21/06/2021 CNN to Sell NFTs of Its Historic News Coverage

This 
 is a non-fungible token of CNN.

The WarnerMedia-owned cable news channel is branching into the burgeoning NFT space with a new offering it is calling the “Vault by CNN.”

Beginning in late June, the company will “mint” NFTs on the Flow blockchain of memorable moments from CNN’s 41-year history. It will then sell them to the public as digital collectibles. The first batch of news “moments” is TBD, but the company says it could include coverage from presidential elections, CNN exclusives, or moments from world history (want to own CNN’s coverage of the Berlin Wall coming down? Now might be your chance!).

The tokenholder will be able to display the moments they own on a user page in the “vault,” and CNN says that it is working with a third-party company to produce a physical version of the NFTs for some limited edition sets that “will include a premium video display case that will render a physical representation of the Moment on a screen.”

Unlike many other NFTs being offered on the market, users won’t need to pay with cryptocurrency; they can buy their CNN moments with a credit card. Users will need to create a digital wallet with the blockchain company Blocto, however.

In a FAQ about the service, CNN explains the rationale to launch the “Vault”: “Until now, there has been no way to ‘collect’ these moments. Users can often find old footage online, or packaged up in documentaries, but they cannot ‘own’ them or display them in the way they can with a print newspaper or magazine.”

An NFT is a digital asset that represents some real-world item, be it a piece of art, or music, or in this case, TV news coverage. An NFT acts as something like a digital certificate of authenticity, letting users sell or trade the rights to the digital item they hold. While they are often associated with cryptocurrency because they rely on blockchain technology, they are a separate use case for the underlying tech.

NFTs have increasingly caught the eye of the entertainment industry, which saw the success of NFT programs like NBA Top Shot, and others have sought to adapt it for themselves. Most recently, Fox announced the creation of what it is calling Blockchain Creative Labs, staking $100 million in the business unit, which will seek to create NFT content and experiences based on Fox properties.
Arts

https://www.hollywoodreporter.com/business/digital/cnn-selling-nfts-coverage-1234969149/

Interesting NFTs
#19468
By OthersideDeployer
The Machine of Real Madrid
Visual Toy honoring the greatness of the most awarded club in the world of football, Real Madrid. Including his top stars of all time including President Bernabeu, a myth in the club's management. This Visual Toy represents the club as a title machine with the Champions League as a great emblem, since it holds the leadership in victories in the maximum European competition. A magical and fantastic mechanism like the history of the club itself. Including the Bernabeu in its last year before the remodeling in 2020, this Visual Toy brings together all the essence and soul of the merengue team. https://javierarres.com
SUPER CAT#Violet#Belleblue
Sup playa! I'm SUPER CAT#Violet#Belleblue. All you need to know about me is I hate chocolate with a passion. In my free time, I can usually be found voluptuous or practicing witchcraft. Will you be the marmite to my ranch dressing?
Who Is The Creator 2
The idea for this piece was borne out of a tweet of mine that caused a bit of a stir. I’d posted a link to a blog article I’d written a number of months previous titled ‘Who is the Creator’ discussing various types of creative collaborations and why I hire people to work on my animations. It generated a lot of debate around creation and attribution with the community split on whether it’s right or wrong for an artist to hire other professionals to help them realize their art projects. I decided to push the boundaries even further and see how the cryptoart community responded. What if I quite literally had nothing to do with the physical or digital elements of the work other than coming up with the concept and coordinating it? I decided there was one artist in the space who could add huge value to this idea on levels that none other could and so I gathered my courage and contacted the great JosĂ© Delbo to ask him if he’d be interested in a very unique collaboration. I explained to him that to make this piece ‘work’ he couldn't have any say in what I produced and moreover, he wouldn’t even be allowed to see the animation until it was dropped on MakersPlace. To my surprise, Mr Delbo agreed to my proposal. The animation tells the story of the creative process, which includes my roles as writer, director, and producer working with a team and making edits and changes ‘in real time’. The dialogue between myself and my ‘hired guns’ plays out in front of the viewer. The music written for the piece adds to the nostalgia of the comic book superhero theme but other elements such as the snapping and kicking of the pencil and the signing of my signature at the bottom incorporates further layers and challenges the viewer to ask important questions, such as, is the ‘Art’ the final animation (the creation) or is the ‘Art’ the concept/credit for the creation itself?
Fuku-Shiva
The term “Fuku” refers to fortune or good luck. “Shiva” refers to the Hindu deity who represents strongly polar qualities, both severe and delicate. On a beach inspired by adventures on Phi Phi island in Thailand, three youths cavort. Two are representational figures and the third is psychologically rendered. A dynamic relationship ensues between the triad; a reciprocity of active and passive states. The boy on the right engages in maneuvers of evasion, defense, and is dressed in a speedo which reiterates the colors and symbolism of the caution tape on the left and upper right frame of the composition. In concurrent reaction the psychedelic figure shoots out a rocket powered paper airplane. The nude boy seated in the froth and sand approaches in passive repose, and is met with active attention but equal physical reserve by the psychedelic being. Perhaps the most naked figure is also the least representational. Looming large, dynamic, and active, it engages its companions playfully. Various symbols interject into the otherwise naturalistic scene, most notably a beach ball and two contaminated barrels nested in the sand. The upright barrel reads “FukuShima” in Kanji. The barrel laying down reads “Dharma”. To the left the scene is bounded by caution tape, reiterating the danger of the nuclear waste while also hosting alien archetypes, whose presence, as is the nature of these entities, runs up and just behind the consciousness of the psychedelic figure’s eggshell-like skull.