the jewelry thesis

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Short Story The Jewelry by Guy De Maupassant: Summary and Analysis

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Published: Dec 3, 2020

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“The Jewelry” by Guy de Maupassant Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Development

Organization, language, syntax, and general mechanics, overall comments.

The discussion in the sample essay “The Jewelry” is substantial. The writer did a great job as the theme of the story is revealed and the discussion is focused. Moreover, the writer managed to present the theme of the story in the introduction having involved it is the creation of the thesis statement. The thesis statement is concise and clear, however, it seems to me that the thesis statement is too precise.

Stating that the author refers to the symbolism, diction, characterization, and subtle allegory, the writer had to mention the examples which are going to be referred to. Therefore, the thesis statement reveals the main idea of the discussion which refers to the theme of the story under consideration, however, it lacks the details which may make the thesis statement stronger and better for perception.

Even though the thesis statement is not explained as it should be, the information in the whole paper follows the thesis. The author explains in detail which symbols are used in the story and how they are useful for understanding the main idea of the theme. The writer also specifies the diction, characterization, and subtle allegory met in the story to make sure that the reader of the essay can understand the theme correctly.

Moreover, the detailed description of the theme is supported by the detailed reference to the text which helps the reader to see the whole picture and make sure that the role of the wife as the “silent participant in the story” is properly understood. The author applies the direct quotes that show the close reading of the text, as some of the quotes are not the phrases, but the words and word combinations used for making the argumentation of the writer’s ideas stronger.

Each of the paragraphs presented in the paper is the consideration of the separate symbol and the reference of this symbol to the theme of the discussion. Thus, starting with the theater as the representation of the place where the wife meets with her lover, the author refers to the false jewelry which is the reference to lying. The writer of the essay tries to offer arguments to support his/her consideration and the close reading of the text is extremely useful in this case.

Utilizing the direct quotes which may be easily substituted by paraphrases, the writer wants to make sure that those who have not read the story yet can easily understand what is the problem and how it is presented in the original writing. Additionally, the paper structure is supported by the introduction and the conclusion which sum up the information.

Dwelling upon the characters and their role in revealing the main idea of the story, the writer tries to speak as if from the side of the author. Using such expressions as “Maupassant presents” and “Maupassant uses” the writer tries to speak from the author’s part. The language in the paper is simple, without complicated terminology and specific words. The syntax and mechanics in the essay correspond to the college writing level.

Therefore, it may be concluded that the sample essay is written in accordance with the rules of writing papers. The structure, theme, and other specific issues are followed. The writer of the essay managed to present a strong thesis statement and to make sure that the thesis statement is dwelt upon through the paper.

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IvyPanda. (2021, February 20). "The Jewelry" by Guy de Maupassant. https://ivypanda.com/essays/the-jewelry-by-guy-de-maupassant/

""The Jewelry" by Guy de Maupassant." IvyPanda , 20 Feb. 2021, ivypanda.com/essays/the-jewelry-by-guy-de-maupassant/.

IvyPanda . (2021) '"The Jewelry" by Guy de Maupassant'. 20 February.

IvyPanda . 2021. ""The Jewelry" by Guy de Maupassant." February 20, 2021. https://ivypanda.com/essays/the-jewelry-by-guy-de-maupassant/.

1. IvyPanda . ""The Jewelry" by Guy de Maupassant." February 20, 2021. https://ivypanda.com/essays/the-jewelry-by-guy-de-maupassant/.

Bibliography

IvyPanda . ""The Jewelry" by Guy de Maupassant." February 20, 2021. https://ivypanda.com/essays/the-jewelry-by-guy-de-maupassant/.

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(title in progress) the work and research of artist jennifer lee hallsey

The work and research of artist jennifer lee hallsey, the relational function of jewelry (towards a thesis).

THE RELATIONAL FUNCTION OF JEWELRY

working draft towards a thesis. May 2015. 

Jennifer Lee Hallsey

Jewelry goes beyond its mere physical form; jewelry becomes an instrument, a language, prompting encounters to occur. In this context form takes on a different connotation and becomes a relationship between individuals around an object. When discussing the functions of jewelry, jewelry should not only be assessed as object. It should be considered as the relationship it establishes through these encounters.

Jewelry as a mode of creative expression exists between the realms of the applied arts and the fine arts because of its interconnectedness with the human body. Isolated from the body, it is easy to argue that a ring is inactive. Conversely, the body has the power to elevate an ordinary object to the status of jewelry ( e.g. a rubber band becomes a bracelet ). Since body adornment is inherently superfluous, the function of jewelry is not obvious and needs clarification. Art historian Liesbeth den Besten divides these ‘functions’ into six main categories: social and religious, economical, ornamental, sentimental or memorial, magical, and symbolical. [1] To den Besten, this is why we wear jewelry: “a piece of jewellery is one of those small and intimate artifacts completely suited to remind one of a person or an important moment in life.” [2] It is important to note that these functions of jewelry that Liesbeth den Besten speaks of are not exclusive to Contemporary Art Jewelry. They are a universal set of signs found in all jewelry. Contemporary art jewelers exploit this common language, creating meaning and often narrative in their work.

Contemporary jewelry artists are accustomed to using terms such as maker , wearer , and viewer . They understand that intent flows from the maker through the piece; the wearer is an intermediary. It is the wearer that completes the circuit and allows the message to be transmitted from the maker to his audience. It is at this point that many contemporary jewelry artists diverge in viewpoint about authorial intent and about the role of the wearer and, and most importantly, the viewer in this model.

Often posed is the question, at  what point is jewelry most heavy with meaning? [3] Is it when the maker is at his bench, when the piece is worn, when photographed, or when it is viewed? To den Besten, pulling from the tradition of Roland Barthes, there are two moments when meaning is created: “‘The first involves the author, but is no more “original” or “primary” than the second, whose subject is the reader.’…The narrative is in the piece, but it has to be stirred up by the viewer, who will complete it.” [4] This is partially true. These ‘moments of meaning’ that den Besten speaks of can occur in fact between maker and maker, maker and wearer, wearer and viewer, and in any infinite combination. These moments – relational moments – are in fact the primary function of jewelry.

To be relational can only be understood in terms of the connected interactions between individuals or groups of people. Nicolas Bourriaud stated that, “relational aesthetics(i) does not represent a theory of art, this would imply the statement of an origin and a destination, but a theory of form. […] The artwork does not have an exclusive hold on it, it is merely a subset in the overall series of existing forms.” [5] Jewelry, as art object, is not the starting point or ending point to define this form. Jewelry is a vehicle and the objects themselves become the language for an encounter to occur. This encounter defines the object.

It is the encounter ( form ) that defines the object ( jewelry ), rather than the object ( jewelry ) that defines the encounter ( form ). A form being defined as a lasting encounter [6] may seem faulty in logic. The matrimonial function of a wedding band is the most obvious purpose for this type of ring. When viewed on the body of another, however, a wedding band is merely a symbol of the concept of marriage ( religious, social status ). It does not openly tell the outside viewer the state or the nature of the marriage it represents. The symbol of the wedding band is can become an open vessel. The ring, though, is imbued with a history and an aura for the married person, as well as anyone who knows them, or even a stranger who wishes to pass judgment.

The same standard wedding band may seem unremarkable behind the glass case of a jewelry store counter. Upon closer inspection, even before being purchased for its intended purpose, this ring has already been a channel for many relationships; these are that of miners, refiners, manufactures, designers, makers, wholesalers, retailers, and browsing customers. Though quite a reductive reading of my postulation, these relationships are functions just the same. Each jewelry piece becomes a totality of transitions within this larger form comprised of many encounters. The meaning is not fixed and will be different for everyone involved in the encounter; w hatever is observed is changed by the act of observation.

In 1985 and 1986 artist Otto Künzli explored the power of the wedding rings with one of his pieces. Künzli placed a series of ads in the classified section of a local newspaper requesting unwanted, used wedding band. Künzli took the forty-eight rings he received through donation and linked them together creating seemingly innocuous chain. The piece, simply titled Chain [fig. 1], does not overtly imply what it is made out of. One must take a closer look. During an interview Künzli was asked about Chain :

I showed it to a museum director and on another occasion to Hermann Jünger without commenting [on the material], both of them put it on and initially noted how the various sizes of rings with slightly different colours had created an archetypal and beautiful chain. Then this growing awareness that every single ring stands for a journey quickly made it pass from being easily wearable to unbearable. The fascination immediately turned into repulsion, and both spontaneously went to the bathroom. Subsequently, they both told me that they had had the strong urge to wash their hands. [7]

Each ring, forty-eight in total, came with its own biography; for example, “A ring, 8 kt, not engraved, from her first husband. Her comment, ‘He was a brutal dog.’” [8]    It becomes clear that encounters, no matter how brief, define the object. This encounter that defines the object is also the art form.

Simon O’Sullivan wrote that, “An object of an encounter is fundamentally different from an object of recognition.” [9] Continuing on,

With the latter our knowledges, beliefs and values are reconfirmed […] An object of recognition is then precisely a representation of something already in place. With such a non-encounter our habitual way of being and acting in the world is reaffirmed and reinforced, and as a consequence no thought takes place. Indeed, we might say that representation precisely stymies thought. With a genuine encounter however the contrary is the case. Our typical ways of being in the world are challenged, our systems of knowledge disrupted. We are forced into thought. […] Art then is the name of the object of an encounter, but also the name of the encounter itself, and indeed of that which is produced by the encounter. Art is this complex event that brings about the possibility of something new. [10]

There is notable distinction between expression and communication ; expression is more internalized whereas communication implies a dialogue. [11] O’Sullivan writes, “it follows that different encounters will have different characters, and indeed that certain encounters will be more productive, others less so.”

Artist and photographer Mah Rana has many sub-pieces within her major project Jewellery is Life . In 2002 she began Meanings and Attachments , a public participation project creating a written archive personal connections to jewelry. As of 2012, over fifteen hundred people have been interviewed and photographed for the archive [figs. 2-3]. [12] Liesbeth den Besten writes of another project within Jewlery is Life , Every Piece of Jewellery is its Owner (2004), “photography, research, text writing and study replace jewellery. According to Rana ‘remembering often exists in the photographs we have of our relatives.’ The physical piece of jewellery may be gone but lives on in an image.” [13]

Den Besten describes Mah Rana’s work as an “extreme example of the blurred boundaries” [14] of practice, but I could not disagree more. Mah Rana’s work is not on the fringe of jewelry, rather it underscores that jewelry exists and lives beyond the physical object. The strength Otto Künzli’s Chain is that it recontextualizes a universal symbol and plays upon the the basic function of jewelry: its inherently relational nature. Künzli and Rana recognize the power of encounter and understand it as dialogue.

Within my own studio practice the notion of a dialogue is paramount, even if it is often only my own work and a camera ( the ‘other’ ). Werner Heisenberg wrote in 1958, “We have to remember that what we observe is not nature herself, but nature exposed to our method of questioning. […] One must never forget that in the drama of existence we are ourselves both players and spectators.” [15] The never-ending cycle of creating and questioning is my driving concept. The act of making is not a means to an end, but instead is a constant, on-going practice of a larger whole. One piece is not simply born of a single concept or aesthetic ideal and then constructed and concluded. Instead, I make forms that exist in a continuous state of flux. [16]

The entire ‘life-cycle’ of one of these pieces may be weeks or months and I work on many projects simultaneously. Parts marred or scratched are not discarded as mistakes, but instead selected for their artifacts of process. The resulting formal qualities ( form, texture, finish, etcetera ) have arisen out of the inherent characteristics of the material, techniques, and processes. I document through photography (or other forms of mechanical image reproduction) the stages of change. This allows me to reassess the three-dimensional as two-dimensional before dismantling or remaking. IThe process allows me experience my work as both creator and spectator. [17] This act becomes a dialogue. O’Sullivan wrote in his “Fiction: Manifesto for A Future Art Practice”,

Our practice is a collective enunciation, even when there is only one (we are always the group) […] Always dissent and affirmation. Our practice is the precursor of that specifically immanent utopia to come, an exemplar of a new world that is already contained within this one. Our practice is a future fragment projected backwards in time. [18]

My work exists as a discussion of and about process; metal fabrication is only part of the ongoing discourse. Through the lens of photography, digital reproduction, and the photocopying of my work created in metal, I have explored and continue to explore concepts of authenticity and aura, value, degradation, and entropy. [19] In my newer work I am exploring the nature of the encounter and the collective, as well as the inherently collaborative nature of jewelry, by directly working with other artists and referencing the viewer. Bourriaud stated,

Like any other social arena, the art world is essentially relational, insofar as it presents a “system of differential positions” through which it can be read. There are many ways of stating this “relational” reading. […] “art is an extremely co-operative system. The dense network of interconnections between members means that everything that happens in it will possibly be a function of all its members.” [20]

A Conversation in 18k (2015) is an ongoing project with a fellow artist, Seung Jeon Paik [fig.5]. I first created this piece as an accompanying element to my A copy of a copy (2014) ring series. I made the decision one day to saw through the piece and put it together again, reshuffling the elements. I did this a second time. Before ‘reshuffling’ for a third time I asked Paik if he would do it. I gave no directions, set no parameters or limits. I am not present when he works on the piece. To date, the piece was last worked on by Paik, and the project is ongoing.

Double-sided brooch (2015), like most of my pieces, once existed as a different object before [fig.6]. Previously it was part of the Make Me a Status brooch series (2015). Double-sided brooch explores the roles of spectator and player and the relationship between the wearer and the viewer. I refer again to Bourraiud,

Every artist whose work stems from relational aesthetics has a world of forms, a set of problems and a trajectory which are all his own. […] What they do share together is much more decisive, to with, the fact of operating within one and the same practical and theoretical horizon: the sphere of inter-human relations. [21]

The piece is toying with Baudelaire’s “moi c’est, tous, tous sont moi” (I is everyone, everyone is I). [22] By placing the brooch apparatus on the front of the piece as well as the back, both viewer and wearer experience a sense of duality by physically sensing ( by wearing or by viewing ) the functional mechanism of the piece.

Many of my pieces begin as an exercise in free-play or unconscious making in paper [fig. 4]. I am usually not aware of these ‘fidgets’. I have to try and catch myself after the fact to document the work but not hinder the initial, unencumbered process. The Copies of copies series (2014-15) is my longest project to date. This series is a continuation of the A copy of a copy ring set (2014) [fig.7]. The first in the series was an automatic, three-dimensional sketch. I photographed the paper piece and remade the form in fine silver. I photographed the silver object, later remaking the form in 18k yellow gold. In this process the three-dimensional work becomes two-dimensional; the work’s self-referential cycle of 3D to 2D back to 3D continues to no end, and there is a push-and-pull of subjectivity and objectivity [23] and I become a copyist.

With the continuation of Copies of copies I have increasingly become interested in other forms of mimetic technology, beyond the camera and photocopier, and my naive flirtation with machinery. For this series I am using a 3D scanner app and my iPhone [fig. 8]. I have also had, and will have, the help of many other artists, technicians, and companies to see the piece(s) to fruition. The “final” step ( and I use the term final loosely because there is no end, only my disinterest) will be having the 3D scan cast in 22k gold by a casting company. The notion of having to complete every move, every advance, myself is no longer relevant; there is no author-God. “I am not the author but I have got the order of things, the direction. I choose which play is on the plan.” [24] I am open to new directions and let the process dictate which direction to go. I am captivated by what is lost, what is gained, and what changes with every development within the process. The form is no longer the object(s) presented, but the relationships between each step.

My work must be made in metal, most often fine metals, because this material has an intrinsic value that is not lost once the form has been altered.  Jewelry is an occurrence difficult to define because it carries a separate, adopted value.  This value exists on the body, in the jewelry box, in a photograph, in memory;  it is instilled and impressed by the wearer, viewer, and  artist.    ‘At what point is jewelry most heavy with meaning?’ is no longer the right question to ask because it fails to understand the true interconnectedness of humans with body adornment and jewelry.  The question presupposes jewelry is an isolated moment rather than a totality of transitions, yet always in transition. The relational function of jewelry is the primary function of jewelry and the resulting form is defined by our encounters with these objects. The raison d’être of jewelry is not its relation to the corpus, it is our holistic relationship with jewelry.

Works cited.

[1] Liesbeth den Besten, On Jewellery: A Compendium of International Contemporary Art Jewellery (Stuttgart: Arnoldsche, 2011) 11-12.

[2] Ibid. , 13.

[3] Lena Vigna, “Narrative Illusion: Jewelry from Painting, ” Metalsmith (2012).

[4] den Besten, 104.

[5] Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses Du Réel, 1998, 2009) 19.

(i) Bourriaud defines ‘relational aesthetics’ as “aesthetic theory consisting and judging artworks on the basis of the inter-human relations which they represent, produce or prompt” and relational (art) as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.” p. 112-113

[6] Ibid. , 19.

[7] Otto Künzli, Interview with Roberta Bernabei, Contemporary jewellers: interviews with European artists (New York City: Berg, 2011) 125.

[8] George Pendle, “The Power of One: The Strange Allure of Amulets,” Frieze Magazine (2012, Accessed May 10, 2015).

[9] Simon O’Sullivan, Art Encounters Deleuze and Guattari: Thought beyond Representation (Basingstoke England: Palgrave Macmillan, 2006) 1.

[10] Ibid. , 1-2.

[11] Elizabeth Goring, “Jewelry and Communication: Breaking the Code,” Metalsmith (2006).

[12] Sanna Svedestedt, “We Are Our Stories – Mah Rana: Meanings and Attachments,” Klimt02.net (March 12, 2012, Accessed May 26, 2015).

[13] den Besten, On jewellery, 119.

[14] Ibid. , 120.

[15] Werner Heisenberg, Physics and Philosophy: The Revolution in Modern Science , 1958.

[16] Jennifer Lee Hallsey, “A review of process as concept (“I is another.”)”, November 2014.

The noted paragraph is an excerpt from my MA extended artist statement, discussing my process, interspersed with new research.

[17] Ibid , The noted paragraph is an excerpt from my MA extended artist statement, discussing my process, interspersed with new research.

[18] O’Sullivan, Art Encounters Deleuze and Guattari:, 157.

[19] Hallsey, A review of process as concept (“I is another.”)

[20] Bourriaud , Relational Aesthetics , 27.

[21] Ibid., 43

[22] Svetlana Boym, “Death of the Author” in Death in Quotation Marks: Cultural Myths of the Modern Poet (Cambridge, Mass: Harvard University Press, 1991) 99.

[23] Hallsey, A review of process as concept (“I is another.”)

[24] Manfred Bischoff, interview with Pieranna Cavalchini, Manfred Bischoff exhibition, Isabella Stewart Gardner Museum, Boston, June 6-Sept. 22, 2002 (Vienna: Schlebrügge, 2002) 13.

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Jewellery theory and practice: an investigation into emotionally invested and mnemonic jewellery through sensitising materials

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What We Know About All the Emeralds at the Ambani Wedding

There was jewelry as far as the eye could see, but one stone clearly dominated. Here is why.

There are of course legendary Indian emeralds. "Among the most renowned are the jewels of the Maharaja of Baroda, including the celebrated 'Star of India' emerald. Another exemplary piece is the Mogul Mughal emerald, a remarkable rectangular-cut emerald from the 17th century, weighing approximately 217.80 carats and inscribed with sacred texts," third generation jewellery dealer Lee Siegelson tells T&C.

"Emeralds," Siegelson says, "hold a profound significance in Indian jewelry, deeply rooted in the country’s rich cultural and historical tapestry. These gemstones have been revered not only for their captivating beauty but also for their symbolic meanings. Historically, emeralds have been associated with royalty and divinity, believed to bring wisdom, prosperity, and protection. In Indian tradition, emeralds are often linked to the planet Mercury, which is considered to govern intellect and communication. This connection further elevates their status, making them a favored choice for ceremonial and celebratory adornments, particularly in weddings, where they symbolize new beginnings and enduring love.”

The meanings associated with emeralds certainly play a part—note the absence of sapphires, which are not seen as good omens. But the connection to the royal past also plays a strong role. Sabyasachi Mukherjee, Founder & Designer, Sabyasachi who outfitted many guests including the groom explained the preference for emeralds this way: "Indian art and craft reached its zenith during the Mughal period when the most popular and glorious jewelry was crafted from emeralds and spinels. The royal class, dressed in embroidered finery adorned with beautiful colored stones, represented the apex of the social hierarchy. This fascination with dressing like royalty has remained in India, so that any large wedding will showcase pieces of exceptional emeralds accompanied by uncut, old mine cut, rose-cut, and full-cut diamonds."

Nisha Kundnani, founder of Mumbai-based bridal styling and luxury consultancy Bridelan, offers additional insight: Emeralds are rooted in both history and culture, as well as pure beauty. "We are used to seeing our mothers and grandmothers wear jewelry, gold and diamonds and natural gemstones while growing as young girls," says Kundnani. "As Indians, we like bold, dramatic hues and are not afraid of colour. Emeralds are a very part of Indian jewelry especially for brides because it lends a similar boldness to uplift dramatic, heavily patterned couture outfits. We need bold jewelry to make a holistic statement and complement the overall look. That design philosophy is part of our jewelry heritage and culture."

All these traditions were on dramatic display at the Ambani wedding . From the bride’s necklace by Nisha Mehta of five rows of diamonds with a large emerald suspended, to her finale reception necklace a suite of diamond, emerald and pearl meticulously crafted by jeweler Viren Bhagat . Sourcing its rare Colombian emeralds and natural saltwater pearls took over a year. Mrs. Nita Ambani , mother of the groom wore an emerald studded diamond necklace with matching earrings bangles and rings also by Viren Bhagat during the pre wedding festivities.

Other emerald evidence? The modern choker set by first generation Mumbai-based jeweller Sajil Shah of Sajjante created for the bride. "What we’ve made for Radhika is an amalgamation of traditional stones (emerald ‘badams’ a type of cabochon, common in Indian jewelry) and a contemporary style of setting," says the jeweler. "This necklace perfectly blends India’s legacy and culture for a modern bride. The design incorporates elements of Mughal inspiration along with a newer bold aesthetic."

And why, again, the emeralds? They are, admittedly, his favorite. "Emeralds are very precious and have been popular through the heritage of India’s royal past over the last 1000 years. They have been taking centre stage along with diamonds and I believe that the legacy and heritage has passed down over generations from royal and noble families to modern mindsets as well.”

History and heritage, he agrees, are the forces behind so many of the jewelry decisions at the wedding. Though he too, does not discount their visual impact. "Another reason is the Indian color palette is vibrant and flamboyant . Clothes also tend to be in jeweled toned colors and emeralds symbolise royalty, heritage, and vibrancy of Indian culture."

Editor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design (Rizzoli).

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Mezo, Thesis' BitcoinFi Project, Completes $7.5M Strategic Round lead by Ledger Cathay Fund

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Jul 26, 2024, 12:00 ET

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• Ledger Cathay Fund's investment on BitcoinFi with Mezo commits to supercharging the evolution of the global Bitcoin Finance ecosystem
• Strategic investment plus prior funding led by Pantera Capital brings Mezo's total amount raised to $30M

NEW YORK , July 26, 2024 /PRNewswire/ -- Thesis, one of the longest-standing venture studios funding and building brands on Bitcoin , today announced its strategic funding round led by Ledger Cathay Fund , Ledger and Cathay Innovation's early-stage venture fund, for Mezo, its permissionless Bitcoin Economic Layer. This brings total funding for Mezo to $30M following its launch in April 2024 . Other investors in the strategic round include ArkStream, Aquarius Fund, Flowdesk, GSR, Origin Protocol and Bybit ecosystem project, Mantle's EcoFund.

Mezo will use this investment to accelerate technology development and grow the BitcoinFi ecosystem. This includes focus on integrating other ecosystem partners, like the recently announced integration of yield protocol, Acre , and wallet partners to enable a fulsome BitcoinFi experience, like the recently announced ability for Mezo users to "log in" with Bitcoin using both hardware wallets and web wallets like Unisat, OKX, and Xverse. Ledger plans to integrate Mezo directly into its suite of products with further details on integrations to be disclosed in the near future.

Matt Luongo , CEO of Thesis & Founder of Mezo , commented on today's news: "Ledger Cathay Fund's support for Mezo is a strong testament that BitcoinFi is the future of ownership, that Mezo is the leader in building the technology behind this future. Today is a tremendous milestone in our work with investors and peers to expand the Bitcoin network, bringing on-chain a circular economy that empowers people worldwide to put BTC to work."

Mezo, built by Thesis, amplifies Bitcoin 's infrastructure by facilitating cheap, efficient transactions. In turn, it preserves the Bitcoin network's foundational principles, including security, dedication to open-source development, and a BTC-first HODL mentality. Distinct from other Bitcoin L2s, Mezo provides users access to applications usable in the real world. Features include Thesis-built tBTC, which allows for trust-minimized bitcoin bridging to numerous ecosystems, plus staking with stBTC, supported by Acre, Thesis' recently launched Bitcoin -in, Bitcoin -out staking platform.

Mezo serves as a venue for users to maximize Bitcoin 's full potential beyond being a store of value. Users can leverage applications to transact securely with Bitcoin without roadblocks like fragmented user experience and high gas fees. To date, Mezo has $124.5M in total volume locked and 2,152 Bitcoin deposited in the protocol.

Thesis, one of the longest standing Bitcoin builders, founded in 2013, has supported multiple brand launches of projects within the Bitcoin ecosystem including Mezo, Acre, tBTC, and Fold - who recently announced its plans to go public as the first pureplay financial services company powered by Bitcoin .

Investor Quotes:

Pascal Gauthier , Chairman and CEO of Ledger:  "At Ledger, we are Bitcoiners and we believe Bitcoin is the  event. But the landscape of Bitcoin is changing. People want to do more with their Bitcoin , and we need to not only support these new developments in Ledger products, but actively support the future of Bitcoin development. We are therefore thrilled to invest in Mezo, a groundbreaking Bitcoin project that we believe will significantly impact the Bitcoin ecosystem. This investment signals our confidence in Thesis and their project, Mezo, based on their long standing track record of building successful brands in the Bitcoin ecosystem."

Marguerite de Tavernost, Investment Director at Ledger Cathay Fund:  "We really believe in Mezo's unique vision to supercharge Bitcoin to become an economic layer. Thanks to all the synergies created by their Thesis incubator, Mezo can be the core element of this ecosystem, and create network effects from their decentralized bridge with tBTC to their consumer app with Fold. We were truly impressed by this unique positioning, combined with the very impressive execution capabilities of the Mezo team."

David Toh , Managing Partner of Mirana Ventures, Mantle EcoFund's operator:  "Investing in Mezo perfectly aligns with Mantle's vision of supporting and scaling innovations in the Bitcoin ecosystem. We have confidence in Mezo and the synergistic projects led by the Thesis team. We look forward to fostering Mezo's growth through potential strategic collaborations with projects within the Mantle ecosystem, such as Ignition ( $FBTC ) and Mantle LSP (Mantle's Liquid Staking Protocol)."

About Ledger Cathay Fund:

Ledger Cathay Fund is an early-stage venture fund that provides capital to emerging startups in the Web3 ecosystem, while delivering at the same time unique value added to founders. The fund invests at Seed and Series A in companies across the globe  both in equity and tokens.

The fund is the alliance of market leader Ledger for digital assets custody and of global venture capital firm Cathay Innovation. This initiative provides founders with the benefits of the industry support of Ledger together with the long-term investment practice of Cathay Innovation.

About Ledger:

Celebrating its 10 year anniversary in 2024, Ledger is the world leader in Digital Asset security for consumers and enterprises. Ledger offers connected devices and platforms, with more than 6M devices sold to consumers in 180 countries and 10+ languages, 100+ financial institutions and commercial brands. Over 20% of the world's crypto assets are secured by Ledger.

Ledger is the digital asset solution secure by design. The world's most internationally respected offensive security team, Ledger Donjon, is relied upon as a crucial resource for securing the world of Digital Assets. With over 14 billion dollars hacked, scammed or mismanaged in 2023 alone, Ledger's security brings peace of mind and uncompromising self-custody to its community.

Don't buy "a hardware wallet." Buy a LEDGER™ device.

LEDGER™, LEDGER LIVE™, LEDGER RECOVER™, LEDGER STAX™, LEDGER FLEX™ and LEDGER FREE FROM COMPROMISE™ are trademarks owned by Ledger SAS

Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Ledger is under license. E Ink® is a registered trademark of E Ink Corporation.

About Mezo:  

The market has been dominated by technology-first approaches that often overlook the economic needs of users. As the world's first Bitcoin Economic Layer, Mezo introduces a pivotal shift, designed to amplify Bitcoin 's infrastructure while adhering to its foundational principles to serve its holders. Mezo is Bitcoin native, facilitating cheap and fast transactions for a variety of relevant use cases. This not only enhances the network's resilience but also ensures it serves the broader economic ambitions of Bitcoin holders. Mezo is the place where we can unlock the full potential of Bitcoin . This is your invitation to create your own economy. Learn more about Mezo's initiatives and unique features on their blog here .

About Thesis:

Thesis is a venture production studio, funding and building brands on Bitcoin . Thesis has supported multiple successful brands including the launch of Mezo -- a new leading Bitcoin L2 -- as well as Acre, tBTC, Fold, among others. Thesis has also garnered investments from leading Venture Capital firms including a16z, Polychain Capital, ParaFi, Fenbushi and more. To learn more, please visit: https://thesis.co/

Media contact: [email protected]  

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Thesis Launches Bitcoin Economic Layer, Mezo, with $21M Raise Led by Pantera Capital

Thesis, a venture studio funding and building brands on Bitcoin, today announced the launch of Bitcoin Economic Layer, Mezo, from stealth and also...

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Florida man indicted in Wisconsin on charges of selling fake Native American jewelry

A Florida man is charged with pretending to be Native American and selling his jewelry as “Native American-made” in northern Wisconsin, the U.S. Attorney’s Office for the Western District of Wisconsin has announced.

Jose Farinango Muenala, 45, of Casselberry, Fla., allegedly sold the misrepresented jewelry during the Loon Day Festival in Mercer, in violation of the Indian Arts and Crafts Act, a truth-in-marketing law.

“The Act is intended to rid the Indian arts and crafts marketplace of fakes to protect economic livelihoods and cultural heritage of Indian artists, craftspeople and their tribes, as well as the buying public,” said Meridith Stanton, director of the Indian Arts and Crafts Board, in a statement. “Authentic Indian art and craftwork is an important tool for passing down cultural traditions, traditional knowledge and artistic skills from one generation to the next.”

She said Farinango Muenala marketed and sold his work pretending to be a member of the Pueblo Nation of New Mexico.

U.S. Attorney Timothy M. O’Shea said in a statement the indictment alleges Farinango Muenala devised his scheme to defraud from Dec. 3, 2015, to Jan. 17, 2024, when he applied to art shows across the country to sell his jewelry.

The indictment alleges Farinango Muenala also committed mail and wire fraud in connection with the scheme.

“There is harm in falsely presenting something as authentic Native American-made art when it is not,” said Karen Ann Hoffman, a renowned Oneida Nation beadwork artist from Wisconsin. “In addition to being a violation of federal law, it is fraud and theft perpetrated on both the buyer and the authentic Native American artist who should have had the sale.”

Farinango Muenala faces a maximum of 20 years in prison for the mail and wire fraud charges and five years in prison for misrepresentation of Indian produced goods.

The charges were the result of an investigation by the U.S. Fish and Wildlife Service and the Department of the Interior’s Indian Arts and Craft Board.

“Safeguarding Native American culture, traditions and the consumers who purchase authentic Native American art are a critical part of these investigations,” said Edward Grace, assistant director of the U.S. Fish and Wildlife’s Office of Law Enforcement, in a statement.

Farinango Muenala's first court appearance is scheduled for July 30.

Frank Vaisvilas is a former Report for America corps member who covers Native American issues in Wisconsin based at the Milwaukee Journal Sentinel. Contact him at  [email protected]  or 815-

More: Tribal leaders in Wisconsin warn of ‘pretendians’ after Madison arts leader accused of pretending to be Native American resigns UW residency

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Oil heiress ivy getty releases pop song on the heels of her divorce.

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Fresh off splitting from her husband, oil heiress Ivy Getty is on her way to becoming a pop star.

Following in the steps of socialites before her — think Paris Hilton — Getty has released “ One Hit Wonder, ” which she co-wrote with songwriter Madison Love.

Love has worked with an impressive roster of female artists including Lady Gaga, Selena Gomez, Katy Perry, Pink and Kesha.

Lyrics include: “Look into her eyes / it’s a spell you’re under / playing in your head / like a one hit wonder.” 

According to a press release, the song was inspired in part by Hilton — who naturally had the club classic “Stars Are Blind” — along with chart-toppers Carly Rae Jepsen and Kylie Minogue.

“Been working on this for over a year so excited to finally have everyone hear it,” Getty wrote in an Instagram post.

In April, Page Six exclusively reported that Getty had filed for divorce from her husband of four years, actor Tobias Engel.

The pair had wed in an opulent ceremony officiated by Nancy Pelosi.

Getty — the great-granddaughter of the oil tycoon J. Paul Getty — is the daughter of late musician John Gilbert Getty, and the jewelry designer Alyssa Boothby.

Getty told Nylon that she imagines the tune playing “in-between scenes on reality shows like ‘Love Island,'” or “being lip synced by a drag queen at JackieO’ Mykonos Beach Club which is my favorite place to dance in the world.”

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Top staffers flee ny cannabis regulator after gov. kathy hochul dumps agency’s head.

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Several high-level staffers at New York’s cannabis regulator are calling it quits — after Gov. Kathy Hochul axed the agency’s head and blasted it as a “disaster.”

The staffers leaving the Office of Cannabis Management (OCM) include Nicole Rosa, Director of Health and Safety; Danielle Holmes, Deputy Director for Licensing; Patricia Piskorski Heer, First Deputy General Counsel; and Linda Baldwin, General Counsel.

The departures take with them years of institutional knowledge dating back to the start of New York’s medical marijuana program — and comes after Hochul dumped OCM’s head, Christopher Alexander, earlier this year.

Former staffers said the governor’s overhaul is killing morale.

“If the governor comes in and fires your boss who you’ve been working your ass off for the last three years and calls your work a disaster, you might be a little upset,” one New York cannabis insider told The Post about the recent resignations.

In May, Hochul rolled out a report criticizing OCM and its leadership for the rollout of the cannabis program, which has been rife with complaints and riddled by lawsuits.

During the mid-May announcement, Hochul said she would not reappoint Alexander, prompting him to quit two weeks later.

But the Empire State gov’s swift moves raised eyebrows amongst cannabis insiders and lawmakers concerned with prioritizing the program’s goals of diversifying the industry.

“As champions of the [marijuana legalization legislation], the Caucus will remain deeply invested in its success and will work diligently to ensure that the contributions of Chris Alexander and the countless New Yorkers who fought for this bill are not forgotten or maligned,” Assemblywoman Michaelle Solages (D-Nassau), chairperson of the Black, Puerto Rican, Hispanic and Asian American Caucus wrote in a statement in May.

“The departures of the inaugural OCM Executive Director should not correlate with the death of our crucial social equity goals.”

“While unnamed critics take shots from the sidelines, the hundreds of dedicated public servants at OCM are building the world’s most equitable and successful cannabis industry,” a Hochul spokesperson wrote in a statement to the Post.

“Since Governor Hochul began implementing changes, New York has issued 730 new licenses and celebrated the opening of its 150th store,” the spokesperson continued.

Meanwhile, the problems with New York’s cannabis rollout aren’t limited to OCM.

A fund meant to provide financing for cannabis entrepreneurs to open legal pot shops has been criticized as “predatory.”

Reporting by THE CITY revealed that the deal with a private equity firm, Chicago Atlantic Group, to fund the program was carried out despite protests from OCM employees.

The loans from the fund are provided at high interest rates based on astronomically overinflated revenue projections for the prospective stores, the outlet reported.

Last month, a firm sued the Dormitory Authority — a state agency used to direct and facilitate funding towards state projects and initiatives — alleging that its former head sought illegal kickbacks from no-bid contracts associated with the fund.