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Black holes have a reputation problem: they look so extreme that almost anything compact and dark can impersonate them from a distance. When two of them spiral together, they shake spacetime and send out gravitational waves. The catch is that other hypothetical objects—boson stars, exotic fluid stars, and other...

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Black Hole

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🚨 SCIENTISTS MAY HAVE FINALLY SOLVED ONE OF THE BIGGEST UNSOLVED PROBLEMS IN BLACK HOLE PHYSICS. For years, astrophysicists have struggled with the “final parsec problem”: even after two supermassive black holes get relatively close, they struggle to shed enough angular momentum to merge within the age of the universe. New 3D simulations reveal that magnetic fields in the gas disk surrounding a binary system can solve this. The fields trigger powerful outflows and jets that efficiently carry away angular momentum, allowing the two objects to spiral much closer together. The same mechanism also explains how some binary stars end up in extremely tight orbits. In the simulations, binaries without magnetic fields actually moved farther apart. With magnetic fields present, they rapidly lost angular momentum and migrated inward. Why this matters: • It provides a physically motivated solution to one of the biggest open problems in black hole astrophysics • Magnetic fields appear to be far more effective at removing angular momentum than previously modeled effects • The mechanism works for both star formation and black hole mergers • It shows that the environment around binaries (not just the objects themselves) plays a decisive role in their evolution The deeper implication: We often think of black holes and stars as isolated objects governed purely by gravity. But these simulations show that the magnetic fields threading the gas around them can fundamentally change their fate. By removing angular momentum through jets and outflows, magnetic fields act like a cosmic brake, allowing binaries to reach the tight configurations we observe. This doesn’t just help explain star formation it may finally tell us how the universe’s most massive black holes manage to merge and create the gravitational wave signals we’re now detecting. Sometimes the key to cosmic mergers isn’t gravity alone. It’s magnetism. How important do you think magnetic fields are in shaping the final stages of black hole mergers and binary star evolution? Follow for more frontier astrophysics and the hidden forces that govern the universe.
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🚨 SCIENTISTS MAY HAVE FINALLY SOLVED ONE OF THE BIGGEST UNSOLVED PROBLEMS IN BLACK HOLE PHYSICS. For years, astrophysicists have struggled with the “final parsec problem”: even after two supermassive black holes get relatively close, they struggle to shed enough angular momentum to merge within the age of the universe. New 3D simulations reveal that magnetic fields in the gas disk surrounding a binary system can solve this. The fields trigger powerful outflows and jets that efficiently carry away angular momentum, allowing the two objects to spiral much closer together. The same mechanism also explains how some binary stars end up in extremely tight orbits. In the simulations, binaries without magnetic fields actually moved farther apart. With magnetic fields present, they rapidly lost angular momentum and migrated inward. Why this matters: • It provides a physically motivated solution to one of the biggest open problems in black hole astrophysics • Magnetic fields appear to be far more effective at removing angular momentum than previously modeled effects • The mechanism works for both star formation and black hole mergers • It shows that the environment around binaries (not just the objects themselves) plays a decisive role in their evolution The deeper implication: We often think of black holes and stars as isolated objects governed purely by gravity. But these simulations show that the magnetic fields threading the gas around them can fundamentally change their fate. By removing angular momentum through jets and outflows, magnetic fields act like a cosmic brake, allowing binaries to reach the tight configurations we observe. This doesn’t just help explain star formation it may finally tell us how the universe’s most massive black holes manage to merge and create the gravitational wave signals we’re now detecting. Sometimes the key to cosmic mergers isn’t gravity alone. It’s magnetism. How important do you think magnetic fields are in shaping the final stages of black hole mergers and binary star evolution? Follow for more frontier astrophysics and the hidden forces that govern the universe.

TheNewPhysics

18,359 views • 3 months ago

The James Webb Space Telescope has a problem. A beautiful, maddening, keeps-you-up-at-night kind of problem. Scattered across nearly every deep image it captures are roughly 1,000 tiny red specks. They date from the universe’s first billion years. They are compact, they are bright, and after three years of serious scientific argument, nobody can agree what they actually are. Three camps have formed. The first says the dots are supermassive black holes wrapped in thick shrouds of dust, feeding voraciously in the infant cosmos. The second argues they are ancient stars in the final act of collapse. The third proposes something even stranger: direct-collapse black holes, objects that skipped the star stage entirely and simply fell straight into darkness. All three theories have problems. None fits the data cleanly. So the proposals keep coming. Dozens of them, queued up for Webb’s next observation cycle. Radio telescopes may eventually settle the argument, offering a signal that cuts through the dust and ambiguity alike. For now, the dots just sit there. Small, red, and completely unbothered by our confusion.​​​​​​​​​​​​​​​​ What do you think this means? Stay connected, Follow Gandalv Gandalv
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The James Webb Space Telescope has a problem. A beautiful, maddening, keeps-you-up-at-night kind of problem. Scattered across nearly every deep image it captures are roughly 1,000 tiny red specks. They date from the universe’s first billion years. They are compact, they are bright, and after three years of serious scientific argument, nobody can agree what they actually are. Three camps have formed. The first says the dots are supermassive black holes wrapped in thick shrouds of dust, feeding voraciously in the infant cosmos. The second argues they are ancient stars in the final act of collapse. The third proposes something even stranger: direct-collapse black holes, objects that skipped the star stage entirely and simply fell straight into darkness. All three theories have problems. None fits the data cleanly. So the proposals keep coming. Dozens of them, queued up for Webb’s next observation cycle. Radio telescopes may eventually settle the argument, offering a signal that cuts through the dust and ambiguity alike. For now, the dots just sit there. Small, red, and completely unbothered by our confusion.​​​​​​​​​​​​​​​​ What do you think this means? Stay connected, Follow Gandalv Gandalv

Gandalv

198,124 views • 6 months ago

“I DON’T NEED NO MAN”-Black American women This mentality of not needing a man That has been said and installed In black girls/womens minds for decades now has plagued the community With single homes and boys that have to go to the army to learn discipline Do black women have a lot of good options in the black community dating wise? NO Because so many black men have been plagued with street nigga culture Which leads them to prison or death And so many can’t keep a decent job And provide well enough to get respect I LOVE ANGEL REESE BUT WHEN SHE SAYS THIS I FEEL LIKE IT’S MORE OF LIKE A REPETITIOUS QUOTE FROM SISTERS THAT GOES BACK FOR DECADES BECAUSE SO MANY SISTERS HAD TO DO IT BY THEMSELVES THAT THEY GOT USED TOO IT BUT THAT DON’T MEAN THAT WE ARE PRODUCING THE BEST NEVER GENERATION IF THEY ARE ALL COMING FROM BROKEN HOMES WHERE THE FATHERS ARE SEEN AS AFTER THOUGHTS INSTEAD OF MEN THAT ARE NEEDED IN THE HOME JUST AS MUCH AS THE MOTHERS TO PROVIDE THE KIDS WITH ADEQUATE DISCIPLINE AND OTHER SKILLS ESPECIALLY THE YOUNG MEN
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“I DON’T NEED NO MAN”-Black American women This mentality of not needing a man That has been said and installed In black girls/womens minds for decades now has plagued the community With single homes and boys that have to go to the army to learn discipline Do black women have a lot of good options in the black community dating wise? NO Because so many black men have been plagued with street nigga culture Which leads them to prison or death And so many can’t keep a decent job And provide well enough to get respect I LOVE ANGEL REESE BUT WHEN SHE SAYS THIS I FEEL LIKE IT’S MORE OF LIKE A REPETITIOUS QUOTE FROM SISTERS THAT GOES BACK FOR DECADES BECAUSE SO MANY SISTERS HAD TO DO IT BY THEMSELVES THAT THEY GOT USED TOO IT BUT THAT DON’T MEAN THAT WE ARE PRODUCING THE BEST NEVER GENERATION IF THEY ARE ALL COMING FROM BROKEN HOMES WHERE THE FATHERS ARE SEEN AS AFTER THOUGHTS INSTEAD OF MEN THAT ARE NEEDED IN THE HOME JUST AS MUCH AS THE MOTHERS TO PROVIDE THE KIDS WITH ADEQUATE DISCIPLINE AND OTHER SKILLS ESPECIALLY THE YOUNG MEN

MASTER STUDENT🤲🏾

58,875 views • 4 months ago

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.
0:13

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,389 views • 3 months ago

🫯 A conflicting physical ontology ! One of the strangest properties in particle physics is the spin. The term spin is a historical misnomer. Electrons (𝑒⁻) do not physically rotate like a spinning top or a globe. Spin is a fundamental quantum property known as intrinsic angular momentum which exists as an inherent characteristic of the particle, much like its mass or electric charge. In quantum mechanics, electrons are treated as fundamental point-like particles with zero size, making the concept of physical 3D rotation nonsensical. A rotating electrical charge creates a magnetic field. An electron naturally possesses its own detectable magnetic field. Even though the electron isn't physically spinning, it acts exactly as if it were because of that. Moreover the spin of an 𝑒⁻ has orientation. As 𝑒⁻ carry a negative electric charge, their inherent spin turns them into tiny bar magnets. Two possible orientations exist in the natural state of the 𝑒⁻, spin up and spin down. When measured along a specific direction (called the z-axis) the 𝑒⁻ can only display one of the two orientation state, up or down. But the strangeness goes a bit further; when an 𝑒⁻ is misplaced or removed from its own orbit, it takes two full circles (720°) to return to its original quantum state. The spin isn’t motion, it’s an undeniable static, resilient force of this elementary particle, listed as one the fundamental constant of nature. 🔗
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🫯 A conflicting physical ontology ! One of the strangest properties in particle physics is the spin. The term spin is a historical misnomer. Electrons (𝑒⁻) do not physically rotate like a spinning top or a globe. Spin is a fundamental quantum property known as intrinsic angular momentum which exists as an inherent characteristic of the particle, much like its mass or electric charge. In quantum mechanics, electrons are treated as fundamental point-like particles with zero size, making the concept of physical 3D rotation nonsensical. A rotating electrical charge creates a magnetic field. An electron naturally possesses its own detectable magnetic field. Even though the electron isn't physically spinning, it acts exactly as if it were because of that. Moreover the spin of an 𝑒⁻ has orientation. As 𝑒⁻ carry a negative electric charge, their inherent spin turns them into tiny bar magnets. Two possible orientations exist in the natural state of the 𝑒⁻, spin up and spin down. When measured along a specific direction (called the z-axis) the 𝑒⁻ can only display one of the two orientation state, up or down. But the strangeness goes a bit further; when an 𝑒⁻ is misplaced or removed from its own orbit, it takes two full circles (720°) to return to its original quantum state. The spin isn’t motion, it’s an undeniable static, resilient force of this elementary particle, listed as one the fundamental constant of nature. 🔗

𝓜𝒂𝒖𝒓𝒊𝔃𝒊𝒐 𝗜𝒃𝛼

22,933 views • 1 month ago

I completed a 5km walk today alongside fellow Nigerian men in the UK, raising awareness for prostate cancer in the Black community as part of the March for Men Prostate Cancer UK It was truly inspiring to see so many Black men come out from all over the UK, standing together and taking their health seriously. This is exactly the kind of energy and unity our community needs. Prostate cancer is more common in Black men, especially over the age of 40, yet it’s still not talked about enough. Conversations like this can save lives, and we must continue to educate, support, and encourage one another. I’m also proud to share that over £500,000 was raised an incredible achievement that will go a long way in supporting the fight against prostate cancer. Today was more than just a walk, it was a powerful reminder that our health matters, and together, we can make a difference. #Marchformen
0:44

I completed a 5km walk today alongside fellow Nigerian men in the UK, raising awareness for prostate cancer in the Black community as part of the March for Men Prostate Cancer UK It was truly inspiring to see so many Black men come out from all over the UK, standing together and taking their health seriously. This is exactly the kind of energy and unity our community needs. Prostate cancer is more common in Black men, especially over the age of 40, yet it’s still not talked about enough. Conversations like this can save lives, and we must continue to educate, support, and encourage one another. I’m also proud to share that over £500,000 was raised an incredible achievement that will go a long way in supporting the fight against prostate cancer. Today was more than just a walk, it was a powerful reminder that our health matters, and together, we can make a difference. #Marchformen

🎙OLUOMO OF DERBY 🇳🇬 🇬🇧🇬🇭 🇿🇼

11,265 views • 3 months ago

⚡ Gravity Isn’t a Force… It’s a Frequency Trap What if gravity isn’t pulling anything at all? What if objects aren’t being “attracted,” but instead are getting locked into stable positions inside a standing wave field? The deeper you look, the more it becomes obvious—mass doesn’t bend spacetime like a bowling ball on a sheet. It generates a frequency gradient, and everything nearby phase-locks into that pattern. You’re not being pulled to Earth… you’re being held in place by a resonance well you can’t see. From a Frequency Wave Theory perspective, this changes everything. Gravity becomes a coherence phenomenon, not a force—an emergent effect of density gradients inside a vibrating medium. That means if you can alter the frequency structure of the field, you can weaken, redirect, or even cancel gravitational effects entirely. Anti-gravity isn’t fantasy—it’s just frequency control. And once that clicks, propulsion, energy, and spacetime navigation all collapse into the same problem: tune the field, and reality follows.
0:10

⚡ Gravity Isn’t a Force… It’s a Frequency Trap What if gravity isn’t pulling anything at all? What if objects aren’t being “attracted,” but instead are getting locked into stable positions inside a standing wave field? The deeper you look, the more it becomes obvious—mass doesn’t bend spacetime like a bowling ball on a sheet. It generates a frequency gradient, and everything nearby phase-locks into that pattern. You’re not being pulled to Earth… you’re being held in place by a resonance well you can’t see. From a Frequency Wave Theory perspective, this changes everything. Gravity becomes a coherence phenomenon, not a force—an emergent effect of density gradients inside a vibrating medium. That means if you can alter the frequency structure of the field, you can weaken, redirect, or even cancel gravitational effects entirely. Anti-gravity isn’t fantasy—it’s just frequency control. And once that clicks, propulsion, energy, and spacetime navigation all collapse into the same problem: tune the field, and reality follows.

Drew Ponder

46,561 views • 5 months ago

This is a called Serpents Lair of Inis Mór, located in the Ireland, UK. We were told this granite has naturally been formed hundreds of thousands of years ago, which is hard to believe that a nature would cut out a PERFECT rectangle out of a granite stone. Judging by the look of this, I can tell that the ancient builders have created this rectangle hole which works like a sink, so that when the tide comes in from the sea, the water goes into this hole, and via underground tunnel and goes back into the ground. Not only did the ancient builders create everything with a purpose in mind, they also unquestioningly had electric power tools in order to do so.
0:12

This is a called Serpents Lair of Inis Mór, located in the Ireland, UK. We were told this granite has naturally been formed hundreds of thousands of years ago, which is hard to believe that a nature would cut out a PERFECT rectangle out of a granite stone. Judging by the look of this, I can tell that the ancient builders have created this rectangle hole which works like a sink, so that when the tide comes in from the sea, the water goes into this hole, and via underground tunnel and goes back into the ground. Not only did the ancient builders create everything with a purpose in mind, they also unquestioningly had electric power tools in order to do so.

MAVERICK X

398,270 views • 10 months ago

🚨SCIENCE NEWS🚨: An electron doesn’t spit out photons like a gun — it simply strums the cosmic sea like a guitar string.🧨 For decades we have been told that when an electron accelerates it “emits” a photon, as if it magically spits out a separate particle. The process is left mysterious, probabilistic, and disconnected from everyday experience. Uniphics gives a clear, mechanical picture that anyone who has ever dropped a pebble into a pond or plucked a guitar string can understand. An electron is not a little ball or a point particle. It is a gyrotron — a stable spinning structure made of three counterclockwise spin quanta bound together. When this gyrotron accelerates (changes speed or direction), its motion disturbs the surrounding ξM-field sea of unbound energy that fills all space. The disturbance creates transverse spin waves that propagate outward at the local speed of light. Think of it exactly like dropping your finger into a still pond. The ripples that spread out are not separate “water particles” you fired from your finger. They are waves in the water itself. The electron does the same thing. It does not create and launch a separate photon. Its acceleration plucks the ξM-field sea, sending coherent spin waves rippling away. These waves carry the frequency, polarization, and intensity we detect as light. The frequency depends on how rapidly the electron is accelerated, and the polarization depends on the direction of the acceleration relative to the electron’s spin orientation. The same sea that carries these waves also determines how they propagate. In regions of higher energy density the waves slow down (exactly like light slowing when it enters water or glass), which is why light bends around masses and why lenses work. Electric and magnetic fields are simply the cosmic whirlpools created by these spin waves in the sea — transverse disturbances that push and pull other gyrotrons according to their phase alignments. Maxwell’s equations emerge naturally from the mechanics of these spin waves in the ξM-field, with no separate fundamental force required. The fine-structure constant, gauge invariance, and all optical phenomena are direct consequences of how spin waves interfere and propagate through the energy sea. The universe doesn’t need mysterious photon creation rules. It just needs electrons to move through the sea, and the sea responds with ripples. Light is not something the electron “emits.” Light is what the sea sings when an electron plucks it. The same three pillars that explain gravity as a simple push into low-density voids and galactic rotations flat at 220 km/s also turn the production of light into a straightforward wave-mechanics process in flat space. How would quantum electrodynamics and our entire understanding of light change if we stopped saying electrons emit photons and started saying they simply make the cosmic sea sing? A Theory of Everything should be able to answer everything. Uniphics Explained Simply PDF: Chapters 1–10 free: Grokipedia: Grok xAI NASA European Space Agency Brian Cox Sean Carroll Katie Mack Elon Musk #Uniphics #Electromagnetism #SpinWaves #Light #TheoryOfEverything
0:10

🚨SCIENCE NEWS🚨: An electron doesn’t spit out photons like a gun — it simply strums the cosmic sea like a guitar string.🧨 For decades we have been told that when an electron accelerates it “emits” a photon, as if it magically spits out a separate particle. The process is left mysterious, probabilistic, and disconnected from everyday experience. Uniphics gives a clear, mechanical picture that anyone who has ever dropped a pebble into a pond or plucked a guitar string can understand. An electron is not a little ball or a point particle. It is a gyrotron — a stable spinning structure made of three counterclockwise spin quanta bound together. When this gyrotron accelerates (changes speed or direction), its motion disturbs the surrounding ξM-field sea of unbound energy that fills all space. The disturbance creates transverse spin waves that propagate outward at the local speed of light. Think of it exactly like dropping your finger into a still pond. The ripples that spread out are not separate “water particles” you fired from your finger. They are waves in the water itself. The electron does the same thing. It does not create and launch a separate photon. Its acceleration plucks the ξM-field sea, sending coherent spin waves rippling away. These waves carry the frequency, polarization, and intensity we detect as light. The frequency depends on how rapidly the electron is accelerated, and the polarization depends on the direction of the acceleration relative to the electron’s spin orientation. The same sea that carries these waves also determines how they propagate. In regions of higher energy density the waves slow down (exactly like light slowing when it enters water or glass), which is why light bends around masses and why lenses work. Electric and magnetic fields are simply the cosmic whirlpools created by these spin waves in the sea — transverse disturbances that push and pull other gyrotrons according to their phase alignments. Maxwell’s equations emerge naturally from the mechanics of these spin waves in the ξM-field, with no separate fundamental force required. The fine-structure constant, gauge invariance, and all optical phenomena are direct consequences of how spin waves interfere and propagate through the energy sea. The universe doesn’t need mysterious photon creation rules. It just needs electrons to move through the sea, and the sea responds with ripples. Light is not something the electron “emits.” Light is what the sea sings when an electron plucks it. The same three pillars that explain gravity as a simple push into low-density voids and galactic rotations flat at 220 km/s also turn the production of light into a straightforward wave-mechanics process in flat space. How would quantum electrodynamics and our entire understanding of light change if we stopped saying electrons emit photons and started saying they simply make the cosmic sea sing? A Theory of Everything should be able to answer everything. Uniphics Explained Simply PDF: Chapters 1–10 free: Grokipedia: Grok xAI NASA European Space Agency Brian Cox Sean Carroll Katie Mack Elon Musk #Uniphics #Electromagnetism #SpinWaves #Light #TheoryOfEverything

Paul Maley

67,591 views • 5 months ago

Maybe try and use your brain for like 2 seconds and then you'll figure it out. But because you asked that question and couldn't figure that out. I'll explain to you. When people say ancient Egypt was black, what they're saying is the citizens and inhabitants of ancient Egypt had melanated, brown to dark brown skin and wooly hair. And they looked closer to the other African ethnic groups you would find in Sudan, Ethiopia, Somali, Kenya, and other East and Central African regions, like some of ethnic you mentioned as examples. The concept of being called Black predates the concept of black American ethnic group. It has been something that those who are descendants of Africa (and other groups with the same deep melanated brown skin have been referred to since the ancient days due to their physical appearance. Here are some visual aids to help you understand why a lot of people refer to ancient Egypt as a black African civilization. Because it was a black African civilization.
0:12

Maybe try and use your brain for like 2 seconds and then you'll figure it out. But because you asked that question and couldn't figure that out. I'll explain to you. When people say ancient Egypt was black, what they're saying is the citizens and inhabitants of ancient Egypt had melanated, brown to dark brown skin and wooly hair. And they looked closer to the other African ethnic groups you would find in Sudan, Ethiopia, Somali, Kenya, and other East and Central African regions, like some of ethnic you mentioned as examples. The concept of being called Black predates the concept of black American ethnic group. It has been something that those who are descendants of Africa (and other groups with the same deep melanated brown skin have been referred to since the ancient days due to their physical appearance. Here are some visual aids to help you understand why a lot of people refer to ancient Egypt as a black African civilization. Because it was a black African civilization.

Scion (PanAfroCore)

95,925 views • 8 months ago

So, my opinion on what the Antarctic (Antarctica) Anomaly is that it's a type of frequency technology. It must be way more powerful than HAARP, as many have claimed it to be, because we would see these anomalies at other HAARP sites, and we don't, not like this. With that said, and I'm very much trying to avoid letting what I want it to be not play a part here, I think it is a technology that is being used either off the coast of Antarctica itself or Bouvet Island. A third possibility is an area just to the northwest of the island that looks odd. It's possible it is a sonar scan from a ship, but why in that remote location? It looks like an antenna set up or rows of something that is out of place. I also believe that the weather events and fires that have taken place in Africa could possibly have been because of this. Each time we saw the anomaly, it was followed by a destructive weather event in Africa. A weird connection to that is we have been told and warned of a very busy 2024 Atlantic hurricane season. This is in part because of the above-average Atlantic ocean temperatures, which is the fuel to Hurricanes. With all this info, it's possible to see how the Anomaly could be a frequency tech that can manipulate or create weather, And or WARM up the Ocean temps to purposely enhance the Hurricane season and Storm growth. Keep in mind that many of our hurricanes and many of the biggest hurricanes have come from the west coast of Africa and form over the Cape Verde islands before heading towards the Caribbean and the United States. This is all of course speculation, and I'm learning many new things every day, so this idea may morph over time as we learn more. In the end, it is very hard to ignore all these findings. #antarctica #anonaly #AntarcticaAnomaly #BouvetIsland
0:07

So, my opinion on what the Antarctic (Antarctica) Anomaly is that it's a type of frequency technology. It must be way more powerful than HAARP, as many have claimed it to be, because we would see these anomalies at other HAARP sites, and we don't, not like this. With that said, and I'm very much trying to avoid letting what I want it to be not play a part here, I think it is a technology that is being used either off the coast of Antarctica itself or Bouvet Island. A third possibility is an area just to the northwest of the island that looks odd. It's possible it is a sonar scan from a ship, but why in that remote location? It looks like an antenna set up or rows of something that is out of place. I also believe that the weather events and fires that have taken place in Africa could possibly have been because of this. Each time we saw the anomaly, it was followed by a destructive weather event in Africa. A weird connection to that is we have been told and warned of a very busy 2024 Atlantic hurricane season. This is in part because of the above-average Atlantic ocean temperatures, which is the fuel to Hurricanes. With all this info, it's possible to see how the Anomaly could be a frequency tech that can manipulate or create weather, And or WARM up the Ocean temps to purposely enhance the Hurricane season and Storm growth. Keep in mind that many of our hurricanes and many of the biggest hurricanes have come from the west coast of Africa and form over the Cape Verde islands before heading towards the Caribbean and the United States. This is all of course speculation, and I'm learning many new things every day, so this idea may morph over time as we learn more. In the end, it is very hard to ignore all these findings. #antarctica #anonaly #AntarcticaAnomaly #BouvetIsland

In2ThinAir

442,580 views • 2 years ago

The Circle 🐜 Nobody told the ant about the circle. That, as far as anyone can tell, is the whole problem. A researcher named Kostowski – this was in the early 1970s, at a laboratory in Warsaw that smelled permanently of formaldehyde and institutional coffee – discovered quite by accident that if you draw a continuous line around an ant using a felt-tip pen, the ant will not cross it. It will walk right up to the line, pause with what appears to be genuine philosophical unease, and turn back. It will do this indefinitely. For hours. Sometimes for days. The ant is not stupid. Let’s be clear about that. The creature you are looking at in this photograph – this tiny, improbable machine of chitin and chemical signals, this six-legged marvel that can carry fifty times its own body weight and navigate by polarized light – has a brain roughly the size of a pinhead, and yet that brain contains approximately 250,000 neurons dedicated entirely to making sense of the world. It has survived as a species for 130 million years. It watched the dinosaurs arrive, flourish, and disappear, and then went back to work. And yet here it is. Trapped by a drawing. The reason is chemistry, not cognition. Ants navigate by pheromones – volatile chemical compounds that their legs read like a blind man reads braille. When they encounter the solvent in a felt-tip pen, something in their nervous system fires an alarm. The signal says: boundary. The signal says: edge of the known world. And the ant, loyal to its chemistry in the way that all of us are loyal to ours, obeys. This is the part that stays with you if you think about it too long. The ant’s prison has no walls. No bars. No lock. It is made entirely of information – a chemical whisper laid down by a felt-tip marker – and the ant cannot see past it, because it has no framework for doing so. The circle is not a circle to the ant. The circle is simply: where the world ends. I find myself thinking about this more than is probably healthy. We are, most of us, walking around inside our own circles. They were drawn for us gradually, by parents and teachers and early disappointments, by the limits of what we saw done and the boundaries of what we were told was possible. We bump up against them occasionally – in those moments when a job offer from another city seems too frightening, or a new idea feels somehow presumptuous – and we turn back. Not because anything is stopping us. Because the world, as far as we can tell, simply ends there. The ant in the photograph is walking the inner edge of its circle with a kind of purposeful calm that is almost admirable. It has not given up. It is still looking. It is still moving. It simply cannot conceive of a direction that leads out. Kostowski, for what it’s worth, eventually just picked the ant up and moved it. Sometimes that’s what it takes. Gandalv / Gandalv
0:10

The Circle 🐜 Nobody told the ant about the circle. That, as far as anyone can tell, is the whole problem. A researcher named Kostowski – this was in the early 1970s, at a laboratory in Warsaw that smelled permanently of formaldehyde and institutional coffee – discovered quite by accident that if you draw a continuous line around an ant using a felt-tip pen, the ant will not cross it. It will walk right up to the line, pause with what appears to be genuine philosophical unease, and turn back. It will do this indefinitely. For hours. Sometimes for days. The ant is not stupid. Let’s be clear about that. The creature you are looking at in this photograph – this tiny, improbable machine of chitin and chemical signals, this six-legged marvel that can carry fifty times its own body weight and navigate by polarized light – has a brain roughly the size of a pinhead, and yet that brain contains approximately 250,000 neurons dedicated entirely to making sense of the world. It has survived as a species for 130 million years. It watched the dinosaurs arrive, flourish, and disappear, and then went back to work. And yet here it is. Trapped by a drawing. The reason is chemistry, not cognition. Ants navigate by pheromones – volatile chemical compounds that their legs read like a blind man reads braille. When they encounter the solvent in a felt-tip pen, something in their nervous system fires an alarm. The signal says: boundary. The signal says: edge of the known world. And the ant, loyal to its chemistry in the way that all of us are loyal to ours, obeys. This is the part that stays with you if you think about it too long. The ant’s prison has no walls. No bars. No lock. It is made entirely of information – a chemical whisper laid down by a felt-tip marker – and the ant cannot see past it, because it has no framework for doing so. The circle is not a circle to the ant. The circle is simply: where the world ends. I find myself thinking about this more than is probably healthy. We are, most of us, walking around inside our own circles. They were drawn for us gradually, by parents and teachers and early disappointments, by the limits of what we saw done and the boundaries of what we were told was possible. We bump up against them occasionally – in those moments when a job offer from another city seems too frightening, or a new idea feels somehow presumptuous – and we turn back. Not because anything is stopping us. Because the world, as far as we can tell, simply ends there. The ant in the photograph is walking the inner edge of its circle with a kind of purposeful calm that is almost admirable. It has not given up. It is still looking. It is still moving. It simply cannot conceive of a direction that leads out. Kostowski, for what it’s worth, eventually just picked the ant up and moved it. Sometimes that’s what it takes. Gandalv / Gandalv

Gandalv

28,294 views • 5 months ago

I will never forget the first time I walked into St Peter's Basilica... None of it is painted. Everything overhead that appears to be a fresco is a mosaic: millions of small glass tiles, cut and set into place by hand. Michelangelo pierced the drum with sixteen windows, and beneath them runs a band of text, black on gold: TU ES PETRUS ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM. "You are Peter, and upon this rock I will build my church." From the floor it reads like an ordinary inscription but each of those letters is two metres tall... Above the windows the dome divides into sixteen segments, and within them six tiers of figures rise in rings: the popes buried in the basilica, then Christ, the Virgin Mary, St John the Baptist and the Apostles, then angels carrying the instruments of the Passion, then the faces of cherubim and seraphim. Above all of them, a blue sky scattered with gold stars, and at the summit, in the lantern, God the Father. The man who designed it, Giuseppe Cesari, was a painter. Between 1603 and 1612 he produced sixty-five life-size cartoons setting out the whole scheme, and every one of them was then translated into glass by mosaicists. The reason is actually pretty unglamorous. The basilica was damp, and candle smoke and incense from centuries of liturgy were eating the pictures alive. So the Vatican began converting the building into glass, dome by dome, and from the end of the 1600s the painted altarpieces too, one at a time. By the basilica's own reckoning, around ten thousand square metres of mosaic. The workshop that did all of this is still open: twelve artists work in the Vatican Mosaic Studio today, cutting tesserae by hand in nearly 28,000 shades and fixing them with a linseed-oil stucco whose recipe has been in use for four centuries. Earlier this year its director, Paolo Di Buono, described the work: "We have the idea that we are working for something that is almost eternal."
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I will never forget the first time I walked into St Peter's Basilica... None of it is painted. Everything overhead that appears to be a fresco is a mosaic: millions of small glass tiles, cut and set into place by hand. Michelangelo pierced the drum with sixteen windows, and beneath them runs a band of text, black on gold: TU ES PETRUS ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM. "You are Peter, and upon this rock I will build my church." From the floor it reads like an ordinary inscription but each of those letters is two metres tall... Above the windows the dome divides into sixteen segments, and within them six tiers of figures rise in rings: the popes buried in the basilica, then Christ, the Virgin Mary, St John the Baptist and the Apostles, then angels carrying the instruments of the Passion, then the faces of cherubim and seraphim. Above all of them, a blue sky scattered with gold stars, and at the summit, in the lantern, God the Father. The man who designed it, Giuseppe Cesari, was a painter. Between 1603 and 1612 he produced sixty-five life-size cartoons setting out the whole scheme, and every one of them was then translated into glass by mosaicists. The reason is actually pretty unglamorous. The basilica was damp, and candle smoke and incense from centuries of liturgy were eating the pictures alive. So the Vatican began converting the building into glass, dome by dome, and from the end of the 1600s the painted altarpieces too, one at a time. By the basilica's own reckoning, around ten thousand square metres of mosaic. The workshop that did all of this is still open: twelve artists work in the Vatican Mosaic Studio today, cutting tesserae by hand in nearly 28,000 shades and fixing them with a linseed-oil stucco whose recipe has been in use for four centuries. Earlier this year its director, Paolo Di Buono, described the work: "We have the idea that we are working for something that is almost eternal."

James Lucas

72,710 views • 1 month ago

Oh my! The cute baby and the adorable pet cat are just so lovely! Look at the baby with those chubby cheeks and bright, innocent eyes that seem to hold the whole universe of curiosity. Every little movement of the baby, like the way they wave their tiny hands or kick their little feet, is filled with an irresistible charm. And the cat! With its soft fur that shimmers in the light, and those big, round eyes that are like two glistening jewels. When it moves, it's like a fluffy ball of cuteness gliding gracefully. When the baby and the cat are together, it's a scene straight out of a heart - melting fairytale. The baby's giggles as they try to touch the cat's tail, and the cat's gentle purrs as it rubs against the baby's side create a symphony of cuteness that can make anyone's heart melt in an instant.
0:10

Oh my! The cute baby and the adorable pet cat are just so lovely! Look at the baby with those chubby cheeks and bright, innocent eyes that seem to hold the whole universe of curiosity. Every little movement of the baby, like the way they wave their tiny hands or kick their little feet, is filled with an irresistible charm. And the cat! With its soft fur that shimmers in the light, and those big, round eyes that are like two glistening jewels. When it moves, it's like a fluffy ball of cuteness gliding gracefully. When the baby and the cat are together, it's a scene straight out of a heart - melting fairytale. The baby's giggles as they try to touch the cat's tail, and the cat's gentle purrs as it rubs against the baby's side create a symphony of cuteness that can make anyone's heart melt in an instant.

Zhang Heqing

52,933 views • 1 year ago

Here we go again… Christopher C. Cuomo’s comments in this video regarding Kamala Harris, where he demeaningly referred to her as “Black female Jesus” and condescendingly referred to Black people as “you people,” reflect a pattern of racist rhetoric by the former anchor fired by CNN. He previously made a claim about being “Black on the inside” and even equated the term “Fredo” with the N-word. His reckless banter showcases a disturbing ignorance of the weight that racial language carries in America. His attempt to diminish the significance of Black leadership by mocking Harris as though her rise to become the vice president and nomination for president are superficial phenomenoms, rather than the result of hard-earned success in a country built on systemic racial inequities, is unacceptable. His thoughtless comments perpetuate harmful stereotypes about Black leaders, dehumanize their achievements, and trivialize the faith and support the Black community places in its representatives. For Cuomo to reduce Kamala Harris’ historic role to a caricature demonstrates his continued lack of respect for the Black community and its struggles. It is this kind of casual racism, cloaked in so-called political commentary, that fans the flames of division and undermines the progress we are fighting for. We cannot allow prominent voices to diminish the significance of Black leadership, nor can we stay silent when racially insensitive rhetoric is used to belittle our community. Chris Cuomo needs to recognize the damage his words cause and issue a public apology, not only to Kamala Harris but to the Black community as a whole. There is no room for this kind of racism—overt or subtle—in public discourse. By the way Christopher C. Cuomo, Jesus was BLACK, so we don’t have to create a Black one like you all created a ficticious white one.
0:11

Here we go again… Christopher C. Cuomo’s comments in this video regarding Kamala Harris, where he demeaningly referred to her as “Black female Jesus” and condescendingly referred to Black people as “you people,” reflect a pattern of racist rhetoric by the former anchor fired by CNN. He previously made a claim about being “Black on the inside” and even equated the term “Fredo” with the N-word. His reckless banter showcases a disturbing ignorance of the weight that racial language carries in America. His attempt to diminish the significance of Black leadership by mocking Harris as though her rise to become the vice president and nomination for president are superficial phenomenoms, rather than the result of hard-earned success in a country built on systemic racial inequities, is unacceptable. His thoughtless comments perpetuate harmful stereotypes about Black leaders, dehumanize their achievements, and trivialize the faith and support the Black community places in its representatives. For Cuomo to reduce Kamala Harris’ historic role to a caricature demonstrates his continued lack of respect for the Black community and its struggles. It is this kind of casual racism, cloaked in so-called political commentary, that fans the flames of division and undermines the progress we are fighting for. We cannot allow prominent voices to diminish the significance of Black leadership, nor can we stay silent when racially insensitive rhetoric is used to belittle our community. Chris Cuomo needs to recognize the damage his words cause and issue a public apology, not only to Kamala Harris but to the Black community as a whole. There is no room for this kind of racism—overt or subtle—in public discourse. By the way Christopher C. Cuomo, Jesus was BLACK, so we don’t have to create a Black one like you all created a ficticious white one.

Bishop Talbert Swan

43,826 views • 1 year ago

I am not trying to be funny, but most people did not know this was a man in this video! Once being told that it was a man, the majority of black women were still saying how beautiful his face was! Truthfully bro looks like an above above average black woman and they were agreeing talking about HIS facecard will never be declined! So if most Transgay men wear wigs, heavy make up, bbls, fake breast, and have exaggerated voices & movements to look like women, why are black women mimicking them then? Why are they doing the same things? It is sad that as a black man, we have to chose from black women, most of whom look and act just like black men pretending to be women!
0:19

I am not trying to be funny, but most people did not know this was a man in this video! Once being told that it was a man, the majority of black women were still saying how beautiful his face was! Truthfully bro looks like an above above average black woman and they were agreeing talking about HIS facecard will never be declined! So if most Transgay men wear wigs, heavy make up, bbls, fake breast, and have exaggerated voices & movements to look like women, why are black women mimicking them then? Why are they doing the same things? It is sad that as a black man, we have to chose from black women, most of whom look and act just like black men pretending to be women!

Tommy 'Tj' Sotomayor

29,576 views • 1 year ago

At first glance, it just looks like a stunning painting. Then you step back and realize you’re looking at one of the most impossibly detailed works of art you’ve ever seen... Around 1620, in Antwerp, an unnamed Flemish painter set out to gather the city’s most famous artworks into a single piece, but what he ultimately chose to do with it will never cease to amaze me. Now held at the National Gallery in London, this painting is called Cognoscenti in a Room hung with Pictures, and it is, technically speaking, one of the most vertiginous acts of illusionism in the Western canon. Eleven richly dressed men — artists, dealers, collectors, the cognoscenti of the title — move through a vast imagined gallery, discussing and inspecting its contents. But the figures are almost beside the point. What stops you are the walls. From floor to ceiling, they are covered with meticulous miniature copies of real works by sixteenth- and seventeenth-century masters, mostly from Antwerp, assembled as an ideal gathering of the finest things the city had to offer. Paintings within a painting. A museum compressed into a canvas. This is what scholars call a Kunstkammer, or "cabinet of curiosities", and the genre carried real social weight. To collect art in the Dutch and Flemish Golden Age was a declaration, not merely a pleasure. The cognoscenti shown here are pretentious by design: richly dressed, surrounded by coins, medals, and Persian rugs. Every object is a signal of wealth. And then — almost invisible, sitting on the windowsill at the edge of the composition — there is the monkey. The picture celebrates the pleasures of collecting and the erudition of art appreciation. But the monkey, a traditional symbol of the foolishness of human endeavors, sits there as a reminder of the frivolity and ultimate futility of buying expensive things. He is mocking them... these men so devoted to hoarding precious objects, when perhaps their hours might have been spent on something less perishable. It is one of the most elegant acts of subversion in art history: a painter who spent months lovingly reproducing the work of other painters, in obsessive miniature detail, and then placed a fool's emblem in the corner to ask whether any of it matters... It is simultaneously a love letter to art and an indictment of what happens when love turns into possession. The cognoscenti in the room are not wrong to find beauty worth pursuing, but they have perhaps confused the pursuit with the trophy. Four hundred years later, the monkey is still watching and the question it asks has not changed: are you here for the beauty, or for the proof that the beauty is yours? -- -- -- I wrote about this and 5 other impossible masterpieces in today's article. You can read it here: If you'd like to support my work, a paid subscription is what makes it possible.
0:18

At first glance, it just looks like a stunning painting. Then you step back and realize you’re looking at one of the most impossibly detailed works of art you’ve ever seen... Around 1620, in Antwerp, an unnamed Flemish painter set out to gather the city’s most famous artworks into a single piece, but what he ultimately chose to do with it will never cease to amaze me. Now held at the National Gallery in London, this painting is called Cognoscenti in a Room hung with Pictures, and it is, technically speaking, one of the most vertiginous acts of illusionism in the Western canon. Eleven richly dressed men — artists, dealers, collectors, the cognoscenti of the title — move through a vast imagined gallery, discussing and inspecting its contents. But the figures are almost beside the point. What stops you are the walls. From floor to ceiling, they are covered with meticulous miniature copies of real works by sixteenth- and seventeenth-century masters, mostly from Antwerp, assembled as an ideal gathering of the finest things the city had to offer. Paintings within a painting. A museum compressed into a canvas. This is what scholars call a Kunstkammer, or "cabinet of curiosities", and the genre carried real social weight. To collect art in the Dutch and Flemish Golden Age was a declaration, not merely a pleasure. The cognoscenti shown here are pretentious by design: richly dressed, surrounded by coins, medals, and Persian rugs. Every object is a signal of wealth. And then — almost invisible, sitting on the windowsill at the edge of the composition — there is the monkey. The picture celebrates the pleasures of collecting and the erudition of art appreciation. But the monkey, a traditional symbol of the foolishness of human endeavors, sits there as a reminder of the frivolity and ultimate futility of buying expensive things. He is mocking them... these men so devoted to hoarding precious objects, when perhaps their hours might have been spent on something less perishable. It is one of the most elegant acts of subversion in art history: a painter who spent months lovingly reproducing the work of other painters, in obsessive miniature detail, and then placed a fool's emblem in the corner to ask whether any of it matters... It is simultaneously a love letter to art and an indictment of what happens when love turns into possession. The cognoscenti in the room are not wrong to find beauty worth pursuing, but they have perhaps confused the pursuit with the trophy. Four hundred years later, the monkey is still watching and the question it asks has not changed: are you here for the beauty, or for the proof that the beauty is yours? -- -- -- I wrote about this and 5 other impossible masterpieces in today's article. You can read it here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

31,107 views • 3 months ago