getting it right.

Digital experiences can be thought of as a funnel — customers enter a site or app with an objective in mind, such as booking a taxi, ordering a pizza, or buying shoes. Some succeed and some fail. Most businesses embarking on managing this journey start by measuring the different stages of the funnel. Overall conversion rate (the percentage of customers who achieve their objective) is often seen as the ultimate metric of success.

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However, any digital experience is (almost always) a window into the overall business proposition. The digital experience is tightly interdependent with all aspects of a business and cannot be assessed or optimized in isolation — just look at the spikes in conversion rate during any sale or promotion. Clearly, individual elements of a digital experience can be improved — faster speed, bug fixing, better navigation — and these types of enhancements are rarely bad, but often miss the bigger opportunity.

A digital fashion retailer was focused on improving its “add to basket” rate by testing lots of different product page formats. But when they looked at product conversion rates over time and across different products, they realized that the conversion rate for individual products was dominated by the product’s quality, price, and availability. Great products, in-stock and priced competitively, had a conversion rate 10 times higher than the average product.

Their focus immediately shifted from page formats to delivering a better experience of availability, by nudging customers to enter their size and then directing them to the products available in their size. The retailer also started to augment the measurement of “add to basket” and conversion rates with measurement of the customer experience. Measuring and optimizing customer viewed availability — are the products the customer is viewing in stock in their size — turned out to be much more important than fiddling with different button colors.

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Another example further illustrates the challenge of finding the real opportunities. A food delivery company was trying to optimize how to show expected delivery times in their app to drive customer satisfaction. However, when they spoke to unhappy customers, they realized the failure point was quite nuanced — the problem was less about the messaging and more about when the expected delivery time varied frequently between point of order and delivery. The expected arrival time was being updated every few minutes and was thought of as “helpful” but actually drove significant dissatisfaction. Moreover, the delivery company was only storing the order time and delivery time, making the issue challenging to diagnose. The company recognized that the root cause of customer dissatisfaction was nothing to do with the digital journey but was driven by the algorithm for predicted delivery time (which they subsequently improved).

These examples highlight the need to unpack the “digital” element from the interaction with the rest of the business. An observed failure in a digital journey is often nothing to do with the digital journey but is a symptom of the overall business proposition. This pitfall is all too common when digital has become a distinct division, disconnected from the rest of the business. Digital experiences do not respect organizational silos.

A hotel chain identified high bounce rates on search traffic from Google as an issue — bounce rate is the percentage of visitors who enter and leave a site immediately, and only ever see one page. Their initial digitally focused solution was to conduct A/B testing on different landing page layouts. The impact on the overall bounce rate, while positive, was relatively small. Further analysis of the data revealed an interesting insight: the bounce rate was driven by the customer’s device and the specificity of their search. For example, a customer searching for “hotels near Geneva” on a desktop preferred a large map and default radius to be able to see all the hotels in the Geneva area. But a customer searching for “hotels near Geneva airport” on a mobile device preferred a much smaller default radius around the airport. The landing page design was not the issue. The real business opportunity was to personalize the default map radius based on the customer’s search characteristics which had a dramatic impact on both bounce rate and overall business performance.

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Personalizing your customer experience extends to understanding what is important for your high value, and high potential value, customers. This same fashion retailer started analyzing its product availability for different customer types, and discovered that its highest value customers had the worst availability experience. Further digging revealed that the higher value customers were typically searching for either smaller or larger clothing sizes. However, the retailer had been making decisions about size ratios based on old-fashioned rules of thumb, and had not adjusted to the new online reality which changed both the data available and also the customer mix. They subsequently changed their approach to optimizing size ratios.

As we saw in the opening example, A/B testing is seen as the gold standard but is fraught with complexity and misinterpretation. A critical challenge is failing to look beyond the headline results. Only by analyzing outcomes at an atomic level — by devices, browsers, customers, or marketing sources — can one really understand the true efficacy of a test, and whether the best approach is to select the A vs. B, or to personalize (as with the hotel example above). Oversimplifying will at best miss opportunities and at worst lead to significant waste. Nothing about testing is easy.

It is typical to have teams focused on continuously improving the digital experience. It is less common to have a zero-based mindset with teams willing to look at a problem afresh. But businesses that regularly challenge their priorities and actions from first principles make better decisions.

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A retailer developed a product recommendation system that offered cross-sells and upsells at various points across its site. The algorithm that powered it was intended to optimize “add to basket” and conversion rates. When the new algorithm went live, they were delighted with the results. It performed much better than the previous recommender.

However, they wanted to challenge the face-value assumption of success. Further analysis revealed insights that all was not as it seemed. Looking across all products and inventory, only about 12% of the inventory value was ever getting recommended. It turned out that the recommendation algorithm was resolutely focused on recommending bestsellers, which often would have sold anyway, and was much less prone to recommend overstocks, new products, or products that were harder to sell. The metric that had been selected to optimize was misaligned with the business objectives of sell through, gross margin, and inventory efficiency.

Digitally led businesses are overwhelmed by opportunities. Identifying the top 100 ideas is easy, identifying the top

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what canvas size to use for digital art printscreen files pdf

what canvas size to use for digital art printscreen files pdf

Bahnalifa    April 30, 2023    Comment   

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This article covers the best canvas size and resolution for digital art. Choosing the best canvas size and resolution might not be easy when you have a certain project in front of you, and you want to get the best quality out of your art software. A large canvas size, like 3000 x 7000 px with 300 PPI (pixels per inch), will give you good results overall. Let’s explore the topic a bit more!

Canvas size refers to the dimensions of the digital workspace or the digital canvas you have when you start a new drawing in an art software like Procreate, Clip Studio Paint, or Adobe Photoshop.

Best Image/canvas Size For This Kind Of Digital Painting

Resolution refers to the number of pixels per inch (ppi) or dots per inch (dpi) in an image. A high-resolution image will have more pixels or dots per inch and creates a clearer and sharper image. Low-resolution images may appear blurry or pixelated when printed or viewed at a larger size.

When creating digital art, it’s important to consider the final use or output of the artwork and choose a canvas size and resolution that will allow for clear and high-quality printing or display.

The best canvas size for digital art depends on the intended use or output of the artwork. A good starting point is to use 3000 x 7000 px canvas size at 300 PPI resolution for digital art.

What's The Biggest Canvas I Can Make In Procreate?

For digital illustrations or graphics that will be used for web or screen display, a canvas size of 72 ppi and a size of 800-1200 pixels is good enough.

For digital art that will be printed, a higher resolution of 300 ppi or more is recommended. The canvas size will depend on the desired final print size, with larger print sizes requiring larger canvas sizes. For example, a digital art print that will be 8″ x 10″ at 300 ppi would need a canvas size of 2400 x 3000 pixels.

It’s important to remember that larger canvas sizes will require more RAM (random access memory) and processing power, so it’s important to consider the capabilities of your computer or device when choosing a canvas size for digital art.

The Best Drawing Apps And Digital Art Apps For Every Skill Level

As a general rule, a higher resolution is better for printing as it allows for more detail and clarity. Higher resolution images create larger file sizes, so take this into account when creating digital art in high resolution.

For printable digital art, a resolution of 300 pixels per inch (PPI) is considered the best resolution to have. This is the standard resolution for high-quality printing and will produce excellent results for most purposes.

For web use, 72 PPI is often used as the standard resolution. This is because, in web use, you don’t need the extra sharpness present in 300 PPI images. 72 PPI images also load faster as the pixel density is lower.

How To Pick The Right Canvas Size And Resolution

Working higher than 300 PPI resolution rarely brings noticeable differences to the sharpness or quality of the final artwork. 300 – 400 PPI tends to be a good range to work in.

Current art software like Adobe Photoshop and Clip Studio Paint enables you to work on very high pixel sizes (30000 x 30000 px), so you usually don’t have to worry about art software not having enough pixels for you.

It’s important to know that the bigger resolution and canvas size you have, the more RAM (random access memory) is required from your computer. The speed of the RAM does not have as big of an impact as does the amount of RAM you have.

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32-64GB of RAM is enough for creating high-quality and high-resolution digital art. Having more than 64GB of RAM always helps, but most laptops or tablets don’t yet have more than 64GB.

If you use desktop PC, then you can have more than 64GB of RAM, as the only limitations come from the motherboard and CPU you have.

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What Canvas Size Should I Use For Digital Art At Joan Harrell Blog

Thank you for visiting the page! If you want to build your next digital product business, I suggest you check out Kittl!It’s easy to walk into an art store, see a canvas that will fit on that empty spot of the wall and know it’s the canvas you need. But, what about digital art? The canvas looks like it’s the size of my screen, whether it’s small or large. It’s so easy to choose the wrong sizing and make a mistake. So, the question is, what’s a good canvas size for digital art?

For printed work, your digital art canvas should be the same size as your desired final print. Use an inch to pixel converter to find your dimensions in pixels. The size of your canvas designed for the web depends on the platform you plan to display it on. The DPI of your canvas should be at least 150 for web work and 300 for print work.

If you plan to print your work, it really is as simple as choosing a canvas that’s the size of your desired final product. So, if you eventually want to print an 8×10 print, make your canvas 8×10.

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If I’m unsure what size I want my final print to be, I take some time and figure it out. That’s how much I care about choosing the right canvas size from the get-go.

To be fair, there have been a few times when I’ve jumped into a piece of art without knowing the exact sizing first. In those case, I aim for a larger canvas than I think I’ll need. Generally, I find it easier to scale my work down when printing, than scaling it up.

This is not always the case so, again, try to figure out your ideal canvas size ahead of time before you get started.

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Also, it’s important that you DON’T resize your canvas after you’ve created it. This can cause issues with quality, sizing, and overall results. So, again, decide on your canvas size from the get-go before you get started.

We have to think about DPI, which will change the size of your canvas, even if you’re still aiming for an 8×10 print at the end of the day.

Not to mention that it becomes more complicated when thinking about digitally displaying your work. How the heck do we know the size of Instagram posts?

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Later in this post, we’ll talk about what you need to consider when choosing a DPI for your canvas and how it impacts its size. That said, if you couldn’t care less about how all of this works and just want a clear answer on what size canvas you should pick for your digital art, I totally get it.

Here’s a chart you can use. These dimensions are based on 300 DPI, which is generally considered to be the minimum DPI for print work. And, as we’ll talk about more in depth in the next section, choose a larger size if you’re not exactly sure what size you’ll want or need.

You’ll notice more quality loss when you scale a small image to a larger size than when you scale a large image to a smaller size. You still want to be in the ballpark, but be in the larger end of the ballpark.

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Ok, another thing that’s important to understand is DPI. It’s really easy to get confused by DPI since it seems to magically balloon your canvas size. There’s a reason for it though and it doesn’t actually impact your canvas size in the way you would think.

DPI stands for dots per inch. As the name suggests, it tells you how many dots can fit into an inch of printed work (source). So, the larger the DPI, the more dots of ink will be in each inch of your printed final product.

In general, all printed work should be a minimum of 300 DPI, but you can go higher if you plan to print posters and larger pieces of work.

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how to start making digital artists in gta 5

how to start making digital artists in gta 5

Bahnalifa    April 29, 2023    Comment   

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For your first digital artwork it can be helpful to draw with pen and paper first start by sketching your ideas on paper to get an idea of what your design will look like you can use these sketches in your digital art or for inspiration to map out your ideas work on the forms you ll include in the final piece

There are a variety of keyboard shortcuts to make producing art easier and faster the most popular digital techniques include sketching and layering scanning in traditional work making use of shortcuts flipping the canvas sketching and warming up this is a technique familiar to traditional artists

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First thing you ll need when you want to get started making digital paintings is hardware there are four main options graphic tablet graphic display all in one tablet smartphone graphic tablet a graphic tablet works a bit like a mouse and needs to be attached to your pc or laptop

3 properly name your layers and files when you 39 re in the zone a digital artwork with only five layers can suddenly have 50 layers a mere half hour later then when you need to go back in and edit something you can 39 t find what layer you drew it on save yourself the trouble name your layers as you work

So you decide to learn digital art creation but where do you start contents 1 get an art worthy computer 2 get a drawing tablet a graphic tablet a display tablet all in one tablets 3 choose a digital art software for creating digital art clip studio paint adobe photoshop paint tool sai corel painter autodesk sketchbook medibang paint pro 4

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Source windows central image credit source windows central getting started with digital art can be intimidating due to the wide variety of drawing devices and software to take into

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How to earn money from digital art 1 use social media to showcase and sell your digital art social media is a great way to build your online portfolio the social media platform you pick needs to showcase your work because you re selling visual art instagram pinterest or tiktok are great platforms to show off your work to others

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digital art investment week numbers tvg

digital art investment week numbers tvg

Bahnalifa    April 29, 2023    Comment   

A motley crew of celebrities have tried selling digital art, including Snoop Dogg, Lindsay Lohan and John Cleese. Illustration: Illustration by Craig Robinson/Getty Images/The Guardian

Digital art is a billion-dollar business, with everyone from Paris Hilton to Damien Hirst trading in ‘non-fungible tokens’. But are NFTs just a get-rich-quick scheme masquerading as culture?

“It’s actually a lot simpler than you think.” It’s a Tuesday afternoon, and somewhat to my surprise, I’m on the phone to Paris Hilton, who is graciously explaining the world of NFTs.

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Hilton is many things – a reality star, an heiress, an unlikely lockdown fitness guru who uses designer handbags instead of weights. But until now, she has never been considered a significant player in the art world. When artists have acknowledged her, often they’ve done so to fetishise her image. In 2008, Damien Hirst bought a portrait of her by the artist Jonathan Yeo, in which her body is constructed from collaged images cut from porn magazines.

Yet in the past year she’s become a surreal figurehead in the NFT scene: a world flush with crypto dollars and high on a promise to transform the worlds of art and commerce. When we speak, Hilton has just returned from a bitcoin conference in Miami, where customers paid up to $25, 000 for VIP tables at the opening party to watch her DJ in a pair of diamanté-encrusted headphones. “NFT stands for non-fungible token, a digital token that is redeemable for a digital piece of art, ” she explains. “You can have it on your computer server or your phone. I have these screens in my house where I display them.”

Sure enough, at Hilton’s Beverly Hills mansion there are screens displaying NFTs she made in collaboration with the digital artist Blake Kathryn. These include a video of a chihuahua on top of a rotating ionic column (a tribute to her deceased pet Tinkerbell) and an animated self-portrait of Hilton as a sparkling CGI Barbie floating in the clouds, a piece she’s called Iconic Crypto Queen, and which she sold in April for more than $1m.

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Hilton first started investing in cryptocurrency in 2016. “I became friends with the founders of Ethereum, ” she says. (Ethereum produces ether, the currency in which the majority of NFTs are traded.) Since then she’s thrown herself into collecting crypto art, and owns more than 150 NFTs.

To advocates of the NFT, the technology offers a revolutionary new way of selling art, and of circumventing snooty cultural gatekeepers whose resistance to a crypto future seems as square as the 19th-century Parisian art world’s disdain for impressionism. In this context, the relevance of Hilton’s brand to the NFT movement makes sense. Pink, jewel-encrusted, and openly motivated by being as rich and famous as humanly possible, she’s a far cry from the type of person whose work is typically exhibited in blue-chip galleries or hung in booths at art fairs.

Yet Hilton’s endorsement may also be ammunition for those who view the NFT as just another depressing example of the speculative logic of finance monopolising taste. To detractors, from critic Waldemar Januszczak to artist David Hockney, the NFT marketplace is a home for morally bankrupt, environmentally vandalistic money-grabbers whose creations barely qualify as art.

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While most of us are still trying to remember what “fungible” means, a battle is under way to define how NFTs are understood. Are they a vital cultural product that tells us something profound about digital consumerism? Or are they just the latest cynical way to make absurd amounts of money?

A motley crew of celebrities have tried their hand at selling digital art, including Snoop Dogg, Lindsay Lohan and John Cleese. In July, it was estimated that sales of NFTs in the first half of 2021 rose by more than $2bn (£1.47bn) – a trend that prompted Christie’s and Sotheby’s to host their own NFT auctions and that is credited with driving contemporary art sales to an all-time high. But only a tiny proportion of the proceeds of art NFTs have ended up in the bank accounts of the galleries that have, in addition to auction houses, traditionally taken the lion’s share of art-market profits.

In March, the crypto firm Injective Protocol paid $95, 000 for Morons, a physical artwork by Banksy depicting an auctioneer selling a framed picture bearing the words: “I can’t believe you morons actually buy this shit.” They then burned the picture before selling a digital token of the work for $380, 000. The event was a marketing ploy, designed to stoke outrage, drum up publicity and turn a profit. Yet the symbolism was potent: digital art is here to replace its physical forebear, and its coming supremacy should be reflected by a higher price tag.

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In essence, an NFT is a digital certificate of ownership, almost always bought and sold using cryptocurrency, to which any digital file – a jpeg image file, a video, a song – can be attached. That Hilton is able to display Iconic Crypto Queen in her home, despite having sold it, is part of the NFT’s appeal – and the challenge it poses to the established business model for trading and accessing art. With a simple Google search, anybody can find and download the file associated with an NFT for nothing, and store it on their phone or computer, but only the owner has the right to sell it. Each NFT is unique, and all transactions are logged on the blockchain, a type of database invented in 2008 for the purpose of recording the movement of cryptocurrency.

Unlike the commercial gallery business model, NFTs are designed to cut out the need for art dealers, enabling artists to trade directly online, typically via specialist auction sites. Crucially, in contrast to the contemporary art world, there is no “vetting” of collectors – a practice intended to stop the most speculative buyers flipping artworks by quickly reselling them at a profit. Anybody can buy an NFT, and prices, so often a thing of mystery in high-end commercial galleries, are listed as a matter of public record. Every time an NFT is resold, its creator also makes a profit – an inbuilt royalty system missing from the physical art world, where artists often feel as if they have been shafted when their work is resold on the secondary market.

A model for trading and sharing art, built on the principles of financial transparency, royalties and easy access for all may sound egalitarian. The reality has been rather different. As soon as it became apparent that almost anything digital could be labelled as art and sold, the circus rolled into town.

Teen Artists Are Making Millions On Nfts. Why—and How?

In March, Everydays: The First 5000 Days, a collage of previous artworks by a 40-year-old American named Mike Winkelmann, better known as Beeple, sold for $69.3m at Christie’s New York. After that, Kate Moss sold a gif of herself for more than $17, 000. Jack Dorsey, CEO of Twitter, sold an image of the first ever tweet for $2.9m. A Brooklyn film director managed to sell an audio file of his own farts for $85. Dominic Cummings even threatened to use the technology against Boris Johnson, by releasing what he said was evidence of government malpractice in the form of an NFT.

Along the way, the market became gratuitously inflated. Bidders at the top end included Vignesh Sundaresan, a blockchain entrepreneur who bought Beeple’s $69m NFT. A considerable number of small-time enthusiasts were also buying at the affordable end of the market, keen to celebrate the technology by investing in blockchain art. It didn’t take long before the bubble burst. By May, daily sales of NFTs had dropped by 60%. Crypto art’s reputation has also taken a knock because of its awful environmental track record. (The annual energy consumption of Ethereum is estimated to equal that of Iceland.)

Despite this, advocates still believe NFTs can mount a challenge to the monopoly on trading art held by commercial galleries, and even create a future where physical artworks are replaced by their digital counterparts. As Hilton puts it: “There are paintings out there that are $100m or more, but if you think about it, it’s really just canvas with paint.”

Cisi Financial Services Professional Body

I n the beginning, before the circus pitched up, there were nerds. Inevitably, because this is the internet, there were also cats. CryptoKitties, to be precise, is an online game launched in 2017, enabling players to trade and “breed” unique cartoon felines, sold as NFTs, using blockchain technology. Although the first NFT was created by a man named Kevin McCoy in 2014, CryptoKitties attracted attention and money, with some cats trading for hundreds of thousands of dollars. During 2020, as cryptocurrencies boomed and the pandemic accelerated our transformation into a species of screen-obsessed zombies, interest in NFTs rapidly picked up pace. As a consequence, the value of work by a relatively small number of artists already on the scene rocketed.

Among them was Trevor Jones, a 51-year-old painter who lives in Edinburgh. You’ve probably never heard of Jones, but he’s the most successful NFT artist working in the UK. He started making NFTs

digital art quizizz live chat online

digital art quizizz live chat online

Bahnalifa    April 29, 2023    Comment   

Type in your questions into the help window and wait for a support team 39 s representative to answer your questions if in case your questions linger on click on contact us within the help dialog box and fill the form with your name email address subject and description of the issue

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Digital art arts quiz quizizz edit start a multiplayer game play live assign hw solo practice practice preview 20 questions show answers question 1 60 seconds q what is animation answer choices a drawing that moves the creation of moving pictures in a two dimensional environment

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Quizizz is also a student paced formative assessment platform with plenty of academic games founded in 2015 quizizz is user friendly and accessible on any device it is packed with public quizzes for classroom use teachers use quizizz for group work unit tests exams pre test reviews and impromptu tests

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Printing desainer desingher desain grafis question 2 30 seconds q sebuah proses industri untuk memproduksi secara massal tulisan dan gamabar terutama dengan tinta di atas kertas menggunakan sebuah mesin cetak yang bernama answer choices

In quizizz students collect points cumulatively throughout the game in gimkit students use their points to buy power ups in the store power ups let students earn more points per question get additional points when they hit a streak and even lose less points when incorrect we don 39 t do tests

Untuk membuat soal kuis online kamu tinggal ikuti saja langkah langkah berikut ini pilih menu buat lalu pilih menu quiz tulis nama kuis dan pilih topik soal quizizz setelah itu klik tombol selanjutnya pilih format soal quizizz lalu isi pertanyaan sesuai jumlah soal yang kamu mau setelah selesai

Quizizz platform kuis interaktif foto quizizz com

Quizizz Online Digital System Assessment Tools

Printing desainer desingher desain grafis question 2 30 seconds q sebuah proses industri untuk memproduksi secara massal tulisan dan gamabar terutama dengan tinta di atas kertas menggunakan sebuah mesin cetak yang bernama answer choices

digital art jpegmini free pdf

digital art jpegmini free pdf

Bahnalifa    April 29, 2023    Comment   

Image compression with DCT, quantization encoding method transform coding is widely used in image processing technique, however in these transformations the 2-D images are divided into sub-blocks and each block is transformed separately and into elementary frequency components. There frequency components (DC & AC) are reducing to zero during the process of quantization which is a lossy process. In this paper we are discussing about the image compression techniques with DCT and quantization method for reducing the blocking artifacts in reconstruction. The proposed method applies to several images and its performance is further analyzed for the reduction in image size. The picture quality between the original image and reconstructed image measured with PSNR value with different quantization matrices.

Increase in multimedia applications drastically increased the demand for digital information. Reduction in the size of this data for transmission and storage is very important. This is done by Image compression. JPEG (Joint Photographic Experts Group) is an international compression standard for continuous-tone still image, both grayscale and color. There are software solutions as well as hardware solutions for JPEG compression depending upon the application. Hardware solutions are mainly used for high speed and parallel processing applications. As the distinct requirement for each of the applications, the JPEG standard has two basic compression methods. The DCT-based method is specified for lossy compression, and the predictive method is specified for lossless compression. Simple lossy technique is baseline, which is a DCT-based method, has been widely used and is sufficient for a large number of applications. In this paper, introduce the JPEG standard and focuses on the baseline method. The objective is to implement hardware based Discrete Cosine Transform (DCT/IDCT) Processor and Controller for high throughput Image compression. Images have certain statistical properties which can be exploited by specifically designed encoders. Some of the finer details in the image can be sacrificed for less storage space. Images need not be reproduced 'exactly'. An approximation of the original image is enough for most purposes, as long as the error between the original and the compressed image is tolerable. The main aim of this project is to develop a method for JPEG encoding to process large images of size 10M pixel or more. Encoding such a large size images in short duration is difficult in traditional software or hardware methods. This paper involves development of JPEG encoder with parallel processing techniques to compress 10M pixels or more in size images in 40 milliseconds time frame. Project implementation involves development of digital blocks, coding of logic in VHDL, Verification of functionality with Verilog HDL test-bench, synthesis of logic in Altera Cyclone-III FPGA and demonstrate the functionality.

Image compression is a very essential process in this multimedia computer era, it keeps the file size of the digital image as low as possible either for hardware storage requirements or for fast transmission times. Many graphic compression schemes have been developed over the last decade. This paper mainly concentrates on " Recursive Least Squares Dictionary Learning Algorithm " RLS-DLA, which can be used for learning over-complete dictionaries for sparse signal representation. The training set is used continuously to update the dictionary recursively as each training vector is being processed. We implemented RLS-DLA approach by scheme of convergence considering forgetting factor λ, the core of the algorithm is compact and can be effectively implemented. Moreover, we worked on comparative analysis of RLS-DLA with older natural image compression techniques like JPEG, JPEG2000. Finally, the low bit rate image compression can be achieved, owing the sparsity coefficients by RLS-DLA approach. The experimental results demonstrate the effectiveness of RLS-DLA approach on compressing the natural images at low bit rates.

Tech Talk July 29

Data compression is the reduction or elimination of redundancy in data representation in order to achieve savings in storage and communication costs. Data compression techniques can be broadly classified into two categories: Lossless, Lossy schemes. Digital images require an enormous amount of space for storage. The architecture exploits the principles of pipelining and parallelism to the maximum extent in order to obtain high speed the architecture for discrete cosine transforms and the entropy encoder are based on efficient algorithms designed for high speed VLSI. For example, a colour image with a resolution of 1024 x 1024 picture elements (pixels) with 24 bits per pixel would require 3.15 Mbytes in uncompressed form. Very high-speed design of efficient compression techniques will significantly help in meeting that challenge. The JPEG baseline algorithm consists mainly of two parts: (i) Discrete Cosine Transform (DCT) computation and (ii) Entropy encoding. The architecture for entropy encoding is based on a hardware algorithm designed to yield maximum clock speed

Objectives: This paper intends to propose a secure steganography approach in JPEG compressed domain by providing more possibilities to analyzing the DCT coefficients in lower frequency area by modifying the primary Quantization Table (QT) with generating random data hiding patterns. Methods/Statistical analysis: The upper left part of the primary QT extracted from gray scale image dataset is modified by multiplying the factors ¼, ½ and ¾ to produce secondary QTs for investigating randomly generated data hiding patterns in lower frequency area of quantized DCT coefficients by Least Significant Bit (LSB) method. We create a pool of QTs and those tables are cross checked with randomly generated hiding patterns to find best QT with appropriate data hiding pattern by assessing Peak Signal to Noise Ratio (PSNR). Our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern by using R software. Findings: The Experimental results revealed that our proposed method can embed high capacity data (57 bits per block) without noticeable visual artifacts by considering lower frequency coefficients for data hiding by assessing the image steganographic requirements. The maximum PSNR value 48 and the minimum PSNR value 32 are found among the fifty jpeg gray images based on their contents. Although, the embedding capacity and PSNR fluctuate among images, our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern using R. The hypothesis test was deployed among the QTs, hiding patterns and image features. The following five P-Values, 0.04128, 0.02486, 0.02241, 0.04898, 0.01966 less than 0.05 show the good relationship between the QTs, hiding patterns and image features among the cover images and also the following four P-Values, 0.00685, 0.03017, 0.001085, 4.568e-12, less than 0.05, show the good relationship between those above mentioned factors among the stego images. Application/Improvements: Finally, we present a secure model to explore the relationship between QT, hiding pattern and image contents. The found model is stego invariant for sender and receiver that will enable them to identify QT and pattern by extracting the image features without fully decoding the stego jpeg image. This method is very practical and adaptable for extending QTs and hiding patterns.

Purpose: Behçet's uveitis is not common in western Europe and thedisease presentation is less obvious than in ``endemic'' countries such as Turkeyand Japan. This makes the diagnosis more difficult. Early diagnosis is important, as the prognosis is better if therapy is started early. New methods such as ultrasoundbiomicroscopy (UBM) and indocyanine green angiography (ICGA) can improve thecharacterisation and diagnosis of uveitis. Our purpose was to present our experiencewith these new methods as well as HLA-B51 testing in the appraisal of patients withBehçet's uveitis.Patients and Methods: Patients seen by the authors between 1997 and 2001with Behçet's uveitis or suspected Behçet's uveitis and who underwentICG angiography or UBM were included. Symptoms and signs, results of laboratorywork-up including HLA-B51 antigen testing and the delay to diagnosis, were analysed.Fluorescein and ICG angiography and UBM testing were performed according tostandard protocols used for uveitis patients and their contribution towards diagnosisand management were analysed.Results: Uveitis was non granulomatous in all patients. Fluorescein angiography showed moderate to severe diffuse retinal vasculitis compatiblewith Behçet's uveitis in all cases. HLA-B51 testing was positive in 5 of 7tested cases, being useful to orient the diagnosis. UBM contributed to thediagnosis in all five tested cases, being the determining element in 3 patients.It allowed redirection of the diagnosis from pars planitis to Behçet's in 2patients with poorly transparent media because it failed to show the typicalpars planitis deposits. In a case originally diagnosed as Behçet's it allowedcorrection of the diagnosis to pars planitis because of the presence of the typicalUBM pars plana depositis. ICG angiography allowed detection of choroidalvasculitis in all five tested cases.Conclusions: In Behçet's patients who did not present with a full-blownclinical picture, as they are often seen in non-endemic areas, UBM examinationand HLA-B51 testing were valuable additional diagnostic elements helping toredirect the diagnosis correctly and to reduce the diagnostic delay in these patients.The hitherto unknown choroidal vasculitis shown by ICG angiography in all fiveinvestigated patients indicates that choroidal involvement probably occurs in mostnewly diagnosed Behçet's patients.When we first reviewed JPEGmini,

Automatically Compress Images Without Losing Quality

Data compression is the reduction or elimination of redundancy in data representation in order to achieve savings in storage and communication costs. Data compression techniques can be broadly classified into two categories: Lossless, Lossy schemes. Digital images require an enormous amount of space for storage. The architecture exploits the principles of pipelining and parallelism to the maximum extent in order to obtain high speed the architecture for discrete cosine transforms and the entropy encoder are based on efficient algorithms designed for high speed VLSI. For example, a colour image with a resolution of 1024 x 1024 picture elements (pixels) with 24 bits per pixel would require 3.15 Mbytes in uncompressed form. Very high-speed design of efficient compression techniques will significantly help in meeting that challenge. The JPEG baseline algorithm consists mainly of two parts: (i) Discrete Cosine Transform (DCT) computation and (ii) Entropy encoding. The architecture for entropy encoding is based on a hardware algorithm designed to yield maximum clock speed

Objectives: This paper intends to propose a secure steganography approach in JPEG compressed domain by providing more possibilities to analyzing the DCT coefficients in lower frequency area by modifying the primary Quantization Table (QT) with generating random data hiding patterns. Methods/Statistical analysis: The upper left part of the primary QT extracted from gray scale image dataset is modified by multiplying the factors ¼, ½ and ¾ to produce secondary QTs for investigating randomly generated data hiding patterns in lower frequency area of quantized DCT coefficients by Least Significant Bit (LSB) method. We create a pool of QTs and those tables are cross checked with randomly generated hiding patterns to find best QT with appropriate data hiding pattern by assessing Peak Signal to Noise Ratio (PSNR). Our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern by using R software. Findings: The Experimental results revealed that our proposed method can embed high capacity data (57 bits per block) without noticeable visual artifacts by considering lower frequency coefficients for data hiding by assessing the image steganographic requirements. The maximum PSNR value 48 and the minimum PSNR value 32 are found among the fifty jpeg gray images based on their contents. Although, the embedding capacity and PSNR fluctuate among images, our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern using R. The hypothesis test was deployed among the QTs, hiding patterns and image features. The following five P-Values, 0.04128, 0.02486, 0.02241, 0.04898, 0.01966 less than 0.05 show the good relationship between the QTs, hiding patterns and image features among the cover images and also the following four P-Values, 0.00685, 0.03017, 0.001085, 4.568e-12, less than 0.05, show the good relationship between those above mentioned factors among the stego images. Application/Improvements: Finally, we present a secure model to explore the relationship between QT, hiding pattern and image contents. The found model is stego invariant for sender and receiver that will enable them to identify QT and pattern by extracting the image features without fully decoding the stego jpeg image. This method is very practical and adaptable for extending QTs and hiding patterns.

Purpose: Behçet's uveitis is not common in western Europe and thedisease presentation is less obvious than in ``endemic'' countries such as Turkeyand Japan. This makes the diagnosis more difficult. Early diagnosis is important, as the prognosis is better if therapy is started early. New methods such as ultrasoundbiomicroscopy (UBM) and indocyanine green angiography (ICGA) can improve thecharacterisation and diagnosis of uveitis. Our purpose was to present our experiencewith these new methods as well as HLA-B51 testing in the appraisal of patients withBehçet's uveitis.Patients and Methods: Patients seen by the authors between 1997 and 2001with Behçet's uveitis or suspected Behçet's uveitis and who underwentICG angiography or UBM were included. Symptoms and signs, results of laboratorywork-up including HLA-B51 antigen testing and the delay to diagnosis, were analysed.Fluorescein and ICG angiography and UBM testing were performed according tostandard protocols used for uveitis patients and their contribution towards diagnosisand management were analysed.Results: Uveitis was non granulomatous in all patients. Fluorescein angiography showed moderate to severe diffuse retinal vasculitis compatiblewith Behçet's uveitis in all cases. HLA-B51 testing was positive in 5 of 7tested cases, being useful to orient the diagnosis. UBM contributed to thediagnosis in all five tested cases, being the determining element in 3 patients.It allowed redirection of the diagnosis from pars planitis to Behçet's in 2patients with poorly transparent media because it failed to show the typicalpars planitis deposits. In a case originally diagnosed as Behçet's it allowedcorrection of the diagnosis to pars planitis because of the presence of the typicalUBM pars plana depositis. ICG angiography allowed detection of choroidalvasculitis in all five tested cases.Conclusions: In Behçet's patients who did not present with a full-blownclinical picture, as they are often seen in non-endemic areas, UBM examinationand HLA-B51 testing were valuable additional diagnostic elements helping toredirect the diagnosis correctly and to reduce the diagnostic delay in these patients.The hitherto unknown choroidal vasculitis shown by ICG angiography in all fiveinvestigated patients indicates that choroidal involvement probably occurs in mostnewly diagnosed Behçet's patients.When we first reviewed JPEGmini,

Automatically Compress Images Without Losing Quality

Data compression is the reduction or elimination of redundancy in data representation in order to achieve savings in storage and communication costs. Data compression techniques can be broadly classified into two categories: Lossless, Lossy schemes. Digital images require an enormous amount of space for storage. The architecture exploits the principles of pipelining and parallelism to the maximum extent in order to obtain high speed the architecture for discrete cosine transforms and the entropy encoder are based on efficient algorithms designed for high speed VLSI. For example, a colour image with a resolution of 1024 x 1024 picture elements (pixels) with 24 bits per pixel would require 3.15 Mbytes in uncompressed form. Very high-speed design of efficient compression techniques will significantly help in meeting that challenge. The JPEG baseline algorithm consists mainly of two parts: (i) Discrete Cosine Transform (DCT) computation and (ii) Entropy encoding. The architecture for entropy encoding is based on a hardware algorithm designed to yield maximum clock speed

Objectives: This paper intends to propose a secure steganography approach in JPEG compressed domain by providing more possibilities to analyzing the DCT coefficients in lower frequency area by modifying the primary Quantization Table (QT) with generating random data hiding patterns. Methods/Statistical analysis: The upper left part of the primary QT extracted from gray scale image dataset is modified by multiplying the factors ¼, ½ and ¾ to produce secondary QTs for investigating randomly generated data hiding patterns in lower frequency area of quantized DCT coefficients by Least Significant Bit (LSB) method. We create a pool of QTs and those tables are cross checked with randomly generated hiding patterns to find best QT with appropriate data hiding pattern by assessing Peak Signal to Noise Ratio (PSNR). Our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern by using R software. Findings: The Experimental results revealed that our proposed method can embed high capacity data (57 bits per block) without noticeable visual artifacts by considering lower frequency coefficients for data hiding by assessing the image steganographic requirements. The maximum PSNR value 48 and the minimum PSNR value 32 are found among the fifty jpeg gray images based on their contents. Although, the embedding capacity and PSNR fluctuate among images, our method can be used to attain trade-off between some parameters such as image features, QT, data hiding pattern. Further, statistical features of a given image data set are extracted and analyzed with the selected QT and appropriate hiding pattern using R. The hypothesis test was deployed among the QTs, hiding patterns and image features. The following five P-Values, 0.04128, 0.02486, 0.02241, 0.04898, 0.01966 less than 0.05 show the good relationship between the QTs, hiding patterns and image features among the cover images and also the following four P-Values, 0.00685, 0.03017, 0.001085, 4.568e-12, less than 0.05, show the good relationship between those above mentioned factors among the stego images. Application/Improvements: Finally, we present a secure model to explore the relationship between QT, hiding pattern and image contents. The found model is stego invariant for sender and receiver that will enable them to identify QT and pattern by extracting the image features without fully decoding the stego jpeg image. This method is very practical and adaptable for extending QTs and hiding patterns.

Purpose: Behçet's uveitis is not common in western Europe and thedisease presentation is less obvious than in ``endemic'' countries such as Turkeyand Japan. This makes the diagnosis more difficult. Early diagnosis is important, as the prognosis is better if therapy is started early. New methods such as ultrasoundbiomicroscopy (UBM) and indocyanine green angiography (ICGA) can improve thecharacterisation and diagnosis of uveitis. Our purpose was to present our experiencewith these new methods as well as HLA-B51 testing in the appraisal of patients withBehçet's uveitis.Patients and Methods: Patients seen by the authors between 1997 and 2001with Behçet's uveitis or suspected Behçet's uveitis and who underwentICG angiography or UBM were included. Symptoms and signs, results of laboratorywork-up including HLA-B51 antigen testing and the delay to diagnosis, were analysed.Fluorescein and ICG angiography and UBM testing were performed according tostandard protocols used for uveitis patients and their contribution towards diagnosisand management were analysed.Results: Uveitis was non granulomatous in all patients. Fluorescein angiography showed moderate to severe diffuse retinal vasculitis compatiblewith Behçet's uveitis in all cases. HLA-B51 testing was positive in 5 of 7tested cases, being useful to orient the diagnosis. UBM contributed to thediagnosis in all five tested cases, being the determining element in 3 patients.It allowed redirection of the diagnosis from pars planitis to Behçet's in 2patients with poorly transparent media because it failed to show the typicalpars planitis deposits. In a case originally diagnosed as Behçet's it allowedcorrection of the diagnosis to pars planitis because of the presence of the typicalUBM pars plana depositis. ICG angiography allowed detection of choroidalvasculitis in all five tested cases.Conclusions: In Behçet's patients who did not present with a full-blownclinical picture, as they are often seen in non-endemic areas, UBM examinationand HLA-B51 testing were valuable additional diagnostic elements helping toredirect the diagnosis correctly and to reduce the diagnostic delay in these patients.The hitherto unknown choroidal vasculitis shown by ICG angiography in all fiveinvestigated patients indicates that choroidal involvement probably occurs in mostnewly diagnosed Behçet's patients.When we first reviewed JPEGmini,

Automatically Compress Images Without Losing Quality