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🏆 Best of Term – Environment | Interior (Fall 2025) Gnomon Certificate in Digital Production student Chiao Lu created this photorealistic, modular game environment. She was inspired by rural mountain towns and local general stores in her home, Taiwan. This project taught Chiao how to set dress an environment...

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Gnomon

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DIGITAL TWIN UPDATE: The Unreal Engine digital twin project is CANCELLED! WE ARE OPEN SOURCING THE WORK!!!!!!! Instead, I'm building an end-to-end land management platform I'm calling Mazzap because it's an app and it's a map and also I'm Mr. Mazza. I'm also not calling a digital twin anymore; I'm calling it a V.E.I.L. which stands for Virtually Embodied Intelligent Land which serves the dual purpose of sounding way cooler and also conveys the long-term aims of the prject way better. With Mazzap anyone can easily generate a veil with nothing but publicly available data (and some photogrammetry objects if you so choose). Everything is perfectly georefrenced and you can right-click anywhere on your veil to get coordinates you can plug into google maps yourself. The next step for this is going to be building a survey companion mobile app so you can get field data yourself complete with attribute tables to drop in to get even HIGHER fidelity data than USGS. My stretch goal is using something like SAM 3D (but better) to generate georefrenced 3d tree assets based on the real trees on your land (which will eventually lead to growth and fruiting simulators based on your soil and hydrology data). Then again maybe that's not the next step; maybe the next step is plumbing in IoT devices so you can view assets in real time on your land. GPS trackers on the sheep, or maybe data from your solar controller. Or maybe it's up to you, because it's completely open source and it has an agents markdown file ready for your own coding agent to read and adapt for your purposes (did I mention this is vibecloded slop? sowwyyyy) Watch demo below and see how you can go from zero to beautifully rendered 3d map of your property in less than 15 minutes! If you're coming in cold to all this, below in the QT is a nested thread of reverse chronological tweets of my work on this (in unreal) so far.
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DIGITAL TWIN UPDATE: The Unreal Engine digital twin project is CANCELLED! WE ARE OPEN SOURCING THE WORK!!!!!!! Instead, I'm building an end-to-end land management platform I'm calling Mazzap because it's an app and it's a map and also I'm Mr. Mazza. I'm also not calling a digital twin anymore; I'm calling it a V.E.I.L. which stands for Virtually Embodied Intelligent Land which serves the dual purpose of sounding way cooler and also conveys the long-term aims of the prject way better. With Mazzap anyone can easily generate a veil with nothing but publicly available data (and some photogrammetry objects if you so choose). Everything is perfectly georefrenced and you can right-click anywhere on your veil to get coordinates you can plug into google maps yourself. The next step for this is going to be building a survey companion mobile app so you can get field data yourself complete with attribute tables to drop in to get even HIGHER fidelity data than USGS. My stretch goal is using something like SAM 3D (but better) to generate georefrenced 3d tree assets based on the real trees on your land (which will eventually lead to growth and fruiting simulators based on your soil and hydrology data). Then again maybe that's not the next step; maybe the next step is plumbing in IoT devices so you can view assets in real time on your land. GPS trackers on the sheep, or maybe data from your solar controller. Or maybe it's up to you, because it's completely open source and it has an agents markdown file ready for your own coding agent to read and adapt for your purposes (did I mention this is vibecloded slop? sowwyyyy) Watch demo below and see how you can go from zero to beautifully rendered 3d map of your property in less than 15 minutes! If you're coming in cold to all this, below in the QT is a nested thread of reverse chronological tweets of my work on this (in unreal) so far.

Zy

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Nick Knight shares how Lady Gaga contributed to Showstudio’s Box Set, which features an original piece written by Gaga and a previously unpublished outtake from the Born This Way photoshoot: “Back in 2022 I decided to create a Boxset for SHOWstudio and the very first person I asked to create something to put in the Boxset was the brilliant Lady Gaga. She simply is an incredible talent, and to work with her is always totally thrilling! In part because of her beauty and her total mastery over her own image, in part because she pours everything into her performance in front of the camera, uses every fibre of her being to push herself (and myself ) to create the best images we can possibly make and in part because she is a very lovely and completely unique person. When it came to the Boxset she told me she wanted to write a sonnet to me to be titled “ A Sonnet for A Knight”. I was enormously flattered. Just like her visual performances, she also pushed herself to the limit to get this sonnet to sound perfect, working tirelessly to be certain the lambic pentameter was exact. For those who don’t know poetry and verse, the lambic pentameter is a rhythmic pattern in poetry where each line has ten syllables, arranged in five pairs of an unstressed syllable followed by a stressed one mimicking a heartbeat and creating a natural, musical flow, famously used by Shakespeare in his plays and sonnets. It forms the backbone of English verse. She wrote a poem where the rhythm of the words mimics a heartbeat…… How beautiful. Thank you Gaga. To this I added one of the previously unpublished pictures from our Born This Way session. Later that year she recited the sonnet in her Chromatica Ball performances. Starting with a gentle instruction to her audience of; “everybody quiet…””
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Nick Knight shares how Lady Gaga contributed to Showstudio’s Box Set, which features an original piece written by Gaga and a previously unpublished outtake from the Born This Way photoshoot: “Back in 2022 I decided to create a Boxset for SHOWstudio and the very first person I asked to create something to put in the Boxset was the brilliant Lady Gaga. She simply is an incredible talent, and to work with her is always totally thrilling! In part because of her beauty and her total mastery over her own image, in part because she pours everything into her performance in front of the camera, uses every fibre of her being to push herself (and myself ) to create the best images we can possibly make and in part because she is a very lovely and completely unique person. When it came to the Boxset she told me she wanted to write a sonnet to me to be titled “ A Sonnet for A Knight”. I was enormously flattered. Just like her visual performances, she also pushed herself to the limit to get this sonnet to sound perfect, working tirelessly to be certain the lambic pentameter was exact. For those who don’t know poetry and verse, the lambic pentameter is a rhythmic pattern in poetry where each line has ten syllables, arranged in five pairs of an unstressed syllable followed by a stressed one mimicking a heartbeat and creating a natural, musical flow, famously used by Shakespeare in his plays and sonnets. It forms the backbone of English verse. She wrote a poem where the rhythm of the words mimics a heartbeat…… How beautiful. Thank you Gaga. To this I added one of the previously unpublished pictures from our Born This Way session. Later that year she recited the sonnet in her Chromatica Ball performances. Starting with a gentle instruction to her audience of; “everybody quiet…””

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New short course: LLMs as Operating Systems: Agent Memory, created with Letta, and taught by its founders Charles Packer and Sarah Wooders. An LLM's input context window has limited space. Using a longer input context also costs more and results in slower processing. So, managing what's stored in this context window is important. In the innovative paper MemGPT: Towards LLMs as Operating Systems, its authors (which include the instructors) proposed using an LLM agent to manage this context window. Their system uses a large persistent memory that stores everything that could be included in the input context, and an agent decides what is actually included. Take the example of building a chatbot that needs to remember what's been said earlier in a conversation (perhaps over many days of interaction with a user). As the conversation's length grows, the memory management agent will move information from the input context to a persistent searchable database; summarize information to keep relevant facts in the input context; and restore relevant conversation elements from further back in time. This allows a chatbot to keep what's currently most relevant in its input context memory to generate the next response. When I read the original MemGPT paper, I thought it was an innovative technique for handling memory for LLMs. The open-source Letta framework, which we'll use in this course, makes MemGPT easy to implement. It adds memory to your LLM agents and gives them transparent long-term memory. In detail, you’ll learn: - How to build an agent that can edit its own limited input context memory, using tools and multi-step reasoning - What is a memory hierarchy (an idea from computer operating systems, which use a cache to speed up memory access), and how these ideas apply to managing the LLM input context (where the input context window is a "cache" storing the most relevant information; and an agent decides what to move in and out of this to/from a larger persistent storage system) - How to implement multi-agent collaboration by letting different agents share blocks of memory This course will give you a sophisticated understanding of memory management for LLMs, which is important for chatbots having long conversations, and for complex agentic workflows. Please sign up here!
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New short course: LLMs as Operating Systems: Agent Memory, created with Letta, and taught by its founders Charles Packer and Sarah Wooders. An LLM's input context window has limited space. Using a longer input context also costs more and results in slower processing. So, managing what's stored in this context window is important. In the innovative paper MemGPT: Towards LLMs as Operating Systems, its authors (which include the instructors) proposed using an LLM agent to manage this context window. Their system uses a large persistent memory that stores everything that could be included in the input context, and an agent decides what is actually included. Take the example of building a chatbot that needs to remember what's been said earlier in a conversation (perhaps over many days of interaction with a user). As the conversation's length grows, the memory management agent will move information from the input context to a persistent searchable database; summarize information to keep relevant facts in the input context; and restore relevant conversation elements from further back in time. This allows a chatbot to keep what's currently most relevant in its input context memory to generate the next response. When I read the original MemGPT paper, I thought it was an innovative technique for handling memory for LLMs. The open-source Letta framework, which we'll use in this course, makes MemGPT easy to implement. It adds memory to your LLM agents and gives them transparent long-term memory. In detail, you’ll learn: - How to build an agent that can edit its own limited input context memory, using tools and multi-step reasoning - What is a memory hierarchy (an idea from computer operating systems, which use a cache to speed up memory access), and how these ideas apply to managing the LLM input context (where the input context window is a "cache" storing the most relevant information; and an agent decides what to move in and out of this to/from a larger persistent storage system) - How to implement multi-agent collaboration by letting different agents share blocks of memory This course will give you a sophisticated understanding of memory management for LLMs, which is important for chatbots having long conversations, and for complex agentic workflows. Please sign up here!

Andrew Ng

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She was all set to fly to the UK for her Master's. Instead, she moved to a tiny island with patchy internet, no recycling facility, and a growing waste crisis. When Garima Poonia visited Neil Island in the Andamans during a scuba-diving trip, she was shocked by what she saw. Plastic bottles, fishing nets, and piles of trash were washing up on beaches that were home to some of India's most stunning marine life. While most people would have moved on, Garima couldn't. Even after returning home, the sight of the waste haunted her. So when she secured admission to the University of Sussex, she made a difficult choice. She gave up her university seat and returned to the island with a mission. Starting from scratch, Garima went door-to-door, surveyed households, convinced resorts and local communities to segregate waste, and organised clean-up drives. She also launched the Kachrewaale Project, bringing together volunteers, divers, tourists, and residents. The impact? In less than six months, the island successfully began segregating waste at source and sending recyclables to mainland India for processing, a first for rural Andamans. This World Ocean Day, tell us what one small way you help protect the environment? #GarimaPoonia #AndamanIslands #WasteManagement #MarineConservation [World ocean day, Garima Poonia, Andaman Islands, Neil Island]

The Better India

14,026 Aufrufe • vor 2 Monaten

I genuinely cannot understand how someone can watch this story and still stand there, looking at two women, and somehow decide that the wrong one is the victim. On one side, you have a girl (Yıldız) who has been mistreated her entire life. Since the moment she was born, she was treated like a sacrifice for a conflict she was never even part of and later we find out that this conflict never even existed. Her right to study was taken from her. She was pushed into a marriage at a very young age just imagine being six, seven, eight years old, living in fear of being tied to someone you don’t even know. She was treated like a servant in her own home, by the very people she thought were her family. And just when she gets close to the happiness she dreamed of, the man she was engaged to shows up with another wife. She gets mistreated by that wife, by his family, and even (unintentionally) by him, because he was trying to run away from his own feelings, and that only caused her more heartbreak. The whole world was literally against her. She fought through all of that, only to find out in the end that everything she suffered for was based on something that wasn’t even real. Her entire life was built on a lie. That she isn’t even part of that family that she has literally no one in this world. Now on the other side… You have a girl (Melek) who, yes, was taken from her biological mother but she was raised by loving parents. She had everything anyone could wish for: education, freedom, a happy childhood, a healthy environment. She lived her life, fell in love, went out, made choices and no one questioned her, no one controlled her. And then what did she do? She found out that her man was engaged to another woman before marrying her (and even saw him marry her) and instead of holding on to her dignity, she chose to stay, to fight for a man who lied to her, to hold onto a marriage he tried to end multiple times. She used her unborn child to keep him tied to her. She lied constantly, and her excuse was that she was “protecting her marriage” a marriage that was already broken from the moment Serhat removed that ring at the airport in episode one. She tried to hand Yıldız (a woman who had already suffered enough) over to dangerous people. Then she found out the truth about her own birth (that her father ra*ped her mother.)And still no empathy. No moment of humanity toward her own mother. All she cared about was herself. And even though none of this had anything to do with Yıldız, she still found a way to blame it on her. Instead of holding her father accountable, she went and made a deal with him to get rid of Yıldız. She literally made a deal with the devil just to hurt Yıldız one more time. And after all of that… you want me to feel sorry for her? You want me to call her a victim? I honestly cannot believe we are living on the same planet with people who see this and still say, “she’s the victim.” Not morally. Not logically. Not emotionally. There is no world where this makes sense. It’s like watching someone clearly cause harm, and still calling them the victim and actually BELIEVING it. #HalefKöklerinÇağrısı
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I genuinely cannot understand how someone can watch this story and still stand there, looking at two women, and somehow decide that the wrong one is the victim. On one side, you have a girl (Yıldız) who has been mistreated her entire life. Since the moment she was born, she was treated like a sacrifice for a conflict she was never even part of and later we find out that this conflict never even existed. Her right to study was taken from her. She was pushed into a marriage at a very young age just imagine being six, seven, eight years old, living in fear of being tied to someone you don’t even know. She was treated like a servant in her own home, by the very people she thought were her family. And just when she gets close to the happiness she dreamed of, the man she was engaged to shows up with another wife. She gets mistreated by that wife, by his family, and even (unintentionally) by him, because he was trying to run away from his own feelings, and that only caused her more heartbreak. The whole world was literally against her. She fought through all of that, only to find out in the end that everything she suffered for was based on something that wasn’t even real. Her entire life was built on a lie. That she isn’t even part of that family that she has literally no one in this world. Now on the other side… You have a girl (Melek) who, yes, was taken from her biological mother but she was raised by loving parents. She had everything anyone could wish for: education, freedom, a happy childhood, a healthy environment. She lived her life, fell in love, went out, made choices and no one questioned her, no one controlled her. And then what did she do? She found out that her man was engaged to another woman before marrying her (and even saw him marry her) and instead of holding on to her dignity, she chose to stay, to fight for a man who lied to her, to hold onto a marriage he tried to end multiple times. She used her unborn child to keep him tied to her. She lied constantly, and her excuse was that she was “protecting her marriage” a marriage that was already broken from the moment Serhat removed that ring at the airport in episode one. She tried to hand Yıldız (a woman who had already suffered enough) over to dangerous people. Then she found out the truth about her own birth (that her father ra*ped her mother.)And still no empathy. No moment of humanity toward her own mother. All she cared about was herself. And even though none of this had anything to do with Yıldız, she still found a way to blame it on her. Instead of holding her father accountable, she went and made a deal with him to get rid of Yıldız. She literally made a deal with the devil just to hurt Yıldız one more time. And after all of that… you want me to feel sorry for her? You want me to call her a victim? I honestly cannot believe we are living on the same planet with people who see this and still say, “she’s the victim.” Not morally. Not logically. Not emotionally. There is no world where this makes sense. It’s like watching someone clearly cause harm, and still calling them the victim and actually BELIEVING it. #HalefKöklerinÇağrısı

Maurora🫦

10,530 Aufrufe • vor 5 Monaten

Last week, I saw a creature from this place saying this about Freen:"Freen on the other hand, excels in her natural charm and flirtatious screen presence, which remains one of her strongest assets. However, there has been little noticeable progression in her acting range since her previous series" And I'm glad that this human being noticed her charm. Freen truly has natural charm and charisma. And that is conveyed to the audience, which makes her characters more authentic. But I understood that your goal was simply to reduce her to that. So I compiled her many brilliant moments from each of her last three GL series, capturing her nuances. Let me say this: they are three characters with different personalities. A cold CEO with little emotional expressiveness. Khun Pin, delicate and reserved. Wayo, laid-back and protective (a character that requires a lot of her charm😌), and having read the books, I can say that Freen fulfilled the essence of each character exactly. She brought them to life exactly as they needed to be. Her strength as an actress is remarkable. What truly sets her apart is her ability to convey emotions through small gestures, looks, and nuances in her performance, making her characters more authentic and convincing. We can see how much Freen, since Gap, has always sought to deliver her very best as an actress. It is also evident how proud she is of TLP, a series that not only addressed themes she identifies with as a woman and artist, but also contributed to her growth and evolution in the emotional construction of her characters. This maturity can be seen more and more in her performances, especially in the realistic and sensitive way she expresses emotions. Her presence on screen is not limited to charisma or beauty alone, but also to her talent for giving depth to the roles she plays, making each character feel truly alive to the audience. Freen recently said in her interview for VogueTaiwan that she wants to continue challenging herself more and more as an actress. And I can hardly wait to keep being captivated by her charm on screen and to discover the new lives, stories, and emotions that she will bring to life through every character she portrays.🙌 #srchafreen‌
3:16

Last week, I saw a creature from this place saying this about Freen:"Freen on the other hand, excels in her natural charm and flirtatious screen presence, which remains one of her strongest assets. However, there has been little noticeable progression in her acting range since her previous series" And I'm glad that this human being noticed her charm. Freen truly has natural charm and charisma. And that is conveyed to the audience, which makes her characters more authentic. But I understood that your goal was simply to reduce her to that. So I compiled her many brilliant moments from each of her last three GL series, capturing her nuances. Let me say this: they are three characters with different personalities. A cold CEO with little emotional expressiveness. Khun Pin, delicate and reserved. Wayo, laid-back and protective (a character that requires a lot of her charm😌), and having read the books, I can say that Freen fulfilled the essence of each character exactly. She brought them to life exactly as they needed to be. Her strength as an actress is remarkable. What truly sets her apart is her ability to convey emotions through small gestures, looks, and nuances in her performance, making her characters more authentic and convincing. We can see how much Freen, since Gap, has always sought to deliver her very best as an actress. It is also evident how proud she is of TLP, a series that not only addressed themes she identifies with as a woman and artist, but also contributed to her growth and evolution in the emotional construction of her characters. This maturity can be seen more and more in her performances, especially in the realistic and sensitive way she expresses emotions. Her presence on screen is not limited to charisma or beauty alone, but also to her talent for giving depth to the roles she plays, making each character feel truly alive to the audience. Freen recently said in her interview for VogueTaiwan that she wants to continue challenging herself more and more as an actress. And I can hardly wait to keep being captivated by her charm on screen and to discover the new lives, stories, and emotions that she will bring to life through every character she portrays.🙌 #srchafreen‌

Bruna/GIRLFREEN✨

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New short course: Practical Multi AI Agents and Advanced Use Cases with crewAI. Learn to build and deploy advanced agent-based systems in real applications in this course, created with CrewAI and taught by its founder, João Moura! (Disclosure: I've made a small seed investment in CrewAI.) In this course, you’ll learn how to create advanced agent-based apps that use external tools, do performance testing, can be trained with human feedback, and perform multiple tasks with different large language models. You will build several practical agentic apps that provide real business value, such as an automated project planning system, lead scoring and engagement pipeline, customer support data analysis, and a robust content creation system. In detail, you will learn how to: - Create these multi-agent systems with the building blocks of tasks, agents, and crews, along with the different things that make them work, such as caching, memory, and guardrails. - Integrate your multi-agent application with internal and external systems. - Connect multiple agents in complex setups, including parallel, sequential, and hybrid configurations, and create flows involving multiple agentic applications working together. - Test your agentic workflow and train it using human feedback to optimize its performance for better and more consistent results. - Work with multiple LLMs in your multi-agent system, using the appropriate model sizes and providers to fit each agent’s specific task. - Start a project from scratch in your environment and prepare it for deployment. You’ll also learn from an interview between João and Jacob Wilson, the Commercial GenAI Principal at PwC , in which they discuss deploying agentic workflows in real industry use cases. By the end of this course, you will be equipped to start building custom multi-agentic systems for your work. Please sign up here!
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New short course: Practical Multi AI Agents and Advanced Use Cases with crewAI. Learn to build and deploy advanced agent-based systems in real applications in this course, created with CrewAI and taught by its founder, João Moura! (Disclosure: I've made a small seed investment in CrewAI.) In this course, you’ll learn how to create advanced agent-based apps that use external tools, do performance testing, can be trained with human feedback, and perform multiple tasks with different large language models. You will build several practical agentic apps that provide real business value, such as an automated project planning system, lead scoring and engagement pipeline, customer support data analysis, and a robust content creation system. In detail, you will learn how to: - Create these multi-agent systems with the building blocks of tasks, agents, and crews, along with the different things that make them work, such as caching, memory, and guardrails. - Integrate your multi-agent application with internal and external systems. - Connect multiple agents in complex setups, including parallel, sequential, and hybrid configurations, and create flows involving multiple agentic applications working together. - Test your agentic workflow and train it using human feedback to optimize its performance for better and more consistent results. - Work with multiple LLMs in your multi-agent system, using the appropriate model sizes and providers to fit each agent’s specific task. - Start a project from scratch in your environment and prepare it for deployment. You’ll also learn from an interview between João and Jacob Wilson, the Commercial GenAI Principal at PwC , in which they discuss deploying agentic workflows in real industry use cases. By the end of this course, you will be equipped to start building custom multi-agentic systems for your work. Please sign up here!

Andrew Ng

341,204 Aufrufe • vor 1 Jahr

AI imagines how the Mayans lived in ancient Mesoamerica - Today, more than seven million Maya live in their original homelands of Mesoamerica and in countries all over the world. Two thousand years ago, the ancient Maya developed one of the most advanced civilizations in the Americas. They developed a written language of hieroglyphs and invented the mathematical concept of zero. With their expertise in astronomy and mathematics, the Maya developed a complex and accurate calendar system. Hundreds of restored ancient cities with temple-pyramids, palaces, ball courts, and grand plazas are studied by archaeologists, and are visited by millions of tourists from all over the world each year. Contemporary Maya live and work near many of these archaeological sites. Language, tradition, and a deep sensibility toward the land and the sky continue to shape their worldview. The Maya are guardians of their culture and actively work to rediscover their own past as they look towards the future. The Popol Vuh, or Popol Wuj in the K’iche’ language, is the story of creation of the Maya. Members of the royal K’iche’ lineages that had once ruled the highlands of Guatemala recorded the story in the 16th century to preserve it under the Spanish colonial rule. The Popol Vuh, meaning “Book of the Community,” narrates the Maya creation account, the tales of the Hero Twins, and the K’iche’ genealogies and land rights. In this story, the Creators, Heart of Sky and six other deities including the Feathered Serpent, wanted to create human beings with hearts and minds who could “keep the days.” But their first attempts failed. When these deities finally created humans out of yellow and white corn who could talk, they were satisfied. In another epic cycle of the story, the Death Lords of the Underworld summon the Hero Twins to play a momentous ball game where the Twins defeat their opponents. The Twins rose into the heavens, and became the Sun and the Moon. Through their actions, the Hero Twins prepared the way for the planting of corn, for human beings to live on Earth, and for the Fourth Creation of the Maya. Despite local differences and more than thirty living languages, the Maya share cultural roots and the common legacy of an accomplished civilization that peaked between 250 – 1200 CE. The term Maaya is a Yucatec Mayan language word that describes the language spoken by indigenous people in the Yucatán Peninsula, México. Western scholars have ascribed this term to all Maya people. Maya culture is characterized by monumental architecture, by iconography and hieroglyphic writing, and by complex mathematical and astronomical systems. Knowledge of observational astronomy and sustainable agriculture still guide the daily activities of rural life in the Maya world. Rituals and ceremonies connected to their land and to their calendar are still practiced today. Maya people are active participants in the social fabric of an international world, and the legacy of their ancestors propels their culture forward. The early Maya established sedentary communities in the Pacific coastal regions around 1800 BCE. By 250 CE, the Maya had developed a vibrant civilization consisting of numerous independent city-states, including the well-known ceremonial centers of Palenque, Tikal, Copán and Calakmul. Many of these ancient sites are surrounded by contemporary Maya towns and villages that have been actively populated for several hundred, and sometimes thousands of years. The Maya homelands continue to influence their culture and the Maya worldview. 🎥© historyrevivedofficial #archaeohistories
2:16

AI imagines how the Mayans lived in ancient Mesoamerica - Today, more than seven million Maya live in their original homelands of Mesoamerica and in countries all over the world. Two thousand years ago, the ancient Maya developed one of the most advanced civilizations in the Americas. They developed a written language of hieroglyphs and invented the mathematical concept of zero. With their expertise in astronomy and mathematics, the Maya developed a complex and accurate calendar system. Hundreds of restored ancient cities with temple-pyramids, palaces, ball courts, and grand plazas are studied by archaeologists, and are visited by millions of tourists from all over the world each year. Contemporary Maya live and work near many of these archaeological sites. Language, tradition, and a deep sensibility toward the land and the sky continue to shape their worldview. The Maya are guardians of their culture and actively work to rediscover their own past as they look towards the future. The Popol Vuh, or Popol Wuj in the K’iche’ language, is the story of creation of the Maya. Members of the royal K’iche’ lineages that had once ruled the highlands of Guatemala recorded the story in the 16th century to preserve it under the Spanish colonial rule. The Popol Vuh, meaning “Book of the Community,” narrates the Maya creation account, the tales of the Hero Twins, and the K’iche’ genealogies and land rights. In this story, the Creators, Heart of Sky and six other deities including the Feathered Serpent, wanted to create human beings with hearts and minds who could “keep the days.” But their first attempts failed. When these deities finally created humans out of yellow and white corn who could talk, they were satisfied. In another epic cycle of the story, the Death Lords of the Underworld summon the Hero Twins to play a momentous ball game where the Twins defeat their opponents. The Twins rose into the heavens, and became the Sun and the Moon. Through their actions, the Hero Twins prepared the way for the planting of corn, for human beings to live on Earth, and for the Fourth Creation of the Maya. Despite local differences and more than thirty living languages, the Maya share cultural roots and the common legacy of an accomplished civilization that peaked between 250 – 1200 CE. The term Maaya is a Yucatec Mayan language word that describes the language spoken by indigenous people in the Yucatán Peninsula, México. Western scholars have ascribed this term to all Maya people. Maya culture is characterized by monumental architecture, by iconography and hieroglyphic writing, and by complex mathematical and astronomical systems. Knowledge of observational astronomy and sustainable agriculture still guide the daily activities of rural life in the Maya world. Rituals and ceremonies connected to their land and to their calendar are still practiced today. Maya people are active participants in the social fabric of an international world, and the legacy of their ancestors propels their culture forward. The early Maya established sedentary communities in the Pacific coastal regions around 1800 BCE. By 250 CE, the Maya had developed a vibrant civilization consisting of numerous independent city-states, including the well-known ceremonial centers of Palenque, Tikal, Copán and Calakmul. Many of these ancient sites are surrounded by contemporary Maya towns and villages that have been actively populated for several hundred, and sometimes thousands of years. The Maya homelands continue to influence their culture and the Maya worldview. 🎥© historyrevivedofficial #archaeohistories

Archaeo - Histories

86,931 Aufrufe • vor 9 Monaten

Zhao Lusi has been awarded Best Styling Award for Love's Ambition in Tencent Video Golden Penguin Awards 2025 🏆 Director Chen Chang represented Zhao Lusi to receive this award, as he read the acceptance speech that she had prepared, on stage today. "This is my first time taking part in a creative project as a Stylist. The process was full of both fun and challenges. The core of styling goes far beyond making a character look striking on the surface, it is about truly understanding the character's state of mind in every scene. From selecting the costumes to shaping the overall image, from matching each scene's environment to ensuring harmony with the styling of every character, every detail must be precisely aligned. Styling is a visual language of a character's emotions, allowing fashion to genuinely serve the characters and the story. This unique experience also allowed me to merge more deeply with Xu Yan. More importantly, in my heart, this honour belongs to the entire creative team. It is the professionalism and dedication of every member that together gave the character her charm and visual soul, allowing Xu Yan's fashion attitude to fully blossom. It is also an expression of resonance with and praise for the spirit of contemporary women, represented by Xu Yuan, who pursue fashion and a true sense of self. Thank you to all the friends who supported me and allowed me to shine. Thank you all."
1:03

Zhao Lusi has been awarded Best Styling Award for Love's Ambition in Tencent Video Golden Penguin Awards 2025 🏆 Director Chen Chang represented Zhao Lusi to receive this award, as he read the acceptance speech that she had prepared, on stage today. "This is my first time taking part in a creative project as a Stylist. The process was full of both fun and challenges. The core of styling goes far beyond making a character look striking on the surface, it is about truly understanding the character's state of mind in every scene. From selecting the costumes to shaping the overall image, from matching each scene's environment to ensuring harmony with the styling of every character, every detail must be precisely aligned. Styling is a visual language of a character's emotions, allowing fashion to genuinely serve the characters and the story. This unique experience also allowed me to merge more deeply with Xu Yan. More importantly, in my heart, this honour belongs to the entire creative team. It is the professionalism and dedication of every member that together gave the character her charm and visual soul, allowing Xu Yan's fashion attitude to fully blossom. It is also an expression of resonance with and praise for the spirit of contemporary women, represented by Xu Yuan, who pursue fashion and a true sense of self. Thank you to all the friends who supported me and allowed me to shine. Thank you all."

jov

43,818 Aufrufe • vor 8 Monaten

In the Early 1900s, There Were More than 100 Homeopathic Hospitals in the U.S. Alone "Health Series: Building Health: The Homeopathic Hospital Revival with Melissa Kupsch." By Jennifer Walters, BSN-RN, PHN, MFA Welcome to Part 3 of Solari’s Health Series on homeopathy! In Part 1 (with Leslie Manookian) and Part 2 (with Dr. Michelle Perro), we discussed homeopathy founded in the early 19th century by German physician Dr. Samuel Hahnemann—as an energetic system of medicine based on the principle of “like cures like.” Homeopathic remedies aim to boost the body’s natural healing process, using only the energy of the substance in the remedy to facilitate healing. This week, I am thrilled to welcome Melissa Kupsch, BSc (Hons) Melissa Kupsch, a distinguished homeopathic practitioner in Australia. She graduated in 2015 from Endeavour College of Natural Medicine. After a number of years of clinical practice—during which she supported clients in overcoming health challenges, improving fertility, and embracing a vibrant, fulfilling life—she was inspired to found RMDY Academy of Homeopathy, where she is academy director, and RMDY Collective. I grew up using homeopathy, and homeopathy remains an invaluable tool in my family’s arsenal, but after our homeopath retired, I learned how challenging and costly it can be to find a replacement due to high demand and limited options. With her vast knowledge and enthusiasm, Melissa wants RMDY Academy to change that. Dedicated to “Building Health” for the future, Melissa aims to revive the homeopathic hospitals that were once widespread, while also training more practitioners to serve in those hospitals and nearby communities. Melissa starts by discussing some of homeopathy’s history, pointing out that homeopathic hospitals thrived during the late 1800s and early 1900s. In his book Sane Asylums: The Success of Homeopathy Before Psychiatry Lost Its Mind, Jerry Kantor notes that during this period, there were more than 100 homeopathic hospitals, over 1,000 homeopathic pharmacies, and 22 homeopathic medical schools. Homeopathy psychiatry also flourished, with “thousands of documented successful outcomes in treating mental illness.” However, supporters of the allopathic medical model, including the Rockefellers and the American Medical Association (AMA), actively worked to dismantle homeopathy and other natural treatments and reshaped medical education. As a result, most homeopathic hospitals had closed or rebranded by the 1920s. Sadly, according to a 2021 article in The New Yorker titled “The Death of Hahnemann Hospital,” Philadelphia’s Hahnemann University Hospital, which was the last to shut its doors in September 2019, was acquired by a private equity firm that plans to transform the site into luxury condos. In India, in contrast, homeopathy is still thriving, with more than 300 homeopathic hospitals, 7,500 government clinics providing homeopathic remedies, 250 homeopathic medical colleges, and 300,000 registered practitioners. Melissa’s RMDY collective is in the process of establishing the first of several homeopathic centers in Australia, with plans to launch in the U.S. soon. Together with two senior homeopaths, RMDY Academy initiated its first two-year program in 2024 and aims to graduate over 500 students in that initial cohort, with another two-year cycle starting in fall 2026. Her goal is to increase the number of trained homeopathic professionals to the thousands. In an interview on another podcast, Melissa noted that Dr. Hahnemann tops her list of personal heroes. I thought of a quote by Paracelsus that in my view describes both Hahnemann and Melissa: “Thoughts give birth to a creative force that is neither elemental nor sidereal. Thoughts create a new heaven, a new firmament, a new source of energy, from which new arts flow. When a man undertakes to create something, he establishes a new heaven.” In our conversation, we also discuss examples of miasms (energy distortions that can lead to chronic illnesses) and how to eliminate them, cover the concept of homeopathic “cell salts,” and consider methods to detoxify from various toxins (including Covid shots). Join us and be inspired by the RMDY initiatives to Build Health! Full Report: Subscribe to
0:53

In the Early 1900s, There Were More than 100 Homeopathic Hospitals in the U.S. Alone "Health Series: Building Health: The Homeopathic Hospital Revival with Melissa Kupsch." By Jennifer Walters, BSN-RN, PHN, MFA Welcome to Part 3 of Solari’s Health Series on homeopathy! In Part 1 (with Leslie Manookian) and Part 2 (with Dr. Michelle Perro), we discussed homeopathy founded in the early 19th century by German physician Dr. Samuel Hahnemann—as an energetic system of medicine based on the principle of “like cures like.” Homeopathic remedies aim to boost the body’s natural healing process, using only the energy of the substance in the remedy to facilitate healing. This week, I am thrilled to welcome Melissa Kupsch, BSc (Hons) Melissa Kupsch, a distinguished homeopathic practitioner in Australia. She graduated in 2015 from Endeavour College of Natural Medicine. After a number of years of clinical practice—during which she supported clients in overcoming health challenges, improving fertility, and embracing a vibrant, fulfilling life—she was inspired to found RMDY Academy of Homeopathy, where she is academy director, and RMDY Collective. I grew up using homeopathy, and homeopathy remains an invaluable tool in my family’s arsenal, but after our homeopath retired, I learned how challenging and costly it can be to find a replacement due to high demand and limited options. With her vast knowledge and enthusiasm, Melissa wants RMDY Academy to change that. Dedicated to “Building Health” for the future, Melissa aims to revive the homeopathic hospitals that were once widespread, while also training more practitioners to serve in those hospitals and nearby communities. Melissa starts by discussing some of homeopathy’s history, pointing out that homeopathic hospitals thrived during the late 1800s and early 1900s. In his book Sane Asylums: The Success of Homeopathy Before Psychiatry Lost Its Mind, Jerry Kantor notes that during this period, there were more than 100 homeopathic hospitals, over 1,000 homeopathic pharmacies, and 22 homeopathic medical schools. Homeopathy psychiatry also flourished, with “thousands of documented successful outcomes in treating mental illness.” However, supporters of the allopathic medical model, including the Rockefellers and the American Medical Association (AMA), actively worked to dismantle homeopathy and other natural treatments and reshaped medical education. As a result, most homeopathic hospitals had closed or rebranded by the 1920s. Sadly, according to a 2021 article in The New Yorker titled “The Death of Hahnemann Hospital,” Philadelphia’s Hahnemann University Hospital, which was the last to shut its doors in September 2019, was acquired by a private equity firm that plans to transform the site into luxury condos. In India, in contrast, homeopathy is still thriving, with more than 300 homeopathic hospitals, 7,500 government clinics providing homeopathic remedies, 250 homeopathic medical colleges, and 300,000 registered practitioners. Melissa’s RMDY collective is in the process of establishing the first of several homeopathic centers in Australia, with plans to launch in the U.S. soon. Together with two senior homeopaths, RMDY Academy initiated its first two-year program in 2024 and aims to graduate over 500 students in that initial cohort, with another two-year cycle starting in fall 2026. Her goal is to increase the number of trained homeopathic professionals to the thousands. In an interview on another podcast, Melissa noted that Dr. Hahnemann tops her list of personal heroes. I thought of a quote by Paracelsus that in my view describes both Hahnemann and Melissa: “Thoughts give birth to a creative force that is neither elemental nor sidereal. Thoughts create a new heaven, a new firmament, a new source of energy, from which new arts flow. When a man undertakes to create something, he establishes a new heaven.” In our conversation, we also discuss examples of miasms (energy distortions that can lead to chronic illnesses) and how to eliminate them, cover the concept of homeopathic “cell salts,” and consider methods to detoxify from various toxins (including Covid shots). Join us and be inspired by the RMDY initiatives to Build Health! Full Report: Subscribe to

The Solari Report | Catherine Austin Fitts

11,527 Aufrufe • vor 5 Monaten

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR
9:43

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

37,835 Aufrufe • vor 1 Jahr

⚓️STEJAY HARBOR: Anchored in Love Project 8⚓️ After four months of dreaming, designing, revising, and creating, we’re finally ready to share one of our most personal projects yet. Introducing HARBOR & CREW 🤍 A brand created exclusively for Steven and JL. What started as a simple idea while conceptualizing custom jewelry for them eventually grew into something much bigger. We wanted a dedicated brand that could serve as the home for future gifts, collections, and pieces designed specifically with Steven and JL in mind. Project Timeline: • March 2026 – Jewelry conceptualization begins • April 2026 – Design finalization and production • May 2026 – Apparel planning, design development, and additional jewelry production • June 2026 – Production completed Every piece in this collection was thoughtfully designed from the ground up. ✨ All apparel pieces feature embroidered artwork. ✨ Jewelry pieces were crafted using white gold, sterling silver, and diamond gemstones. ✨ Designs incorporate meaningful Stejay elements, including the iconic Stejay Pose and symbols inspired by their journey. ✨ Every detail was created exclusively for Steven and JL. This collection was created to tell a story, preserve memories, and celebrate the people who inspired it. Project Cost: ₱538,000💎 This meaningful project came to life through the idea, dedication, and tireless hard work of DeerWolf Mom♡⚓️🦌🐺. As JL’s SteJay Harbor Mom, she not only made this project possible through her vision, but also generously donated 90% of the total project cost. 🤍✨ No amount of words can fully express our gratitude. Thank you for believing in our vision and helping us bring these ideas to life. Your generosity allowed us to create something truly special for Steven and JL. ⚠️ Note/Disclaimer: The remaining portion of this project was privately funded by sponsors, admins, and fans through direct transactions. No public donation drives were conducted during the planning and securing of this project. A special note: Harbor & Crew was never created as a commercial brand. These pieces were designed exclusively as custom gifts for Steven and JL and are not intended for sale. Every item was made with them in mind, making each design deeply personal and unique to their story. Harbor & Crew is more than a collection. It’s a love letter to Steven and JL, crafted one detail at a time. 🤍⚓️ Always for STEJAY, always Anchored in Love. All aboard! ⚓️🚢 ANCHORED IN LOVE #StevenKim #JLGaspar #STEJAY #스티븐 #제이엘 #AHOF #아홉 AHOF
0:49

⚓️STEJAY HARBOR: Anchored in Love Project 8⚓️ After four months of dreaming, designing, revising, and creating, we’re finally ready to share one of our most personal projects yet. Introducing HARBOR & CREW 🤍 A brand created exclusively for Steven and JL. What started as a simple idea while conceptualizing custom jewelry for them eventually grew into something much bigger. We wanted a dedicated brand that could serve as the home for future gifts, collections, and pieces designed specifically with Steven and JL in mind. Project Timeline: • March 2026 – Jewelry conceptualization begins • April 2026 – Design finalization and production • May 2026 – Apparel planning, design development, and additional jewelry production • June 2026 – Production completed Every piece in this collection was thoughtfully designed from the ground up. ✨ All apparel pieces feature embroidered artwork. ✨ Jewelry pieces were crafted using white gold, sterling silver, and diamond gemstones. ✨ Designs incorporate meaningful Stejay elements, including the iconic Stejay Pose and symbols inspired by their journey. ✨ Every detail was created exclusively for Steven and JL. This collection was created to tell a story, preserve memories, and celebrate the people who inspired it. Project Cost: ₱538,000💎 This meaningful project came to life through the idea, dedication, and tireless hard work of DeerWolf Mom♡⚓️🦌🐺. As JL’s SteJay Harbor Mom, she not only made this project possible through her vision, but also generously donated 90% of the total project cost. 🤍✨ No amount of words can fully express our gratitude. Thank you for believing in our vision and helping us bring these ideas to life. Your generosity allowed us to create something truly special for Steven and JL. ⚠️ Note/Disclaimer: The remaining portion of this project was privately funded by sponsors, admins, and fans through direct transactions. No public donation drives were conducted during the planning and securing of this project. A special note: Harbor & Crew was never created as a commercial brand. These pieces were designed exclusively as custom gifts for Steven and JL and are not intended for sale. Every item was made with them in mind, making each design deeply personal and unique to their story. Harbor & Crew is more than a collection. It’s a love letter to Steven and JL, crafted one detail at a time. 🤍⚓️ Always for STEJAY, always Anchored in Love. All aboard! ⚓️🚢 ANCHORED IN LOVE #StevenKim #JLGaspar #STEJAY #스티븐 #제이엘 #AHOF #아홉 AHOF

SteJay Harbor

76,215 Aufrufe • vor 1 Monat

The great irony that this happen’s in Diviner’s Hymn… and the mirroring to Absolute Zeal is perfection. This is a god and goddess who are already in a religious marriage between gods, and she pursues him for healing which happens in the most sensual way. Despite their perceived opposing alignments, there’s an undeniable attraction and MC is stuck between her duty to her people but also her desire for Zayne. It adds an extra level of tension as to why she’s being so rough with him too - SHE kissed him and bit his lips before the kindled, she set a precedent for aggression and Zayne is matching her though not as roughly. Everything is consensual. I stand by the ritual has to be done to completion as he’s healing her, he’s not going to let her go without being fully healed no matter how much she thinks (or acts like she thinks) the worst of him, especially when they have been together for a while and intimate multiple times beforehand, so their relationship has more history and is more complex. I’ve said before how intimacy is easier to communicate desire and affection for ZayneMC after Acts of Service. This healing ritual IS an Act of Service communicated through Physical intimacy. There’s affection in this because despite MC thinking Zayne is at odds with her, he is healing her and giving her his power nonetheless. This scene already should make the reader question the intentions and unreliable narrative which only makes the later reveals make more sense. “Feel this and remember what I’m giving you” - feel what is between us and remember I’m the one healing you and giving you my power. It’s possessive and extremely sexy, but also quite explicitly putting it in her mind that “know it is *me* giving you this.” Why would he do this if he was set to be the man she thinks and misunderstood him as? Things are not straight forward and through the narrative we understand why they struggle in being direct, but as said earlier emotional intimacy and honesty are something ZayneMC work towards. Where their words struggle, their bodies cannot deny. “Accept it… this is only a power you can possess” - accept what I’m giving you and I’m only giving it to you. You are the only other person I deem worthy of what I have and I will give it to. Of course the intimacy is a big aspect of how the transference works, but this is also a reaffirmation of *him* giving her the ability to go against what she also perceives as *him* and he is willingly offering it to her for her own benefit. “I have answered your pleas and your desires… Yet I sense… An even deeper craving.” The ritual is done, he gave her what she pushed him for but they *both* still want more and he’s called out exactly what I said he would. It is the essence of “look at how your body is responding to me” - MC doesn’t want to admit she still wants Zayne, the standings she believes them to be on have put their union in a difficult position mentally and emotionally for her, but she can’t forget the man she adored and her want for him. Zayne reaffirms that, and it’s onto further reinforced in the lines akin to “you cannot get away from how I make you feel” in his sensing a “deeper craving” and them acting on it. Just as I said, he calls out the lust between them that MC has a habit of denying and playing with despite instigating and *teasing and pushing* Zayne. This is their pattern and it is consensual, Zayne is aware of it as they’ve been sexually active for a long time before these moments, so just like in Absolute Zeal he calls it out. The level of layers to this scene make it a perfect marriage of struggling emotional vulnerability, partnership, miscommunication, mythical godly relations (Hieros Gamos) and overwhelming mutual carnal desire which overrides everything at the end. Oh ZayneMC your writing is so incredible, and denying how these aspects converge oversimplifies the beauty and complexity of this extremely well written scene in how it illustrates their specific dynamic.
2:16

The great irony that this happen’s in Diviner’s Hymn… and the mirroring to Absolute Zeal is perfection. This is a god and goddess who are already in a religious marriage between gods, and she pursues him for healing which happens in the most sensual way. Despite their perceived opposing alignments, there’s an undeniable attraction and MC is stuck between her duty to her people but also her desire for Zayne. It adds an extra level of tension as to why she’s being so rough with him too - SHE kissed him and bit his lips before the kindled, she set a precedent for aggression and Zayne is matching her though not as roughly. Everything is consensual. I stand by the ritual has to be done to completion as he’s healing her, he’s not going to let her go without being fully healed no matter how much she thinks (or acts like she thinks) the worst of him, especially when they have been together for a while and intimate multiple times beforehand, so their relationship has more history and is more complex. I’ve said before how intimacy is easier to communicate desire and affection for ZayneMC after Acts of Service. This healing ritual IS an Act of Service communicated through Physical intimacy. There’s affection in this because despite MC thinking Zayne is at odds with her, he is healing her and giving her his power nonetheless. This scene already should make the reader question the intentions and unreliable narrative which only makes the later reveals make more sense. “Feel this and remember what I’m giving you” - feel what is between us and remember I’m the one healing you and giving you my power. It’s possessive and extremely sexy, but also quite explicitly putting it in her mind that “know it is *me* giving you this.” Why would he do this if he was set to be the man she thinks and misunderstood him as? Things are not straight forward and through the narrative we understand why they struggle in being direct, but as said earlier emotional intimacy and honesty are something ZayneMC work towards. Where their words struggle, their bodies cannot deny. “Accept it… this is only a power you can possess” - accept what I’m giving you and I’m only giving it to you. You are the only other person I deem worthy of what I have and I will give it to. Of course the intimacy is a big aspect of how the transference works, but this is also a reaffirmation of *him* giving her the ability to go against what she also perceives as *him* and he is willingly offering it to her for her own benefit. “I have answered your pleas and your desires… Yet I sense… An even deeper craving.” The ritual is done, he gave her what she pushed him for but they *both* still want more and he’s called out exactly what I said he would. It is the essence of “look at how your body is responding to me” - MC doesn’t want to admit she still wants Zayne, the standings she believes them to be on have put their union in a difficult position mentally and emotionally for her, but she can’t forget the man she adored and her want for him. Zayne reaffirms that, and it’s onto further reinforced in the lines akin to “you cannot get away from how I make you feel” in his sensing a “deeper craving” and them acting on it. Just as I said, he calls out the lust between them that MC has a habit of denying and playing with despite instigating and *teasing and pushing* Zayne. This is their pattern and it is consensual, Zayne is aware of it as they’ve been sexually active for a long time before these moments, so just like in Absolute Zeal he calls it out. The level of layers to this scene make it a perfect marriage of struggling emotional vulnerability, partnership, miscommunication, mythical godly relations (Hieros Gamos) and overwhelming mutual carnal desire which overrides everything at the end. Oh ZayneMC your writing is so incredible, and denying how these aspects converge oversimplifies the beauty and complexity of this extremely well written scene in how it illustrates their specific dynamic.

Zafina ❄️🐦‍⬛🍎🐟⭐️

103,616 Aufrufe • vor 10 Monaten

“BIGAY-SAYA, BIGAY-BIYAYA: HANDOG NG TEAM KIRA SA KABATAAN” Guess what? After weeks of planning, excitement, and a whole lot of love, our second fan project is finally a reality — and we couldn’t be more thrilled! Team Kira is back at it again, this time with a heartwarming mission: to bring joy and school supplies to children who need them most. 🎒✨ Why school supplies? Well, we were inspired by Kira’s touching story. During her PBB journey, she shared how she was bullied in school and eventually found her confidence and voice through showbiz. Her journey reminds us just how important education and kindness are — and we want every child to know that they matter, they belong, and that learning is a powerful gift. Through this project, we hope they feel encouraged and supported, while also learning how important values are like respect, understanding and pakikipagkapwa-tao. We have already distributed school supplies to three schools: Dinet Elementary School and Calampisao Elementary School, both with 150 students, and Debangan Elementary School with 148 students. But wait — we’re not done yet! We also have another school on our list: Maytegued Elementary School, with 150 students. A total of 448 students, and all of these schools are located in Palawan. We want to extend our heartfelt thanks to everyone who helped make this incredible project possible — to our fellow KiraBelles for your love, support, and donations. And most especially, to Ms. Giah KB💛🌻 for leading and organizing this meaningful initiative. Thank you for being part of this journey to bring smiles and hope to the youth! Kira Balinger #KiraBalinger | Kira Balinger #TeamKira | #KiraBelles
1:07

“BIGAY-SAYA, BIGAY-BIYAYA: HANDOG NG TEAM KIRA SA KABATAAN” Guess what? After weeks of planning, excitement, and a whole lot of love, our second fan project is finally a reality — and we couldn’t be more thrilled! Team Kira is back at it again, this time with a heartwarming mission: to bring joy and school supplies to children who need them most. 🎒✨ Why school supplies? Well, we were inspired by Kira’s touching story. During her PBB journey, she shared how she was bullied in school and eventually found her confidence and voice through showbiz. Her journey reminds us just how important education and kindness are — and we want every child to know that they matter, they belong, and that learning is a powerful gift. Through this project, we hope they feel encouraged and supported, while also learning how important values are like respect, understanding and pakikipagkapwa-tao. We have already distributed school supplies to three schools: Dinet Elementary School and Calampisao Elementary School, both with 150 students, and Debangan Elementary School with 148 students. But wait — we’re not done yet! We also have another school on our list: Maytegued Elementary School, with 150 students. A total of 448 students, and all of these schools are located in Palawan. We want to extend our heartfelt thanks to everyone who helped make this incredible project possible — to our fellow KiraBelles for your love, support, and donations. And most especially, to Ms. Giah KB💛🌻 for leading and organizing this meaningful initiative. Thank you for being part of this journey to bring smiles and hope to the youth! Kira Balinger #KiraBalinger | Kira Balinger #TeamKira | #KiraBelles

TEAM KIRA OFFICIAL 🌻

36,895 Aufrufe • vor 1 Jahr

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.
4:15

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

Hollywood Golden Age of cinema

35,552 Aufrufe • vor 2 Monaten

Blake Lively and Jenny Slate bizarrely try to blow up Slate’s own comment about Britney Spears into inappropriate behavior by Justin Baldoni. Lively’s narrative about other women “coming forward” fails when you look at the facts. The “complaints” have no merit and do not come close to qualifying as harassment. For example, here are some (not all) of these complaints by the other women (who did NOT “come forward” but rather they were forced into this due to Lively’s court process): - Baldoni directed an actress in character to lick a spoon. This is something that character does in the book this movie is based upon. - Slate made a comment about how something was “bad for sex” and Baldoni participated in the conversation, saying “totally, bad for sex” which she found offensive. - Hoover, the book’s author, was unhappy that she wasn’t included enough or things weren’t done exactly the way she liked. This was not her call to make as she sold the intellectual property rights to Baldoni. This is also not harassment. - The primary complaint by Slate was a comment made by the director (Baldoni) about the characters’ wardrobes looking sexy on the actresses. Sony asked Baldoni and Wayfarer to put “more sexy” into the movie, and appearing “sexy” was part of the creative process. Lively acknowledged the importance of “sexiness” in her own messages. The comment made by Baldoni was very clearly not predatory. Regardless, an apology was made and this never happened again. - Another of the women was upset because she wanted to direct. Baldoni was the director. She felt dismissed. Not her project or intellectual property, not her call. I’m sure she can direct a beautiful project of her own that doesn’t belong to someone else. - Another of the women was upset because she wanted to be the main producer and didn’t think Heath needed to be involved. She also complained that Baldoni (the director) yelled on set. Almost all of these complaints had absolutely zero to do with harassment. The women felt they weren’t given as much influence or control as they wanted. This is something many people feel in the workplace every day. It sucks. But it isn’t harassment.
2:15

Blake Lively and Jenny Slate bizarrely try to blow up Slate’s own comment about Britney Spears into inappropriate behavior by Justin Baldoni. Lively’s narrative about other women “coming forward” fails when you look at the facts. The “complaints” have no merit and do not come close to qualifying as harassment. For example, here are some (not all) of these complaints by the other women (who did NOT “come forward” but rather they were forced into this due to Lively’s court process): - Baldoni directed an actress in character to lick a spoon. This is something that character does in the book this movie is based upon. - Slate made a comment about how something was “bad for sex” and Baldoni participated in the conversation, saying “totally, bad for sex” which she found offensive. - Hoover, the book’s author, was unhappy that she wasn’t included enough or things weren’t done exactly the way she liked. This was not her call to make as she sold the intellectual property rights to Baldoni. This is also not harassment. - The primary complaint by Slate was a comment made by the director (Baldoni) about the characters’ wardrobes looking sexy on the actresses. Sony asked Baldoni and Wayfarer to put “more sexy” into the movie, and appearing “sexy” was part of the creative process. Lively acknowledged the importance of “sexiness” in her own messages. The comment made by Baldoni was very clearly not predatory. Regardless, an apology was made and this never happened again. - Another of the women was upset because she wanted to direct. Baldoni was the director. She felt dismissed. Not her project or intellectual property, not her call. I’m sure she can direct a beautiful project of her own that doesn’t belong to someone else. - Another of the women was upset because she wanted to be the main producer and didn’t think Heath needed to be involved. She also complained that Baldoni (the director) yelled on set. Almost all of these complaints had absolutely zero to do with harassment. The women felt they weren’t given as much influence or control as they wanted. This is something many people feel in the workplace every day. It sucks. But it isn’t harassment.

Lauren Neidigh

41,927 Aufrufe • vor 6 Monaten

The hardest problems in AI aren't research problems anymore. They're deployment problems. It’s how we actually deliver real value, today, to build the future people want. That’s why, after 20 years in AI, my next step was inevitable: make robots do useful work for and alongside people, right now. Today, I am delighted to announce the launch of Walden Robotics to tackle just that. We started this year and are coming out of stealth today with a $300M seed round backed by some of the most serious companies and investors in the world. They have seen firsthand our general-purpose robots being useful in production on day one, and getting better every day after. You can see a glimpse of what we've been building in the video below. Physical AI has gone through a rapid phase transition, in part thanks to pioneering research from my friends and co-founders Russ Tedrake , Ben Burchfiel , Siyuan Feng, Rareș Ambruș , and many others at Walden. But from our long experience working together with co-founders Kerri Fetzer-Borelli and Dave Johnson, we learned how hard it is to deploy cutting-edge AI in a real, live, incredibly sophisticated production environment with an intricate ballet of automation and human ingenuity. That’s why we deliberately created Walden Robotics as a full-stack, human-centric, customer-focused robotics company from the start: we seeded the company with a world-class team across hardware, software, AI, deployment, operations, product, and business talent, so we could continuously optimize our whole system end-to-end, deeply and purposefully, from real-world experience with real customers. The efficacy of this strategy speaks for itself: since February, our general-purpose robots have been doing useful work in production at a Toyota plant in North America, moving from first pilot to real work in under two months. Not a lab. Not a demo. Not a future promise. Real work on a real line, today, at one of the best large-scale manufacturers in the world, with general-purpose robots that get better every day. And this is just the beginning. Two ways to find us: If you run a manufacturing or logistics business and want robots that are widely useful now, not someday, let's talk. We own “ for a reason! And if you want to build them: we're hiring across the company, from software, to hardware, AI, ops, product, business, and more. In particular, as the Chief Strategy Officer at Walden, I am recruiting for three incredibly impactful founding roles to fuel our agent-native go-to-market engine. Check out Let’s build together!
2:31

The hardest problems in AI aren't research problems anymore. They're deployment problems. It’s how we actually deliver real value, today, to build the future people want. That’s why, after 20 years in AI, my next step was inevitable: make robots do useful work for and alongside people, right now. Today, I am delighted to announce the launch of Walden Robotics to tackle just that. We started this year and are coming out of stealth today with a $300M seed round backed by some of the most serious companies and investors in the world. They have seen firsthand our general-purpose robots being useful in production on day one, and getting better every day after. You can see a glimpse of what we've been building in the video below. Physical AI has gone through a rapid phase transition, in part thanks to pioneering research from my friends and co-founders Russ Tedrake , Ben Burchfiel , Siyuan Feng, Rareș Ambruș , and many others at Walden. But from our long experience working together with co-founders Kerri Fetzer-Borelli and Dave Johnson, we learned how hard it is to deploy cutting-edge AI in a real, live, incredibly sophisticated production environment with an intricate ballet of automation and human ingenuity. That’s why we deliberately created Walden Robotics as a full-stack, human-centric, customer-focused robotics company from the start: we seeded the company with a world-class team across hardware, software, AI, deployment, operations, product, and business talent, so we could continuously optimize our whole system end-to-end, deeply and purposefully, from real-world experience with real customers. The efficacy of this strategy speaks for itself: since February, our general-purpose robots have been doing useful work in production at a Toyota plant in North America, moving from first pilot to real work in under two months. Not a lab. Not a demo. Not a future promise. Real work on a real line, today, at one of the best large-scale manufacturers in the world, with general-purpose robots that get better every day. And this is just the beginning. Two ways to find us: If you run a manufacturing or logistics business and want robots that are widely useful now, not someday, let's talk. We own “ for a reason! And if you want to build them: we're hiring across the company, from software, to hardware, AI, ops, product, business, and more. In particular, as the Chief Strategy Officer at Walden, I am recruiting for three incredibly impactful founding roles to fuel our agent-native go-to-market engine. Check out Let’s build together!

Adrien Gaidon

64,065 Aufrufe • vor 1 Monat

Learn to build conversational AI voice agents in "Building AI Voice Agents for Production", created in collaboration with LiveKit and RealAvatar, and taught by dsa (Co-founder & CEO of LiveKit), Shayne (Developer Advocate, LiveKit), and Nedelina Teneva (Head of AI at RealAvatar, an AI Fund portfolio company). Voice agents combine speech and reasoning capabilities to enable real-time conversations. They're already being used to support customer service, to improve accessibility in healthcare, for entertainment applications, and for talk therapy. In this course, you’ll learn to build voice agents that listen, reason, and respond naturally. You’ll follow the architecture used to create the "AI Andrew" Avatar, a collaborative project between and RealAvatar that responds to users in what sounds like my voice. You’ll build a voice agent from scratch and deploy it to the cloud, enabling support for many simultaneous users. What you’ll learn: - Understand the fundamentals of voice agents, including key components like speech-to-text (STT), text-to-speech (TTS), and LLMs, and how latency is introduced at each layer. - Explore voice agent architectures and the trade-offs between modular pipelines and speech-to-speech APIs. - Explore how platforms like LiveKit mitigate latency issues with optimized networking infrastructure and low-latency communication protocols. - Learn how to connect client devices to voice agents using WebRTC—and why it outperforms HTTP and WebSocket for low-latency audio streaming. - Incorporate voice activity detection (VAD), end-of-turn detection, and context management to detect turns, handle interruptions, and manage conversational flow. - Understand the trade-offs between latency, quality, and cost in an example in which you build a voice agent and change its voice. - Equip your agent with metrics to measure latency at each stage of the voice pipeline and learn the key levers you can pull to make your agent faster and more responsive. The voice agents built in this course also incorporate voice technology from , a supporting contributor to the project. By the end of this course, you'll have learned the components of an AI voice agent pipeline, combined them into a system with low-latency communication, and deployed them on cloud infrastructure so it scales to many users. I’m looking forward to seeing what voice agents you build from this course! Please sign up here:
2:41

Learn to build conversational AI voice agents in "Building AI Voice Agents for Production", created in collaboration with LiveKit and RealAvatar, and taught by dsa (Co-founder & CEO of LiveKit), Shayne (Developer Advocate, LiveKit), and Nedelina Teneva (Head of AI at RealAvatar, an AI Fund portfolio company). Voice agents combine speech and reasoning capabilities to enable real-time conversations. They're already being used to support customer service, to improve accessibility in healthcare, for entertainment applications, and for talk therapy. In this course, you’ll learn to build voice agents that listen, reason, and respond naturally. You’ll follow the architecture used to create the "AI Andrew" Avatar, a collaborative project between and RealAvatar that responds to users in what sounds like my voice. You’ll build a voice agent from scratch and deploy it to the cloud, enabling support for many simultaneous users. What you’ll learn: - Understand the fundamentals of voice agents, including key components like speech-to-text (STT), text-to-speech (TTS), and LLMs, and how latency is introduced at each layer. - Explore voice agent architectures and the trade-offs between modular pipelines and speech-to-speech APIs. - Explore how platforms like LiveKit mitigate latency issues with optimized networking infrastructure and low-latency communication protocols. - Learn how to connect client devices to voice agents using WebRTC—and why it outperforms HTTP and WebSocket for low-latency audio streaming. - Incorporate voice activity detection (VAD), end-of-turn detection, and context management to detect turns, handle interruptions, and manage conversational flow. - Understand the trade-offs between latency, quality, and cost in an example in which you build a voice agent and change its voice. - Equip your agent with metrics to measure latency at each stage of the voice pipeline and learn the key levers you can pull to make your agent faster and more responsive. The voice agents built in this course also incorporate voice technology from , a supporting contributor to the project. By the end of this course, you'll have learned the components of an AI voice agent pipeline, combined them into a system with low-latency communication, and deployed them on cloud infrastructure so it scales to many users. I’m looking forward to seeing what voice agents you build from this course! Please sign up here:

Andrew Ng

87,701 Aufrufe • vor 1 Jahr

Long term substitute teacher gets arrested as a predator for doing the unthinkable with an 11 year old. The disturbing case of Alley Bardfield, a former long-term substitute teacher for Decatur Public Schools (DPS), reveals a calculated pattern of grooming and exploitation that shattered the trust of a local community. ​Assigned to teach a sixth-grade class at Hope Academy, Bardfield leveraged her position of authority to manipulate an 11-year-old student. The abuse was systematic: Bardfield used digital platforms, specifically Snapchat, to exchange nude photographs with the minor. Even more concerning was the financial grooming involved; over several months, she sent the young boy hundreds of dollars—totaling over $700—via CashApp to maintain her access to him. The situation escalated when she began inviting the student to her home in Mt. Zion for a "playdate," during which she committed predatory s3xu@l assault. ​The investigation into Bardfield began after the child’s mother noticed uncharacteristic behavioral changes in her son following a visit to Bardfield’s residence. Trusting her instincts, the mother inspected his phone and social media, uncovering the explicit messages and financial records that confirmed an inappropriate relationship. This led to a police-monitored sting operation where the mother’s efforts helped solidify the evidence. Upon her arrest by Mt. Zion Police, Bardfield admitted during a mirandized interview to the s3xu@l assault, the exchange of illicit images, and the financial payments. ​Following her arrest, it was discovered that Bardfield had failed to complete mandatory state-required training on ethics, sexual misconduct, and child abuse reporting. A subsequent lawsuit filed by the victim's family alleged that the school district failed to properly vet or monitor her, noting she had allegedly given her personal phone number to other students at the school as well. ​ Bardfield faced severe charges, including grooming and predatory criminal sexual assault of a child—a Class X felony. ​ She entered a partial plea agreement. ​ On September 25, 2025, she was sentenced to 10 years in the Illinois Department of Corrections. While the state had pushed for a 40-year sentence, the judge cited her lack of a prior criminal record and her public apology/expression of remorse as mitigating factors. ​She is required to serve 85% of her sentence and will be granted credit for the time she spent in jail awaiting trial. Following her release, she must register as a sex offender for the rest of her life and will remain under mandatory supervised release for a period ranging from three years to life. How do you feel about the results of this case, justice served or should have been a longer sentence.
2:30

Sensitive content

Long term substitute teacher gets arrested as a predator for doing the unthinkable with an 11 year old. The disturbing case of Alley Bardfield, a former long-term substitute teacher for Decatur Public Schools (DPS), reveals a calculated pattern of grooming and exploitation that shattered the trust of a local community. ​Assigned to teach a sixth-grade class at Hope Academy, Bardfield leveraged her position of authority to manipulate an 11-year-old student. The abuse was systematic: Bardfield used digital platforms, specifically Snapchat, to exchange nude photographs with the minor. Even more concerning was the financial grooming involved; over several months, she sent the young boy hundreds of dollars—totaling over $700—via CashApp to maintain her access to him. The situation escalated when she began inviting the student to her home in Mt. Zion for a "playdate," during which she committed predatory s3xu@l assault. ​The investigation into Bardfield began after the child’s mother noticed uncharacteristic behavioral changes in her son following a visit to Bardfield’s residence. Trusting her instincts, the mother inspected his phone and social media, uncovering the explicit messages and financial records that confirmed an inappropriate relationship. This led to a police-monitored sting operation where the mother’s efforts helped solidify the evidence. Upon her arrest by Mt. Zion Police, Bardfield admitted during a mirandized interview to the s3xu@l assault, the exchange of illicit images, and the financial payments. ​Following her arrest, it was discovered that Bardfield had failed to complete mandatory state-required training on ethics, sexual misconduct, and child abuse reporting. A subsequent lawsuit filed by the victim's family alleged that the school district failed to properly vet or monitor her, noting she had allegedly given her personal phone number to other students at the school as well. ​ Bardfield faced severe charges, including grooming and predatory criminal sexual assault of a child—a Class X felony. ​ She entered a partial plea agreement. ​ On September 25, 2025, she was sentenced to 10 years in the Illinois Department of Corrections. While the state had pushed for a 40-year sentence, the judge cited her lack of a prior criminal record and her public apology/expression of remorse as mitigating factors. ​She is required to serve 85% of her sentence and will be granted credit for the time she spent in jail awaiting trial. Following her release, she must register as a sex offender for the rest of her life and will remain under mandatory supervised release for a period ranging from three years to life. How do you feel about the results of this case, justice served or should have been a longer sentence.

Giggling Ganon

157,102 Aufrufe • vor 2 Monaten