#Signatura Project

[deliandiver]

Friday night build

[gbhbl]

Album Review: Pâenil Era - Idle Cage (Neuronoir)

Music that envelops the mind, body, and soul. Pâenil Era crafting a spectacular style of black metal that utilises melody and atmosphere to give it a post flavour.

Pâenil Era is a post-black metal solo project from Timisoara, Romania, which started in 2012 initially under the name Signatura Rerum. ‘Idle Cage’ is the 4th full length album from the project and was released on September 19th, 2024, via Neuronoir, a new label from Romania that focuses on post metal, black metal, and other derivatives. It continues to be an absolute joy to experience music like…

[gorettyart]

CURRÍCULUM

RÉSUMÉ

GORETTY

www.goretty.com

instagram-twitter @GorettyArt

Currículum:

Goretty és la signatura de Goretti Pomé, artista nascuda al Pallars i que viu a Barcelona. Va ser iniciada en la pintura pel mestre fauvista Miquel Villà, col·lega de Duchamp i Fautrier a París. Llicenciada en Belles Arts l'any 1992 a la Facultat de Belles Arts. Universitat de Barcelona. Estudis de Doctorat en Imatge i en educació en art.

Les seves obres d'art sempre han estat connectades amb la natura i les qüestions profundes de l’ésser humà. Des dels elements de la natura a la recerca del sentit de la vida, des de l’absurd a l'essència.

Creadora del batxillerat d'arts i la Mostra d'Art Jove a Escolàpies Llúria el curs 2000-01. Membre de la Junta Directiva de l'Associació Catalana d'Artistes Plàstics on va promoure artistes. Ha rebut reconeixements nacionals i internacionals per la seva obra. Des de fa anys escriu sobre art i espiritualitat. També ha impulsat ARSVIVA on es promouen artistes envers l'Art i l'Espiritualitat. Co-autora del llibre Art i Creació.

Experiència a destacar

2023- Co-autora del llibre ART i Creació, juntament amb la poeta Mercè Amat. Pròleg de Carles Duarte i Epíleg de Ramon Casalé.

2019 fins l’actualitat: Impuls del Grup ARSVIVA. Promoció d’artistes en ART i Espiritualitat. Curodoria d’exposicions en Sta. Ma del Mar,

St Pere de Puel·les, St Pau del Camp, Facultat de Comunicació Blanquerna i a Càritas. Creació de material pedagògic per la FECC

sobre Art i Espiritualitat.

2018- Pintura mural Monestir de Sta. Caterina. Església Mare de Déu del Roser. C/ Ausiàs March. Eixample-Barcelona.

2010- Artiste invitée d’Honneur a le XXVIII Grand Prix d’Arts Plàstiques de Fousseret. France.

2010- Pintures encarregades pel Monestir de les Avellanes.

2000-01 Creació del Batxillerat d’Arts i la Mostra d’Art d’Escolàpies Llúria.

1999- Premi NADAL cava.

1998 i 2008- 1r i 2n Premi a Salàs del Pallars. Lleida.

1997, 1998, 1999 i 2008- Premi nacional de pintura Juan Ramon Masoliver.

1995- PREMI XIV Mostra d’Arts Plàstiques. Generalitat de Catalunya.

1992-1994- Estudis de Doctorat amb el tema de la Realitat Virtual.

1990-1992- Membre de la junta directiva de l’Associació Catalana d’Artistes Plàstics. Coordinació d’Exposicions.

1992- Llicenciada en Belles Arts. Universitat de Barcelona.

Exposicions i Projectes Individuals

2020- SANT PERE DE PUEL·LES. Barcelona.

2019- FÀBRICA C-13- La Pobla de Segur.

2018- MURAL A L’ALTAR MAJOR DEL CONVENT DE SANT CATERINA. EPIKLESIS.

2016- SALA PERE CASALDÀLIGA. 7 DONS DE L’ESPERIT. Barcelona.

MONESTIR DE POBLET.

GALERIA ARTEMISIA. LEs Franqueses del Vallès. Barcelona.

2014- CLAUSTRE DE STA. ANNA. BARCELONA.

MONESTIR DE SANT JERONI DE LA MURTRA. Badalona..

2012- ESPAI PERE PRUNA. CENTRE CÍVIC Ajuntament de Barcelona.

2011- SALA D'ART CONTEMPORANI AJUNTAMENT DE BARCELONA. CENTRE CÍVIC ATENEU FORT PIENC.

"TRES AMORS I TRES ARTS" Homenatge a Joan Maragall. Barcelona

ESPAI URS VON BALTHASAR. CCU.

Capella del seminari conciliar. 10 anys ISCREB virtual. Barcelona.

2010- MONESTIR DE LES AVELLANES. Balaguer-Àger. Lleida.

2009- CENTRE D’ ART LA RECTORIA. Sant Pere de Vilamajor. Barcelonès.

2001- PALAU PALMEROLA. Barcelona.

2000- Sala Cultural. El comú de Particulars. La Pobla de Segur

Museu-Molí de l´Oli (De Sant Josep). La Pobla de Segur.

1998 Sala Hispano 20. Barcelona.

Teatre Artenbrut. Barcelona.

1997 Lola Anglada. Barcelona.

1996 Sala Hispano 20. Barcelona.

1995 Teatre Artenbrut. Grec 95. Barcelona .

Taller Ciranda. Barcelona- Sarrià.

1994 Espai d´ Art Mercat Galvany. Barcelona.

1992 Facultat de Filosofia i Lletres

Universitat de Saragossa.

Galeria Verdaguer. Esplugues de Llobregat.

Galeria Primart. Badalona.

Ajuntament d´Albacete. Albacete.

Hotel Melià. Barcelona.

1991 Lola Anglada. Barcelona.

Casa Madrid . Barcelona.

Sala Galvany. Barcelona.

1990 Putxet. Barcelona.

Comú de Particulars. Sala de Cultura de la Pobla de Segur. (Pallars Jussà).

1989 Sala d´Exposicions de la Caixa. Esplugues de Llobregat.

La Gramola. Tàrrega.

Exposicions Col.lectives

2024- Art Descalç per la Terra. Itinerant a Girona i a Casa Lluvià. Manresa.

2023- Art Descalç per la Terra. Itinerant per claustre de Sant Pau del Camp, Sala Ronda Barcelona i Centre Cívic Barceloneta. Barcelona.

2022- Art Descalç per la Terra. Monestir de Sant Benet de Montserrat.

2021 EXPO 33È FIRART. Vilafranca del Penedès.

2015 EXPO FAD. Tallers oberts . Barcelona

2014 POP UP GALLERY. Barcelona.

2013 ESPAI VON BALTHASAR. Tenen ulls i no hi veuen. Lumen Fidei. Barcelona.

2011 CENTRE CULTURAL CAN BARRADAS. Contra la intolerància. Ajuntament de ll'Hospitalet de Llobregat.

2010 GRAND PRIX D’ ARTS PLASTIQUES. Le Fousseret. France.

2008 MUSEU DE SALÀS DEL PALLARS. Pallars Jussà.

Sala Cultural El Comú de Particulars. La Pobla de Segur.

AUDITORI MUNICIPAL DE MONTCADA I REIXACH. Montcada i Reixach.

2007 MUSEU COMARCAL DE TREMP. Fira d´Art Salàs del Pallars.

PALAU DE LA DIPUTACIÓ DE LLEIDA: “Artistes del Pallars exposen a Lleida”: “ Tres mirades diferents”.

1999 Confraria del Vi i el Cava. Torre Ramona. Sant Sadurní d´Anoia.

Auditori Municipal de Montcada i Reixac.

Mercart. Esbart de Sant Cugat del Vallès. Barcelona.

2n Autoservei de Pintura. Salàs de Pallars. Pallars Jussà.

Firart. Vilafranca del Penedès.

1998 Mercart. Esbart de Sant Cugat del Vallès. Barcelona.

2n Autoservei de Pintura. Salàs de Pallars. Pallars Jussà.

1997 Auditori Municipal de Montcada i Reixac.Premi Nacional de Pintura Juan Ramon Masoliver.

Pati Manning. Casa de la Caritat.

1r Autoservei de Pintura. Salàs de Pallars. Pallars Jussà.

1996 Sala Busquets. Escola Massana. Barcelona.

Centre Cívic del Bessòs. Barcelona.

1995 Museu d´Art de Girona. Girona.

Saló Víctor Siurana. Universitat de Lleida. Lleida.

Casa Castellarnau. Tarragona.

Lola Anglada. Barcelona.

1994 Sala d´Exposicions del Departament de Cultura de la Generalitat de Catalunya. Lleida.

1992 Centre Cívic del Poblenou. Barcelona.

Reial Monestir de Santa Isabel. Sarrià. Barcelona.

1991 Galileu- Galilei Tallers de l´ACAP. Sants. Barcelona.

Comú de Particulars. Sala de Cultura de La Pobla de Segur. Pallars Jussà.

Galvany. Setmana Cultural de “Castilla- la Mancha a Catalunya”. Barcelona.

Sala d´Exposicions de “la Caixa”. Esplugues de Llobregat.

Tallers d´Art de Sants. Barcelona.

Les Rendez-Vous de Clairfont . Toulouges. França.

1990 Sala de Cultura d´Andorra.

Sala de Cultura de Tremp. Pallars Jussà. Col·lectives Mostres d´Art dels artistes de La Pobla de Segur. Comú de Particulars. La Pobla de Segur. Pallars Jussà.

[picturebookmakers]

Sonja Danowski

In this post, Sonja talks about the creation of her latest picturebook ‘Smon Smon’, and she shares lots of illustrations and work in progress. This stunning work is published by NordSüd Verlag in Switzerland and NorthSouth Books in the United States.

Visit Sonja Danowski’s website

Sonja: When I was little, my bed was close to the window and the curtains should not be closed so I could see the night sky with its sparkling stars. I still like that today. I always wondered what’s going on up there, and imagined fantastic beings. While I lay safely in my bed, it felt very cosy, imagining all those peaceful beings and worlds.

I had planned to set a picture book story in my fantasy world for a long while, but I wasn’t quite sure how to start. There is this strange boundary that makes it almost impossible to bring our fantasy into reality without losing all its magic. But reality also brightens our imagination – like when we read a story and mentally visit entire sceneries. It’s also exactly this brightness that makes it possible to illustrate texts. Among others, I’ve illustrated two moving novels by Chinese writer Cao Wenxuan. They take place in China in the 60s and 70s, and I loved the challenge!

Illustrations and films often succeed in capturing the atmosphere, but it is always somehow different from our imagination, or it’s incomplete. With my new book idea, I had the advantage that no one except me had ever visited my fantasy world, so no one could be disappointed by my attempt to depict it. One thing that I particularly love about making picture books is that once I have a book idea, it won’t let me go and everything around me gets a new meaning. In my sketchbook, I noted what might be of importance for the plot: fast-growing mushrooms, plant forms, rock formations...

I use sketches as a tool for development, but I really have to work out an entire scene to immerse myself emotionally in the emerging imagery. Instead of making a whole storyboard, I trust that the result will tell me what’s going to happen next. With my own stories, I always work intuitively, and I especially like inventing fictive places in my illustrations, such as the home of the main characters in my picture book ‘Little Night Cat’.

Inspired by reality, I combine all sorts of things that exist in our world in order to create completely new, fictive spaces out of them. I draw and draw until the scene seems somehow authentic to me and the details tell little stories while looking at them.

With ‘Smon Smon’ I could go a step further. I enjoyed creating a world where the impossible is possible and craziness takes the place of familiarity.

I like natural-white drawing paper with a matte, smooth surface, and so thick it doesn’t curl when wetted. My first pencil drawings are always quite detailed; while playing with shapes and stony structures, I can delve into my drawing for hours, a condition I like so much! I’m not good at simplifying things; I’m a master at losing myself in details and complexity. I’m always impressed with how other artists can create a meaningful drawing with just a few lines and shapes.

When all picture elements had found their place, I could concentrate completely on the colours that added depth, light, shadow and warmth. For colouring, I used ink and watercolours, and for the final touches, sepia and soft crayons. I like ink and watercolour, which always behave unpredictably on paper – much better than I could have planned it – and I’m fascinated by how we perceive colours differently each time in relation to the adjacent tones. The planet was supposed to be a mysterious, surreal, somewhat gloomy place, so I mostly reduced the palette to a few colours that I prefer to paint with: English-red, sepia, sienna, transparent blue, and the myriad of blends.

First, the creature was on four legs and had fur, and the eyes were far too small and kind of scary; it seemed as if it hadn’t made any effort to appeal to me. It took a small eternity for me to find my main character: weird enough to pass as an alien and sweet enough not to scare. I thought that the anatomy of the beings should be adapted to their habitat, and gave Smon Smon (I later called it) an accordion neck that allowed it to pick high-growing fruit and withstand some difficulties in its search for food. I also discovered two other species on the planet: the small and strong Klon Klons and the flying Flon Flons.

Also, the plot is based on the idea of ​​foraging. Everything doesn’t go smoothly for Smon Smon, but of course there is a happy ending. As in my childhood memories, it is a peaceful world; the beings help each other out of serious situations, and they are generous.

Finding the right words for this world happened spontaneously. This sentence came to my mind: ‘The Smon Smon live on the planet Gon Gon.’ Words with double syllables like ‘Mama, Papa’ are of elemental nature, and I found that the form and sound of the vowel ‘O’ went perfectly with the organic environment. Working out the next scenes, I picked up the rhythm and I wrote: ‘In the morning, the Smon Smon hangs its last ron ron next to its won won on a lon lon and floats away in a ton ton.’

I firstly wrote the sentence in German, but then had to test whether it also worked in English and other languages. It worked fine; it can be translated almost literally, without losing the language’s rhythm. I also liked the idea of ​​giving the few characteristic details in my pictures newly invented names, so readers have to puzzle out their meaning and make the connections themselves. With each page and repetition it becomes easier to remember them, and there are also some clues to find in connotations: lon lon are long, ron ons are round, Flon Flons fly...

The more seriously one reads the book’s text aloud, the more absurd and funny it sounds, and the best is that all the nonsense also makes sense.

Creating a comprehensive illustration project means absorbing the story’s atmosphere very intensively. Often I felt as if I lived in my depicted world. I was fortunate to be surrounded by friendly creatures that surprised me with their weirdness and brightened my mood. While drawing, these strange creatures developed a life of their own and encouraged me – despite all the difficulties and self-doubts – to stay the course until the book was completed.

Illustrations © Sonja Danowski. Post edited by dPICTUS.

Buy this picturebook

Smon Smon

Sonja Danowski

NordSüd Verlag, Switzerland, 2018 NorthSouth Books, United States, 2018

Sonja Danowski takes us on a journey into a beautiful, mysterious world where cooperation and generosity save the day.

‘Weird, wonderful, and proof that journeying to places of uncertainty and unfamiliarity can feel extraordinarily exciting.’ —Kirkus Reviews

German: NordSüd Verlag

English: NorthSouth Books

Italian: Orecchio Acerbo

Romanian: Propublic / Signatura

Korean: Booklight

[gingermcl]

The word Signature is from Latin signatura meaning “signature, a rescript, the matrix of a seal," from signatus meaning "to mark with a stamp, sign" To sign (as a verb) is “to make the sign of the cross," from Old French signier "to make a sign (to someone); to mark," from Latin signare "to set a mark upon, mark out, designate; mark with a stamp; distinguish, adorn; signify, indicate," from signum "identifying mark, sign.” The signature is a mark that is put in place of the living man. Typically when playing the commerce game you are doing business as a strawman, not a living man. A living man has an autograph. Autograph is from Greek autographon meaning "written with one's own hand," from autos "self" + graphein "to write"

I thought of Sign-nature. A signature is a Sign or mark in place of the natural or living man.

As far as energy signature goes. I think of us being energy beings projected in here. Our true form is somewhere else.

[cedricescoriza]

Reforç dels actius digitals a EEUU

A l'agost, hi va haver algunes advertències sobre el que el projecte de llei d'infraestructura proposat per l'Administració de Biden podria fer al sector de la criptomoneda i el blockchain, expulsant els miners de criptomonedes dels Estats Units, paralitzant el paper de lideratge dels Estats Units Units, etc. En resposta, la indústria de les criptomonedes es va mobilitzar per pressionar els legisladors. Tot i això, ja era massa tard per eliminar el preocupant llenguatge dels actius digitals i, al novembre, el projecte de llei d'infraestructures es va convertir en llei.

A l'entrada anterior, ja parlem sobre l'efecte de la polarització de les criptomonedes. Podeu consultar aquesta entrada des d'aquí.

La bona notícia és que la llei d'infraestructures no entrarà en vigor fins al gener del 2024, cosa que dóna molt de temps per solucionar les seves deficiències. L'inconvenient és que els aspectes preocupants (en particular l'ampliació de la definició de qui o què és un "intermediari" i alguns nous requisits d'informació sobre actius digitals) no han desaparegut. Com va assenyalar Charles Hoskinson, fundador de la moneda Cardano, a mitjans de novembre, poc després de la signatura del projecte de llei, el "mal llenguatge [de les criptomonedes]" està ara consagrat a la llei.

Més recentment, Kristin Smith, directora executiva de l'Associació Blockchain amb seu a Washington, va dir a Cointelegraph: "Seguim preocupats per la manca de claredat de la disposició del corredor al projecte de llei d'infraestructura ara signat. [...] Si la disposició es manté sense canvis, podria tenir un impacte perjudicial en el creixement del sector miner amb seu als Estats Units."

[chiveraccs]

En 2019 @balmoralcigars creó la serie Paso Doble como parte se su proyecto Signaturas creado en 2018. Aquí juntaron el talento de su máster blender Boris Winterman, con una leyenda del tabaco: Litto Gomez de @lfdcigars . El Paso Doble es torcido en la fábrica del anfitrión, en este caso Tabacalera La Flor en República Dominicana, por lo que el cigarro presenta una mayoría de hojas de ese país, con una capa ecuatoriana. Pero este Perfecto 7 x 55 de verdad que combina a la perfección con @glenmorangie 10 The Original. El cigarro es de @smallbatchcigar . In 2019 @balmoralcigars created Serie Paso Doble, a part of their Signaturas project created in 2018. Here they paired their master blender Boris Winterman with a tobacco legend called Litto Gomez, from @lfdcigars . The Paso Doble is made at Tabacalera La Flor from LFD, so the cigar has a decent amount of Dominican leaves under an Ecuadorian wrapper. But this 7x55 Perfecto pairs wonderfully with @glenmorangieusa 10 The Original. The cigar was purchased through @smallbatchcigar . . . . #cigarsandwhisky #glenmorangie10 #cigar #cigaraficionado #cigars #botl #potl #holysmoke #cigaroftheday #cigarlife #cigarfan #tobacconist #cigarphotography #topcigars #cigarlover #cigarians #cigarworld #cigarart #niceash #tabaco #puros #cigarpic #cigarsnob #smoking #cigarro #cigarreview #reseñadetabaco https://www.instagram.com/p/CKg6l1XnK3z/?igshid=1utnzabhkmbmo

[comunistescat]

El Comitè Central de Comunistes de Catalunya aposta per repetir fórmula en les eleccions generals

En les eleccions generals del 28 d'abril, Comunistes de Catalunya va optar per acompanyar l'entesa entre Sobiranistes i ERC, a la vegada que donava suport a la signatura d'una coalició entre EUiA i Catalunya en Comú, amb una sèrie de condicions. Amb la repetició electoral, el Comitè Central va acordar repetir la mateixa fórmula mantenint la línia d'incorporar "els actius aportats per les mobilitzacions socials d'aquest període, tenir present l'impacte de la imminent sentència del Tribunal Suprem sobre els presos polítics", així mateix, a conseqüència de la repetició electoral, és necessari tornar a enfrontar "l'ofensiva reaccionària que vol robar-li a la classe treballadora, sobretot a les dones, els drets conquerits i frenar les mobilitzacions populars amb repressió i autoritarisme".

Comencen els debats de la Conferència Nacional

En la reunió d'aquest dissabte, també es va presentar la ponència de la Conferència que es celebrarà el 23 de novembre, iniciant així el procés de debat en les bases sobre el que serà l'estratègia comunista per al proper cicle. Aquest debat, que es realitzarà fins al novembre, comptarà amb diverses fases en el que la militància podrà enriquir el text, concloent en un nou document que serà presentat definitivament a la Conferència, amb les esmenes acceptades o transaccionades pel comitè redactor. Aquesta segona versió serà debatuda pel plenari, que perfilarà la ponència definitiva a partir dels seus treballs. La ponència presentada al Comitè Central fa una diagnosi profunda del cicle polític dels darrers cinc anys, així com analitza la dimensió socioeconòmica dels canvis que s'han produït i de la concreció de la lluita de classe en el nostre país. De la mateixa forma, marca la necessitat de construir un front democràtic per donar una resposta als reptes que té el país. Així doncs, aposta per unir al sobiranisme d'esquerres amb un projecte republicà, amb capacitat per formar una majoria de progrés que doti a Catalunya d'un govern fort, unitari i amb una agenda social de recuperació i conquesta de drets. Comunistes de Catalunya Secretaria de Comunicació via el Bloc dels i les Comunistes de Catalunya

[abujaihs-blog]

SA Property Investors need to be Patient

A panel of experts at the South African Property Owners' Association (Sapoa)'s annual conference which took place last week in Cape Town, told attendees that there were numerous long-term investment opportunities in the country many of which were in real estate. "Property is a long-term investment in any country. The economy may be weak now, but things will improve, and growth will return," Evan Robins, listed property manager for Old Mutual Investment Group’s MacroSolutions boutique said. Barnaby Fletcher, a senior analyst at Control Risks for southern Africa said the major risk to investing in South African property was policy uncertainty. “We are hopeful that Cyril Ramaphosa and his new government can quickly publicize and then implement clear policies,” he said.

The panel also included David Cohen, the managing director of Signatura Property Developments and Preston Mendenhall, executive vice president at Rendeavour UK. Rendeavour currently focusses its capital on developing African markets such as Nairobi, Kenya and Lusaka, Zambia.

Mendenhall said the potential returns were higher in these countries than in SA, partly because the major cities here were grow from low bases. There was strong employment growth and infrastructure was being created at a healthy pace. This created investment opportunities. SA just didn’t offer projects of similar size. Also, these investment companies would struggle to compete with established players in SA such as Growthpoint Properties and Redefine Properties. While some investors want to benefit from capital growth in Africa, some want to enjoy income growth. When asked why only SA and Kenya have real estate investment trusts which are property funds that are forced to pay out much of their income as dividends, Robins said there was not yet enough investment grade stock which could be pooled into these trusts. It would take years but high-grade property would be developed and eventually many African countries would have real estate investment trusts listed on their exchanges. Right now, South Africans could invest in Grit Real Estate, a JSE listed company which owned assets in some seven African countries. Grit paid dividends in US dollars. Meanwhile, Cohen said his company was continuing to invest in niche markets in SA. Signatura was launched by John Rabie, the founder of the Rabie housing group, in July 2012. Signatura develops very high-end apartments. “We go wherever the returns are and we are finding that in SA in residential. If you understand who you are developing for you can succeed. We understand who our customer is and are managing to maintain growth through an economic recession,” Cohen said.

Cohen said Cape Town’s luxury apartment market still offered opportunities if developers were clever and adapted their projects according to space constraints. An example of a successful project was The Onyx. This development on Cape Town’s Foreshore includes studio apartments sized from 35m2 to 200m2. Sales at the development have been very healthy with some 219 units already sold. The property is owned by Nedbank and was designed by architecture firm, Robert Silke. It was built from a conversion which Cohen said made it easier to make the development sustainable. It includes a hotel component which is administered by Newmark Hotels. Cohen says African and European billionaires have acquired units in the development. Source: sacommercialpropnews Read the full article

[brettzjacksonblog]

‘Bitcoin Day’ Celebrated in Argentina Where Wine Coins are Mulled

Argentina, a country that suffers from chronic inflation at 25%, is a natural market for Bitcoin to blossom. A number of enthusiasts have thrown the ‘Bitcoin Day’ party, where 500 attendees took part to share knowledge about the new technology.

‘Bitcoin Day’ Gathers 500 Enthusiasts in Argentina

Held in the city of Almagro, Argentina, the ‘Bitcoin Day’ conference served as an opportunity for people in the country to learn more about the revolutionary technology, while cryptocurrency entrepreneurs were able to present their findings and offerings.

Adriel Araujo, one of the event organizers, said that Argentina is one of the most innovative markets in the crypto space: “Buenos Aires is one of the top capital cities where most blockchain-based projects are developed”. He added that Banco Central de la República Argentina (BCRA), the country’s central bank, is very much open to innovation and is working with cryptocurrency experts to set up regulation. The BCRA is currently adopting a non-intervention policy in order to allow for the development of the technology.

Araujo is not worried about recent market fluctuations and that the asset class is still in a bullish trend, about to surpass the recent all-time highs. He believes that cryptocurrencies have the potential to “eliminate the monetary borders globally”.

A number of blockchain-based startup founders have joined the conference, including Guillermo Torrealba, CEO of the Chilean cryptocurrency services firm Buda, Gonzalo Blousson, CEO of digital notary startup Signatura, and Carlos Maslaton, head of treasury at Xapo.

Mike Barrow, one of the ‘Bitcoin Day’ organizers, took the stage to present his blockchain-based project, Mike Tango Bravo. Owner of the Costaflores wine house, the American software expert will issue a coin for each bottle produced. These digital tokens are tradeable in the market and the wine house will only accept the MTB token as means of payment. The wine will be available in 2021.

Barrow argues that the project aims to fix the arbitrary pricing issue that wine producers face as some quality bottles are sold for a few dollars and others are sold for thousands. The Costaflores wine house produces 15,000 bottles a year.

The entrepreneur also presented a blockchain-based app called “Open Vino”, which offers transparency over its wine harvest and all production costs, including the price of corks, salaries, and sales by country. “It basically means extreme transparency”, Barrow said about its public database in the blockchain that should be able to garner trust from customers.

  Image from Shutterstock

The post ‘Bitcoin Day’ Celebrated in Argentina Where Wine Coins are Mulled appeared first on NewsBTC.

from CryptoCracken SMFeed https://ift.tt/2v3z9Mb via IFTTT

[michaelbennettcrypto]

‘Bitcoin Day’ Celebrated in Argentina Where Wine Coins are Mulled

Argentina, a country that suffers from chronic inflation at 25%, is a natural market for Bitcoin to blossom. A number of enthusiasts have thrown the ‘Bitcoin Day’ party, where 500 attendees took part to share knowledge about the new technology.

‘Bitcoin Day’ Gathers 500 Enthusiasts in Argentina

Held in the city of Almagro, Argentina, the ‘Bitcoin Day’ conference served as an opportunity for people in the country to learn more about the revolutionary technology, while cryptocurrency entrepreneurs were able to present their findings and offerings.

Adriel Araujo, one of the event organizers, said that Argentina is one of the most innovative markets in the crypto space: “Buenos Aires is one of the top capital cities where most blockchain-based projects are developed”. He added that Banco Central de la República Argentina (BCRA), the country’s central bank, is very much open to innovation and is working with cryptocurrency experts to set up regulation. The BCRA is currently adopting a non-intervention policy in order to allow for the development of the technology.

Araujo is not worried about recent market fluctuations and that the asset class is still in a bullish trend, about to surpass the recent all-time highs. He believes that cryptocurrencies have the potential to “eliminate the monetary borders globally”.

A number of blockchain-based startup founders have joined the conference, including Guillermo Torrealba, CEO of the Chilean cryptocurrency services firm Buda, Gonzalo Blousson, CEO of digital notary startup Signatura, and Carlos Maslaton, head of treasury at Xapo.

Mike Barrow, one of the ‘Bitcoin Day’ organizers, took the stage to present his blockchain-based project, Mike Tango Bravo. Owner of the Costaflores wine house, the American software expert will issue a coin for each bottle produced. These digital tokens are tradeable in the market and the wine house will only accept the MTB token as means of payment. The wine will be available in 2021.

Barrow argues that the project aims to fix the arbitrary pricing issue that wine producers face as some quality bottles are sold for a few dollars and others are sold for thousands. The Costaflores wine house produces 15,000 bottles a year.

The entrepreneur also presented a blockchain-based app called “Open Vino”, which offers transparency over its wine harvest and all production costs, including the price of corks, salaries, and sales by country. “It basically means extreme transparency”, Barrow said about its public database in the blockchain that should be able to garner trust from customers.

  Image from Shutterstock

The post ‘Bitcoin Day’ Celebrated in Argentina Where Wine Coins are Mulled appeared first on NewsBTC.

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[deliandiver]

Serge VC Wave Multipliers: почти там

Закончил пайку 2-х «Умножителей Сержа» для проекта Signatura. Нужно отметить, что несмотря на внешнюю простосту, сборка этого девайса в моём варианте, довольно трудозатратна – 10-15 часов. Но уже скоро, я планирую редизайн этого и других, 10-15 модулей, на SMD.

[art-neutre]

El Museu Picasso debat la intensa relació de Picasso amb la poesia catalana

Imatge d'una de les taules del simposi.

El Museu Picasso ha tractat la qüestió en un simposi on s'ha estudiat la relació de Picasso amb la poesia catalana. Durant el simposi s’ha formalitzat la signatura del Conveni de col·laboració en el marc dels estudis de Doctorat en Filosofia (Doctorat Picasso) entre la Universitat Autònoma de Barcelona i el Museu Picasso.

Hi han assistit investigadors de diferents disciplines que ens han descobert nous territoris de recerca en l’àmbit dels estudis picassians com Susanna Rafart, Joan Santanach, Eliseu Trenc, Raül Garrigasait, Lourdes Cirlot, Malén Gual i Vicenç Altaió. El simposi «Au rendez-vous des poètes a Catalunya», que s'ha celebrat el dijous, 28 de novembre de 2019, al Museu Picasso de Barcelona, s'ha analitzat la faceta poètica de Pablo Picasso, la seva relació amb la poesia catalana i el seu vincle poètic amb Paul Eluard, un camp de recerca encara avui en dia poc conegut de la vida de Picasso però que desperta cada cop més interès entre els experts picassians com ha quedat palès arrel de les recent inaugurades exposicions Pablo Picasso, Paul Eluard. Una amistat sublim i Picasso poeta. El simposi està organitzat pel Museu Picasso de Barcelona i la Universitat Autònoma de Barcelona i forma part del recentment creat Doctorat Picasso. Durant el simposi s’ha formalitzat la signatura del Conveni de col·laboració en el marc dels estudis de Doctorat en Filosofia (Doctorat Picasso) entre la Universitat Autònoma de Barcelona i el Museu Picasso, per part de Josep Ros, vicerector de Programació Acadèmica i de Qualitat de la UAB i Emmanuel Guigon, director del Museu Picasso. En paraules del Museu Picassso: “Aquest conveni és un pas molt important per a la creació del primer Doctorat Picasso totalment inèdit en el panorama internacional i que té com a objectiu la realització de tesis doctorals dedicades a la investigació sobre l’obra picassiana des de la recerca artística i la creativitat contemporànies.” Al mateix temps ha declarat: “El Museu Picasso de Barcelona ha d’esdevenir un centre capdavanter en la recerca de Picasso i per aquest motiu aquest simposi, el Doctorat Picasso i les tesis doctorals que se’n desprenen proporcionen un fòrum de debat únic. El Museu, a més, treballa amb altres projectes que volen connectar la investigació rigorosa i la difusió de l’obra de Picasso, com la publicació d’una revista anual, la creació d’un premi d’investigació i l’edició d’un diccionari de Picasso i Catalunya. El Doctorat Picasso és sens dubte un primer pas cabdal i esperem estendre aquest desig de connectar el món acadèmic internacional i universitari amb el Museu Picasso.” La benvinguda del simposi ha anat a càrrec d’Emmanuel Guigon (director del Museu Picasso) i Jèssica Jaques (professora titular d’Estètica i Teoria de les Arts a la UAB) i Àlex Broch (crític literari, assagista, autor, professor universitari i editor). El director del Museu Picasso, Emmanuel Guigon ha comentat: “Au rendez-vous des poetes és un quadre de 1909 de Marie Laurencin exposat al mític taller de Pablo Picasso Bateau-Lavoir de París on entre altres s’hi pot veure a Gertrude Stein i Guillaume Apollinaire, dos de les figures literàries més importants en la vida de Pablo Picasso” i també ha declarat: “El simposi d’avui està totalment centrat en la relació de Pablo Picasso i la poesia catalana i vol obrir noves hipòtesis de treball de cara a les investigacions i la recerca del Picasso poeta i literari”. Jèssica Jacques ha explicat que “Pablo Picasso tenia el cartell Au rendez-vous des poètes al seu taller perquè creia en la poesia com a forma d'art i, potser, perquè ja maldava per ser poeta.“​ El simposi«Au rendez-vous des poètes a Catalunya», comissariat per Jèssica Jaques i Androula Michael,ha comptat amb la participació d’investigadors de diferents disciplines que han apuntat cap a nous territoris de recerca en aquest àmbit. Les ponències dels experts han vinculat la figura de Pablo Picasso amb la de grans poetes catalans: · Susanna Rafart –escriptora– en la seva conferència El pintor i el poeta: Maragall-Picasso, una conjunció ha subratllat la relació entre Picasso i Maragall i les afinitat selectives en un diàleg secret a la recerca de nous llenguatges estètics d’ambdós personatges. L’escriptora ens descriu Joan Maragall com: “era el poeta de la modernitat, en adoptar una posició anti-tòpica i anti-acadèmica que es vincula a la percepció picassiana.”

· Joan Santanach –professor del Departament de Filologia Catalana i Lingüística General de la UB, Universitat de Barcelona- ha descobert la relació de Jacint Verdaguer i els nous artistes i escriptors modernistes fent un incís especial en la figura de Pablo Picasso, en la ponència UnVerdaguer per a Pablo Picasso. Segons l’expert: “quan Picasso arriba a Barcelona, Jacint Verdaguer simbolitza l'enfrontament de l'artista amb la societat que ha intentat encotillar-lo. Per a Picasso, Verdaguer és un progressista que lluita contra els estaments conservadors.”

· Eliseu Trenc -catedràtic emèrit d’estudis hispànics a la Universitat de Reims- ha mostrat com la bohèmia artística i literària a Barcelona vivia en comunitat en els tallers dels artistes i els cafès i tavernes, com a refugis i llocs d’iniciació. Per a Eliseu Trenc: “la bohèmia catalana, que seguia el model parisenc de Montmartre, va representar un divorci net amb l'acadèmia.”

· Raül Garrigasait -escriptor, traductor i hel·lenista-ens descobreix la relació de Rusiñol, Satie,Picasso: els nexes de la modernitattots tres associats a la irrupció de la modernitat artística. L’escriptor afirma que: “Per a PabloPicasso, SantiagoRusiñol és l'artista total a partir d'un model no acadèmic, sinó de la bohèmia i el mercat.”

+ informació

Imatge de la signatura del conveni entre el Museu Picasso i la Universitat Autònoma de Barcelona.

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https://1.bp.blogspot.com/-MhIy6SrCXg8/XeDqdpCE0gI/AAAAAAAACkM/uOrOxqGq7W4F-sbMYKAmgBMYg8yP78HUQCLcBGAsYHQ/s640/simposi%2Bpicasso%2Bi%2Bla%2Bpoesia%2Bcatalana.jpeg http://www.artneutre.net/2019/11/el-museu-picasso-debat-la-intensa-relacio-de-picasso-amb-la-poesia-catalana.html #Art #Catalunya #Barcelona #PaisValencià #Balears #Andorra #Occitània #Alguer #AgendArt #Valencia #Palma

[businessfrontrunners]

Hans Rijfkogel: Agio Cigars & La Flor Dominicana Team Up For Balmoral Paso Doble

https://authoritypresswire.com/?p=27544 Royal Agio Cigars announced that they will be introducing PASO DOBLE, the second cigar blend released under the collaboration-based Balmoral Serie Signaturas (Signature Series). This follows the release of the Balmoral Serie Signaturas DUETO in 2018, a special collaboration blend with Ernesto Pérez-Carrillo. For this second release, Boris Wintermans joined forces with Litto Gomez to create an inspiring and truly one-of-a-kind cigar blend that intertwines each cigar makers’ most coveted tobaccos and blending signatures. PASO DOBLE will be presented in the Royal Agio booth (#3638) at the IPCPR Tradeshow in Las Vegas, NV. BALMORAL PASO DOBLE was born of a collaboration between two world-renowned cigar makers known for their ambitious desires to define, in their own unique way, what it means to be boutique. Litto Gomez and Boris Wintermans share a similar passion for developing inspiring, one-of-a-kind blends, and each has their own method for getting there. Litto incorporates specially-grown tobaccos from his personal farm in La Canela, Dominican Republic, while Boris relentlessly searches the globe for the most unique premium tobaccos. PASO DOBLE combines each cigar makers’ dearest tobaccos and intertwines them into a distinct dance of flavors that stays true to each cigar maker’s signature blending style – the dark, full-bodied opulence of Litto Gomez’ La Flor Dominicana and the sophisticated, balanced complexity of Boris Wintermans’ Balmoral cigars. When asked about PASO DOBLE, Boris Wintermans stated, “I have a tremendous amount of respect for Litto’s work and the fact that, like me, he is obsessively passionate about pushing the boundaries of what can be discovered in premium cigar blending. For this special collaboration project, we placed all of our respective, coveted tobaccos on the table and went to work exploring a wide range of unique and exciting blending possibilities, never really knowing the final outcome. I am proud to say that, in the end, we turned a blank cigar canvas into a one-of-a-kind, inspiring discovery in cigar blending for cigar lovers everywhere to enjoy.” From his Tabacalera La Flor factory in La Canela, Litto Gomez commented “Last year we partnered with Boris and his team at Agio to distribute our products in Germany and The Netherlands, and we were so impressed with their professionalism and dedication, that when Boris asked me to collaborate on a blend with him, I did not think twice. This is not something we normally do, in fact we never do it, but for Boris I made an exception because we share the same simple philosophy, to be the best and do things the right way. The process behind Paso Doble has been an absolute pleasure, from concept, to design, to blending, Boris and his team have been phenomenal throughout and the result is a very special cigar that smokes just as beautifully as it looks!” Finished with an elegant, Ecuador Habano wrapper, PASO DOBLE will be presented in the following three vitolas, packaged in 10-count boxes – Robusto 5 3/4 x 50, Gran Toro 6 ¼ x 54 and Brindis (Figurado) 7 x 55.

[bellesguardgaudi]

ELS SOLS DE BELLESGUARD

Cada cop falten menys dies per l’arribada de la primavera. Des d’ara endavant, els períodes de llum s’allargaran i amb ells l’oportunitat de gaudir del sol. Un bon moment per apreciar com Gaudí va integrar el moviment de l’astre rei en la construcció de Bellesguard, tant de manera metafòrica com física, atès la quantitat de llum interior a totes les habitacions de la casa.

L’entrada al castell

Aquesta és la primera imatge del sol que ens mostra Gaudí. Un sol acompanyat per diversos símbols al voltat de les quatre barres de l’escut de la Corona d’Aragó. El sol figura a la part superior dreta en paral·lel a la data 1409, escrita a l’esquerra en números romans. La data recorda l’any en què Martí I es casa en segones núpcies amb Margarida de Prades al palau de Bellesguard. El sol representa l’esplendor cultural assolit durant el regnat d’aquest monarca anomenat l’Humà per la seva vinculació amb l’humanisme, el moviment filosòfic i artístic del Renaixement.

El sol, però, l’arquitecte reusenc l’utilitza també per simbolitzar la foscor que arrossega l’ocàs, és a dir, la decadència. En oposició al sol veiem una cara amb els ulls tapats en la part inferior esquerra. Gaudí juga aquí amb el significat de Bellesguard, que –recordem- vol dir “Bella Vista”. El  seu contrari és la privació del sentit de la vista. Al costat del símbol de la foscor, a la part inferior dreta, hi llegim 1909, data en que Gaudí acaba la seva feina a Bellesguard, indicant potser que, a la seva època, Catalunya només podia enyorar les glòries del passat, encara que l’altre període d’esplendor va ser justament l’època del mateix Gaudí, és a dir, el Modernisme i la Renaixença.

Els bancs centrals del jardí

El moviment del sol dota de significat als símbols representats en els bancs semicirculars situats al centre del jardí. Mirant cap a la casa, a Bellesguard el sol surt pel cantó del banc situat a la dreta. En aquest banc hi trobem dos àngels portant l’escut de la Corona d’Aragó que ja hem vist a la porta del castell. Al damunt de les quatre barres destaca la corona reial.

A l’altre banc, el de l’esquerra, els dos àngels duen l’escut del Casal de Barcelona, la creu de Sant Jordi, i veiem la corona comtal. Com aquest banc està orientat cap a ponent, la imatge s’ha interpretat com l’ocàs del Casal de Barcelona. Recordem que Martí I va ser l’últim descendent d’aquest llinatge. Una vegada més, Gaudí fa servir el moviment del sol per simbolitzar tant la brillantor com la foscor dels canvis a la història.

Els mosaics laterals de la porta

Al banc sud-est de la Torre podem llegir en números romans la data 1916, l’any en què Domènec Sugrañes, un dels millors col·laboradors de Gaudí, va finalitzar les obres de Bellesguard. També veiem un sol, que correspon a l’alba. La imatge ens recorda el període en què l’Armada Reial del Casal de Barcelona conquista la Mediterrània. Ara bé, el vaixell mostrat en el banc porta una vela blanca, un senyal de dol i de males notícies en aquella època.

Segons una llegenda, el rei Martí I, des de la galeria del seu castell a Bellesguard, va veure com retornava a Barcelona l’estol de la batalla de Sanluri. Un dels vaixells desplegava les veles blanques, portant bones i males notícies. El seu únic hereu, Martí el Jove, havia guanyat la batalla però havia mort poques setmanes després. La successió a la corona estava en perill. Al lateral oposat, a la façana nortoest hi trobem el trist desenllaç d’aquesta tragèdia.

En primer lloc, 1410, la data en què mor el rei Martí I, sense descendència. La silueta de Montserrat representa Catalunya, darrere seu veiem un altre sol, però correspon a l’ocàs, com símbol de la fi del Casal de Barcelona. Després d’un període d’interregne de dos anys, que finalitza amb la signatura del Compromís de Casp, un nou rei s’asseurà al tron de la Corona d’Aragó: Ferran d’Antequera, de la dinastia castellana dels Trastàmara.

La llum interior de la casa

A la Torre Bellesguard, així com a la resta de projectes de Gaudí, la llum natural és un element de gran rellevància. El control que té Gaudí sobre l’entrada de la llum és totalment sublim. Aquest aspecte és un dels factors bàsics en l’obra gaudiniana, el control de la bona il·luminació i bona ventilació en els espais interiors. Gràcies a les seves solucions arquitectòniques, Gaudi destaca per sobre de la resta de companys de professió contemporanis a ell. És digne d’admiració com supedita els elements pràctics als aspectes artístics, quan la majoria d’arquitectes es centraran només en la part artística i oblidaran la faceta funcional dels seus projectes.

A tall d’exemple, el gran vitrall tridimensional en forma d’estrella és un element bàsic per a l’entrada de llum a la Torre, malgrat la primera impressió exterior. En efecte, Gaudí juga i ens enganya al mostrar-nos un edifici amb una façana folrada de pedres i amb finestres gòtiques molt estretes, donant la impressió de ser un edifici fosc per dintre. Tot el contrari, el genial arquitecte ens sorprèn a l’interior de la casa amb una entrada de claror excel·lent fins i tot en dies ennuvolats.

La entrada ELS SOLS DE BELLESGUARD se publicó primero en Torre Bellesguard | Exclusive Gaudí.

[click2watch]

There’s No Crypto Winter in Argentina, Where Startups Ramp Up to Meet Demand

While bitcoin advocates point to politically fraught Venezuela as a prime example of crypto adoption, they often overlook the more business-friendly hub a bit farther south. Since Argentina has a sordid history of banks restricting customer access, plus an inflation rate that hit 47 percent in 2018, bitcoin isn’t a hard sell these days.

“I was raised with my father telling me never trust the Argentine peso and my story was the story many Argentinians had,” Santiago Siri, founder of the blockchain startup Democracy Earth Foundation and investor in several Argentinian crypto startups, told CoinDesk.

Indeed, Argentinian usage of the peer-to-peer exchange LocalBitcoins hit an all-time high of $9.4 million in weekly volume in December 2018. Despite broader market dips, this growth has continued to surge in 2019 at a rate that dwarfs anything witnessed during the 2017 token boom, when the peak was $5.7 million. That figure would currently represent a slow week in Argentina’s 2019 P2P market.

None of this is to say that Argentinian companies haven’t felt the strain of crypto volatility, but local demand and interest remains steady. Plus, a recent influx of Venezuelan immigrants has infused Buenos Aires with underbanked communities that need financial tools and remittance services.

“The sector is growing, it’s growing very well. It’s providing a lot of jobs,” Siri said. “People are using these technologies for real survival needs and finding themselves in a better world than if they had to trust the government.”

All things considered, market dips have hardly decreased demand for bitcoin-related products and services in Argentina. To the contrary, bitcoin exchange CMO Manuel Beaudroit of Bitex told CoinDesk his company has seen increasing demand in 2019 for bitcoin-related services from Argentinian banks and brokerage firms.

As revealed exclusively to CoinDesk, Bitex will court such institutional customers across the region by launching bitcoin custody services in March.

Beaudroit said:

“They are interested in offering their clients the ability to do cross-border payments and remittances with Bitex’s services.”

The bitcoin startup recently helped facilitate a purchase of pesticides and agricultural products by the government of Paraguay from Argentina, settling in bitcoin. With 250 institutional customers already facilitating the majority of the exchange’s $500,000 daily volume, Beaudroit said Bitex is posed to expand services across Latin America. The platform is already live in Paraguay and Uruguay.

This builds on Argentina’s unique role in Latin American commerce. Brazil is so large that its startups often focus purely on the domestic market, Siri said, while Mexico generally loses top-tier talent to northern migration.

Meanwhile, the cryptocurrency mining company Bitpatagonia, located in the chilly southern tip of the continent, closed its first deal in early February to house 1,000 miners from Miami, according to Bitpatagonia co-founder Walter Salama. Latinos around the world are turning to Argentina as a hub where bitcoin-savvy startups can bring user-led insights to the global ecosystem.

Lightning lessons

Since they are generally focused on retail use cases, a bitcoin scaling solution called the Lightning Network has captured the attention of Argentinian users.

The Buenos Aires-based bitcoin wallet startup Muun will be launching Lightning-enabled payments in March, followed by the launch of an iOS app.

“Our main strategy revolves around the lightning network,” Muun founder Dario Sneidermanis told CoinDesk. “This is going to be the year of launching all those products.”

The bootstrapped startup with 10 employees has at least four people devoted entirely to Lightning, although the entire team works with this scaling solution in some aspect. In order to learn more about how nearly 1,000 Android downloads translates to real transactions, Muun COO Florencia Ravenna spent several weeks this winter conducting market research in Barrio 31, one of the largest slums in Argentina.

“Merchants are the key to these types of experiments,” Ravenna told CoinDesk. “If you want people to be able to spend bitcoin, you need to work with merchants.”

One way that Ravenna found merchants in Barrio 31 have been able to work with bitcoin without relying on custody services or payment processors is by adding a markup for products paid for with crypto. This way, merchants can hedge against volatility and liquidity challenges. Underbanked Barrio 31 residents also used bitcoin for remittances as well.

“I was surprised by how interested people were in learning new solutions,” she said.

Muun staffers in Buenos Aires. (Courtesy photo)

Global ties

Beyond local demand, another reason Argentinian startups are thriving in this bear market is they’ve mastered the art of leveraging global networks.

For example, the digital notary startup Signatura has operated with just $450,000 in venture capital since it was founded in 2015. Now, with 3,000 monthly users and 5 percent of its customers paying in bitcoin, Signatura CEO Gonzalo Blouson told CoinDesk the startup is raising another modest round of $400,000 to expand its services across Latin America.

“We have a couple of investors [abroad] that have invested in the company using bitcoin,” Blouson said. “And are also looking for local VCs.”

Unlike the previous dot-com boom, in 2019 Argentinians are equipped with the digital infrastructure for remote work and fundraising. Such was the case with RSK Labs and RIF Labs, two blockchain startups that recently merged to form IOV Labs, which raised 22,000 bitcoins in 2018. IOV Labs CEO Diego Gutiérrez told CoinDesk most of the company’s funding and half of their contributors now come from abroad.

Likewise, the Buenos Aires-based CEO of the arbitration startup Kleros, Federico Ast, told CoinDesk in previous years it was difficult for crypto entrepreneurs to fundraise from Silicon Valley if the project hailed from a country like Argentina, with a history of banks defaulting on debts.

These days, he said, many Argentinians work remotely and garner direct investments from abroad. Along those lines, the stablecoin startup MakerDAO has up to seven Buenos Aires-based workers contributing to the project.

“In Argentina, we’ve had more than 100 years of really high inflation, so we are always looking for solutions,” Nadia Alvarez, MakerDAO’s business development associate for Latin America, told CoinDesk. “And it’s easier to do something here than in Venezuela.”

Through partnerships with companies like the crypto exchange startup Ripio, among several others, Alvarez has developed fiat on-ramps for unbanked stablecoin users with almost any Latin American currency.

Since more firms feel comfortable investing bitcoin in startups with small but growing user bases in inflation-riddled Latin America, the history of banking hardships has actually turned into an opportunity.

Speaking to over a decade of experience working with Argentinian startups, Democracy Earth’s Siri added:

“The pace of innovation that we’re seeing, for the context of Latin America, has no precedent.”

Argentina image via Shutterstock

This news post is collected from CoinDesk

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The post There’s No Crypto Winter in Argentina, Where Startups Ramp Up to Meet Demand appeared first on Click 2 Watch.

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