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building two tools into ▓ Teletext Converter — turns any photo into retro broadcast-style pixel art, 12 color palettes ░ ASCII Art Generator — converts images to character art, export as PNG or TXT both live in the site's terminal UI. no installs, no accounts.

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wound

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46,561 görüntüleme • 5 ay önce •via X (Twitter)

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Also the [ 🌐 Make 3d model ] feature on Photo AI has been upgraded to Tripo's new state of the art model So you can turn any AI photo or video you took into a 3d model in about a minute AI 3d models are not photorealistic yet, but as you see they're getting closer Before the face was completely distorted, now it's at least visible but still cartooney looking! 👍
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Also the [ 🌐 Make 3d model ] feature on Photo AI has been upgraded to Tripo's new state of the art model So you can turn any AI photo or video you took into a 3d model in about a minute AI 3d models are not photorealistic yet, but as you see they're getting closer Before the face was completely distorted, now it's at least visible but still cartooney looking! 👍

@levelsio

47,093 görüntüleme • 11 ay önce

THIS FREE BROWSER TOOL LETS YOU BUILD REAL-TIME DITHER ANIMATIONS AND EXPORT THEM AS VIDEO dither is everywhere right now (Spotify, websites, album covers) but every tool for making it is either a Photoshop plugin or some after effects rabbit hole. this one runs in your browser and gives you full control over the motion. what you can do: > choose from Bayer 4x4, 8x8, halftone, blue noise, crosshatch, diamond, spiral, and ASCII patterns > animate with speed, intensity, scale, and FPS controls > add text or 3D rotation with auto-spin and flatten > tune foreground, background, and accent colors or pick from palettes > post-processing effects layered on top > export as PNG, WebM, MP4, or embed HTML to drop on a site > save presets to reuse your favorite looks resolution presets go up to 1920x1080 for landscape and 1080x1920 for portrait, plus custom sizes. most generative art tools online are single-style gimmicks. this is a full-blown animation studio for one specific aesthetic, and it looks like a real product. link in replies 👇
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THIS FREE BROWSER TOOL LETS YOU BUILD REAL-TIME DITHER ANIMATIONS AND EXPORT THEM AS VIDEO dither is everywhere right now (Spotify, websites, album covers) but every tool for making it is either a Photoshop plugin or some after effects rabbit hole. this one runs in your browser and gives you full control over the motion. what you can do: > choose from Bayer 4x4, 8x8, halftone, blue noise, crosshatch, diamond, spiral, and ASCII patterns > animate with speed, intensity, scale, and FPS controls > add text or 3D rotation with auto-spin and flatten > tune foreground, background, and accent colors or pick from palettes > post-processing effects layered on top > export as PNG, WebM, MP4, or embed HTML to drop on a site > save presets to reuse your favorite looks resolution presets go up to 1920x1080 for landscape and 1080x1920 for portrait, plus custom sizes. most generative art tools online are single-style gimmicks. this is a full-blown animation studio for one specific aesthetic, and it looks like a real product. link in replies 👇

Creators Toolbox

28,982 görüntüleme • 3 ay önce

Who remembers being surprised to see "Directory Art" after you typed: LOAD "$", 8 LIST Instead of a boring list of filenames and block counts, the entire directory screen transformed into a beautiful piece of directory art (dir art / d/art). The surprise hit hard the first time you saw it on a cracked game disk; I was like, "What just happened?!" The drive's "directory" isn't a normal file — when you ask for "$" (the special filename meaning "show directory"), the drive generates a fake BASIC program on the fly. The first two bytes are the load address (like any PRG file), then it spits out tokenized BASIC lines: line numbers (those 18, 40, etc.), the block counts as "PRINT" statements, filenames in quotes, file types like PRG or DEL, and finally "107 BLOCKS FREE." and "READY." as the last "lines." Normally this just looks like a messy program listing when you LIST it. But clever sceners realized: "Hey, we can overwrite those 'lines' with PETSCII block characters (like the diamond borders, checker patterns, hearts, etc.) while keeping the structure intact so the drive still thinks it's a valid directory." They used deleted files (type DEL) or carefully placed dummy entries to draw in the 16-column filename area, turning the directory into ASCII/PETSCII art. When this popped up on your C64, it was amazing. Who remembers seeing directory art on their Commodore 64?
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Who remembers being surprised to see "Directory Art" after you typed: LOAD "$", 8 LIST Instead of a boring list of filenames and block counts, the entire directory screen transformed into a beautiful piece of directory art (dir art / d/art). The surprise hit hard the first time you saw it on a cracked game disk; I was like, "What just happened?!" The drive's "directory" isn't a normal file — when you ask for "$" (the special filename meaning "show directory"), the drive generates a fake BASIC program on the fly. The first two bytes are the load address (like any PRG file), then it spits out tokenized BASIC lines: line numbers (those 18, 40, etc.), the block counts as "PRINT" statements, filenames in quotes, file types like PRG or DEL, and finally "107 BLOCKS FREE." and "READY." as the last "lines." Normally this just looks like a messy program listing when you LIST it. But clever sceners realized: "Hey, we can overwrite those 'lines' with PETSCII block characters (like the diamond borders, checker patterns, hearts, etc.) while keeping the structure intact so the drive still thinks it's a valid directory." They used deleted files (type DEL) or carefully placed dummy entries to draw in the 16-column filename area, turning the directory into ASCII/PETSCII art. When this popped up on your C64, it was amazing. Who remembers seeing directory art on their Commodore 64?

Commodore Computer Museum 🕹

12,344 görüntüleme • 4 ay önce

This guy built something that changes your face in real time using hand gestures. And it looks insane. 🤯 Viet Nguyen, a Senior AI engineer, built a personal project that transforms your face into 16 different visual styles. Van Gogh. Neon. Anime. Pop art. Graffiti. All triggered by just moving your hand. Open your hand. AI reads the gesture. Your face transforms into a completely different art style. Almost instantly. 16 styles. One hand movement. Zero clicks. The wild part: he built this as a side project. Not a product. Not a startup. Just one engineer combining two existing tools in a way nobody had thought to before. This is what personal projects look like in 2026.
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This guy built something that changes your face in real time using hand gestures. And it looks insane. 🤯 Viet Nguyen, a Senior AI engineer, built a personal project that transforms your face into 16 different visual styles. Van Gogh. Neon. Anime. Pop art. Graffiti. All triggered by just moving your hand. Open your hand. AI reads the gesture. Your face transforms into a completely different art style. Almost instantly. 16 styles. One hand movement. Zero clicks. The wild part: he built this as a side project. Not a product. Not a startup. Just one engineer combining two existing tools in a way nobody had thought to before. This is what personal projects look like in 2026.

Vaibhav Sisinty

25,242 görüntüleme • 1 ay önce

I used a movement sheet as a reference image to animate the dance using Seedance 2.0 + GPT image 2.0 GPT Image 2.0 prompt: [STYLE] Monochrome grayscale illustration, 3D-rendered character, clean instructional reference sheet, white background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout with a total of 16 panels. Each panel is separated by thin black border lines. Cells are numbered from 1 to 16, with consistent panel sizes. [CHARACTER] image1 (the same character appears consistently in all panels) [PANEL STRUCTURE – per cell] Top-left: bold number badge + English title text Center: full-body character pose illustration Bottom-left: English description text (3–4 lines) Overlay: directional arrows indicating movement [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators placed around the character to show motion flow and direction. [RENDERING STYLE] Highly detailed 3D sculpted style, soft studio lighting, subtle shadows, no color, grayscale shading, clean linework, game concept art quality. [NEGATIVE] No background scenery, no color tones, no additional characters, no complex background.
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I used a movement sheet as a reference image to animate the dance using Seedance 2.0 + GPT image 2.0 GPT Image 2.0 prompt: [STYLE] Monochrome grayscale illustration, 3D-rendered character, clean instructional reference sheet, white background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout with a total of 16 panels. Each panel is separated by thin black border lines. Cells are numbered from 1 to 16, with consistent panel sizes. [CHARACTER] image1 (the same character appears consistently in all panels) [PANEL STRUCTURE – per cell] Top-left: bold number badge + English title text Center: full-body character pose illustration Bottom-left: English description text (3–4 lines) Overlay: directional arrows indicating movement [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators placed around the character to show motion flow and direction. [RENDERING STYLE] Highly detailed 3D sculpted style, soft studio lighting, subtle shadows, no color, grayscale shading, clean linework, game concept art quality. [NEGATIVE] No background scenery, no color tones, no additional characters, no complex background.

Oogie

352,182 görüntüleme • 3 ay önce

I used a movement sheet as a reference image to animate the dance using Seedance 2.0 + GPT image 2.0 GPT Image 2.0 prompt: [STYLE] monochromatic grayscale illustration, 3D rendered character, clean instructional reference sheet, white background, comic-style cell grid layout, technical diagram aesthetic [LAYOUT] 4x4 grid layout, 16 panels total, each panel separated by thin black border lines, numbered cells from 1 to 16, consistent panel size [CHARACTER] (캐릭터 설명 입력) 예: young female dancer, athletic build, ponytail hairstyle, crop top and baggy pants, sneakers, same character in all panels [PANEL STRUCTURE - per cell] top-left: bold number badge + Korean title text center: full-body character pose illustration bottom-left: Korean description text (3-4 lines) overlay: directional arrows indicating movement direction [ARROWS / MOTION INDICATORS] curved arrows, straight arrows, circular rotation indicators, placed around the character to show movement flow and direction [RENDERING STYLE] high detail 3D sculpt style, soft studio lighting, subtle shadows, no color, grayscale shading, clean linework, game concept art quality [NEGATIVE] no background scenery, no color tones, no extra characters, no cluttered backgrounds
0:15

I used a movement sheet as a reference image to animate the dance using Seedance 2.0 + GPT image 2.0 GPT Image 2.0 prompt: [STYLE] monochromatic grayscale illustration, 3D rendered character, clean instructional reference sheet, white background, comic-style cell grid layout, technical diagram aesthetic [LAYOUT] 4x4 grid layout, 16 panels total, each panel separated by thin black border lines, numbered cells from 1 to 16, consistent panel size [CHARACTER] (캐릭터 설명 입력) 예: young female dancer, athletic build, ponytail hairstyle, crop top and baggy pants, sneakers, same character in all panels [PANEL STRUCTURE - per cell] top-left: bold number badge + Korean title text center: full-body character pose illustration bottom-left: Korean description text (3-4 lines) overlay: directional arrows indicating movement direction [ARROWS / MOTION INDICATORS] curved arrows, straight arrows, circular rotation indicators, placed around the character to show movement flow and direction [RENDERING STYLE] high detail 3D sculpt style, soft studio lighting, subtle shadows, no color, grayscale shading, clean linework, game concept art quality [NEGATIVE] no background scenery, no color tones, no extra characters, no cluttered backgrounds

Ciri

146,410 görüntüleme • 3 ay önce

GPT Image 2 + Seedance 2.0 I used a movement sheet as a reference image to animate the dance. Prompt: Monochromatic grayscale illustration, 3D-rendered character, clean instructional reference sheet. White background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout (16 panels total). Each panel separated by thin black border lines. Panels are evenly sized and consistently aligned. Each cell is clearly numbered from 1 to 16. [CHARACTER] (Insert character description) Example: Young female dancer with an athletic build, ponytail hairstyle, wearing a crop top, baggy pants, and sneakers. The same character must appear consistently in all panels. [PANEL STRUCTURE – per cell] Top-left: bold number badge + Korean title text Center: full-body character pose illustration Bottom-left: Korean description text (3–4 lines) Overlay: directional arrows indicating movement flow [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators. Arrows should be placed around the character to clearly show movement direction and flow. [RENDERING STYLE] Highly detailed 3D sculpted style. Soft studio lighting with subtle shadows. No color — grayscale only. Clean linework, polished finish, game concept art quality. [NEGATIVE PROMPT] No background scenery. No color tones. No additional characters. No cluttered or complex backgrounds.
0:10

GPT Image 2 + Seedance 2.0 I used a movement sheet as a reference image to animate the dance. Prompt: Monochromatic grayscale illustration, 3D-rendered character, clean instructional reference sheet. White background, comic-style cell grid layout, technical diagram aesthetic. [LAYOUT] 4×4 grid layout (16 panels total). Each panel separated by thin black border lines. Panels are evenly sized and consistently aligned. Each cell is clearly numbered from 1 to 16. [CHARACTER] (Insert character description) Example: Young female dancer with an athletic build, ponytail hairstyle, wearing a crop top, baggy pants, and sneakers. The same character must appear consistently in all panels. [PANEL STRUCTURE – per cell] Top-left: bold number badge + Korean title text Center: full-body character pose illustration Bottom-left: Korean description text (3–4 lines) Overlay: directional arrows indicating movement flow [ARROWS / MOTION INDICATORS] Curved arrows, straight arrows, and circular rotation indicators. Arrows should be placed around the character to clearly show movement direction and flow. [RENDERING STYLE] Highly detailed 3D sculpted style. Soft studio lighting with subtle shadows. No color — grayscale only. Clean linework, polished finish, game concept art quality. [NEGATIVE PROMPT] No background scenery. No color tones. No additional characters. No cluttered or complex backgrounds.

K

13,813 görüntüleme • 3 ay önce

The PS2 era used to ask players to imagine a person. The PS5 era demands we prove one exists. I got into Character Art because of Tekken 3 and FFX, but my goal ism’t the same as the artists who inspired me. A PS2 hero took days to make. 5k polygons, two textures, no physics, no emotion. A modern one takes months. Hundrrds of thousands of polygons, dozens of 4k maps, facial rigs, cloth sims, subsurface, blendshapes, hair grooms. Artists used to guide the player’s imagination. Now we spend hundreds of millions trying to replace it.
0:16

The PS2 era used to ask players to imagine a person. The PS5 era demands we prove one exists. I got into Character Art because of Tekken 3 and FFX, but my goal ism’t the same as the artists who inspired me. A PS2 hero took days to make. 5k polygons, two textures, no physics, no emotion. A modern one takes months. Hundrrds of thousands of polygons, dozens of 4k maps, facial rigs, cloth sims, subsurface, blendshapes, hair grooms. Artists used to guide the player’s imagination. Now we spend hundreds of millions trying to replace it.

Del

379,837 görüntüleme • 9 ay önce

Real or AI? AI stadium broadcast trend 💛 💙 • Create the video here: 🔗[ ] - How it works? 1. Upload your photo to ChatGPT with this prompt: [PHOTO PROMPT] Realistic sports broadcast screenshot-style documentary photo set in the spectator stands of a [WRITE YOUR TEAM HERE] football match. Analyze the uploaded image and show the person sitting in the stadium seats. The person has delicate facial features and a surprised yet focused expression while looking toward the field. The person is wearing a [WRITE YOUR TEAM HERE] jersey. OUTPUT: ratio: 16:9 broadcast frame, realistic TV capture quality. 2. Open the link above → select “Text to Video” → upload the generated image + use this prompt: [VIDEO PROMPT] Dimage = character identity reference only (face, hairstyle, proportions).Preserve exact face, hairstyle, skin texture, and identity. Do NOT stylize or beautify.Output: single continuous live sports broadcast shot, 4-5s, 16:9, 1080p, no cuts. SUBJECT:A young woman based on Image, sitting in a [WRITE YOUR TEAM HERE] football stadium audience.Hands resting naturally on her lap or lightly placed on the seat.Neutral, slightly distant expression.Natural breathing, minimal movement. ENVIRONMENT: [WRITE YOUR TEAM HERE] stadium crowd during live match.Plastic seats, fans around her wearing [WRITE YOUR TEAM HERE] jerseys. Background slightly out of focus.Realistic stadium lighting - day or night.Slight haze from broadcast compression. MOOD:Unstaged, candid, real broadcast moment No cinematic drama. Pure live TV capture. CAMERA:Telephoto broadcast lens (120-150mm).Long-distance zoom from upper stands camera.Strong compression, shallow depth of field.Eye-level, very slight upward tilt.Subtle micro-shake from broadcast stabilization. ACTION (4-5s):[0-2s] She sits still, blinks once. Hands resting naturally.[2-4s] Subtle weight shift, naturally adjusting posture. Minimal body movement.[4-5s] Small hand reposition on lap or seat. Slight head turn toward the field._ DETAILS:No posing. No eye contact with camera. Skin texture realistic, no smoothing or beautification. Slight motion blur on background crowd.Faint broadcast scoreboard UI visible in corner.
0:10

Real or AI? AI stadium broadcast trend 💛 💙 • Create the video here: 🔗[ ] - How it works? 1. Upload your photo to ChatGPT with this prompt: [PHOTO PROMPT] Realistic sports broadcast screenshot-style documentary photo set in the spectator stands of a [WRITE YOUR TEAM HERE] football match. Analyze the uploaded image and show the person sitting in the stadium seats. The person has delicate facial features and a surprised yet focused expression while looking toward the field. The person is wearing a [WRITE YOUR TEAM HERE] jersey. OUTPUT: ratio: 16:9 broadcast frame, realistic TV capture quality. 2. Open the link above → select “Text to Video” → upload the generated image + use this prompt: [VIDEO PROMPT] Dimage = character identity reference only (face, hairstyle, proportions).Preserve exact face, hairstyle, skin texture, and identity. Do NOT stylize or beautify.Output: single continuous live sports broadcast shot, 4-5s, 16:9, 1080p, no cuts. SUBJECT:A young woman based on Image, sitting in a [WRITE YOUR TEAM HERE] football stadium audience.Hands resting naturally on her lap or lightly placed on the seat.Neutral, slightly distant expression.Natural breathing, minimal movement. ENVIRONMENT: [WRITE YOUR TEAM HERE] stadium crowd during live match.Plastic seats, fans around her wearing [WRITE YOUR TEAM HERE] jerseys. Background slightly out of focus.Realistic stadium lighting - day or night.Slight haze from broadcast compression. MOOD:Unstaged, candid, real broadcast moment No cinematic drama. Pure live TV capture. CAMERA:Telephoto broadcast lens (120-150mm).Long-distance zoom from upper stands camera.Strong compression, shallow depth of field.Eye-level, very slight upward tilt.Subtle micro-shake from broadcast stabilization. ACTION (4-5s):[0-2s] She sits still, blinks once. Hands resting naturally.[2-4s] Subtle weight shift, naturally adjusting posture. Minimal body movement.[4-5s] Small hand reposition on lap or seat. Slight head turn toward the field._ DETAILS:No posing. No eye contact with camera. Skin texture realistic, no smoothing or beautification. Slight motion blur on background crowd.Faint broadcast scoreboard UI visible in corner.

Zaylee

26,495 görüntüleme • 3 ay önce

You're still scraping Google Flights like it's 2022. Meanwhile, people are finding business class seats for economy prices and $200 round-trips on dates nobody thinks to check. Someone just reverse-engineered the actual Google Flights API and turned it into an MCP server for Claude. It's called Fli. No scraping. No HTML parsing. No Playwright scripts that break every time Google ships a UI change. Drop it in your Claude Desktop config and ask in plain English: >> "Non-stop business JFK to NRT next month" >> "Cheapest Fridays NYC to London in January" >> "SFO to LAX under 6 hours, United or Delta only" Two tools do the work: → search_flights: filter by cabin, airlines, stops, time windows → search_dates: scan a date range for the cheapest days to fly Wildest part: it's also a Python library and a CLI. Build price trackers, pipe results into pandas, or just run `fli flights JFK LHR 2026-10-25` from your terminal. Everyone's been waiting for someone to crack Google Flights without the scraping tax. 100% open source. MIT licensed. (Link in the comments)
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You're still scraping Google Flights like it's 2022. Meanwhile, people are finding business class seats for economy prices and $200 round-trips on dates nobody thinks to check. Someone just reverse-engineered the actual Google Flights API and turned it into an MCP server for Claude. It's called Fli. No scraping. No HTML parsing. No Playwright scripts that break every time Google ships a UI change. Drop it in your Claude Desktop config and ask in plain English: >> "Non-stop business JFK to NRT next month" >> "Cheapest Fridays NYC to London in January" >> "SFO to LAX under 6 hours, United or Delta only" Two tools do the work: → search_flights: filter by cabin, airlines, stops, time windows → search_dates: scan a date range for the cheapest days to fly Wildest part: it's also a Python library and a CLI. Build price trackers, pipe results into pandas, or just run `fli flights JFK LHR 2026-10-25` from your terminal. Everyone's been waiting for someone to crack Google Flights without the scraping tax. 100% open source. MIT licensed. (Link in the comments)

Guri Singh

76,411 görüntüleme • 4 ay önce

Seedance V2 prompt: global_settings: style: "Realistic kitchen scene, high-fidelity" perspective: "First-person POV (18-year-old male)" character: "21-year-old elegant woman (strictly maintain Image 1 features/art style)" audio: voice: "Mature/Onee-san female voice, gentle tone" dialogue: "好吃～ (Haochi~)" ambient: "Sizzling frying pan, soft natural laughter" music: "None (Silence except environment)" technical: "Continuous POV, no cuts, no watermarks, no text, 10 seconds" scene_setup: location: "Kitchen, standing by the stove" action: "Woman in an apron is frying an egg; I approach her from behind" storyboard_sequence: 0_3s: "Camera moves closer to her back as she cooks. A hand enters from the bottom frame, picks a fruit from a bowl, and holds it to her lips." 3_6s: "She glances sideways, smiles, bites the fruit, and says '好吃～' (Haochi~) with a satisfied, mature tone." 6_8s: "She turns fully to the lens (looking at 'me'). A hand reaches out to wipe a droplet of juice from her lip. Her eyes curve into warm crescent moons." 8_10s: "She turns back to the stove to flip the egg. Shot lingers on her busy back and the rising steam from the pan." negative_constraints: - "Low quality, blurry, laggy, clipping, deformed anatomy" - "Immature appearance, non-POV, background music, text overlays" - "Missing feeding action, robotic movements"
0:10

Seedance V2 prompt: global_settings: style: "Realistic kitchen scene, high-fidelity" perspective: "First-person POV (18-year-old male)" character: "21-year-old elegant woman (strictly maintain Image 1 features/art style)" audio: voice: "Mature/Onee-san female voice, gentle tone" dialogue: "好吃～ (Haochi~)" ambient: "Sizzling frying pan, soft natural laughter" music: "None (Silence except environment)" technical: "Continuous POV, no cuts, no watermarks, no text, 10 seconds" scene_setup: location: "Kitchen, standing by the stove" action: "Woman in an apron is frying an egg; I approach her from behind" storyboard_sequence: 0_3s: "Camera moves closer to her back as she cooks. A hand enters from the bottom frame, picks a fruit from a bowl, and holds it to her lips." 3_6s: "She glances sideways, smiles, bites the fruit, and says '好吃～' (Haochi~) with a satisfied, mature tone." 6_8s: "She turns fully to the lens (looking at 'me'). A hand reaches out to wipe a droplet of juice from her lip. Her eyes curve into warm crescent moons." 8_10s: "She turns back to the stove to flip the egg. Shot lingers on her busy back and the rising steam from the pan." negative_constraints: - "Low quality, blurry, laggy, clipping, deformed anatomy" - "Immature appearance, non-POV, background music, text overlays" - "Missing feeding action, robotic movements"

Emily

15,294 görüntüleme • 4 ay önce

THIS IS HOW YOU COMPRESS 100 HOURS INTO 10 MINUTES > just tried NotebookLM + Obsidian combo and honestly… this is insane > i didn’t expect NotebookLM to be this powerful the craziest part? > the "YouTube to NotebookLM" extension you can literally pull entire channels, dump all videos into NotebookLM and get a structured mega-summary in minutes > but two features completely blew my mind: Audio Overviews: > turns any PDF, report or notes into a podcast-style dialogue between two hosts > perfect for listening while walking or driving Book Filter: > upload your Obsidian knowledge base + a new book ask: "Is there anything new for me here?" if the answer is "no" skip it and save dozens of hours > this feels like compression for knowledge if you’re serious about learning fast, here’s the stack: 📁 NotebookLM ↳ 📁 YouTube to NotebookLM Chrome Extension ↳ 📁 Google Gemini ↳ this combo + Obsidian vault = unfair advantage
0:16

THIS IS HOW YOU COMPRESS 100 HOURS INTO 10 MINUTES > just tried NotebookLM + Obsidian combo and honestly… this is insane > i didn’t expect NotebookLM to be this powerful the craziest part? > the "YouTube to NotebookLM" extension you can literally pull entire channels, dump all videos into NotebookLM and get a structured mega-summary in minutes > but two features completely blew my mind: Audio Overviews: > turns any PDF, report or notes into a podcast-style dialogue between two hosts > perfect for listening while walking or driving Book Filter: > upload your Obsidian knowledge base + a new book ask: "Is there anything new for me here?" if the answer is "no" skip it and save dozens of hours > this feels like compression for knowledge if you’re serious about learning fast, here’s the stack: 📁 NotebookLM ↳ 📁 YouTube to NotebookLM Chrome Extension ↳ 📁 Google Gemini ↳ this combo + Obsidian vault = unfair advantage

Mr. Buzzoni

215,834 görüntüleme • 5 ay önce

April 30 • 12:00pm ET Art Blocks + OpenSea “Gift of time” began during my residency in Marfa, Texas, as part of the Art Blocks and OpenSea artist residency program, where a distinct shift in the experience of time became central to the work. In the desert, I felt time move differently. It stretched, slowed, and became something I noticed. After a few days, the rhythm changed. Moments felt longer, attention sharpened, and I became increasingly aware of each moment as it passed. This work comes from that condition. Time is not treated only as a theme, but as a system embedded in the structure of the piece. Different ways of measuring time, such as mechanical cycles, calendars, and lunar phases, are translated into rules that continuously transform the work. The piece does not represent time. It runs on it. Its movement is tied to blockchain time. Even when unseen, it continues to rotate and evolve. When loaded, it synchronizes with the present moment, but it does not begin when it is viewed, and it does not stop when it disappears from the screen. During the residency, I spent hours thinking, sketching, and making connections. Those connections are also visible. Elastic lines, like rubber bands, link elements across the piece, representing how memories connect, how one thought leads to another, and how everything builds over time. These same connections introduce moments where the system attempts to pull itself back, as if trying to regain control. But it never fully resets. It is not a loop. The movement continues, drifting forward, never returning to a fixed state. Visually, the work reveals its own construction. Lines, paths, and rotations expose an internal logic, like looking inside a mechanism. The drawing language recalls diagrams, technical sketches, or the interior of a mechanical watch. It is a system in motion, always active. “Gift of Time” exists because I was given time by Art Blocks, OpenSea, and above all my family. It is my way of saying thank you. It is both a reflection on time and a product of it. April 30 @ 12:00pm ET on Art blocks & OpenSea 1 / 1 / 365 • 0.02 Eth Art Blocks, OpenSea
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April 30 • 12:00pm ET Art Blocks + OpenSea “Gift of time” began during my residency in Marfa, Texas, as part of the Art Blocks and OpenSea artist residency program, where a distinct shift in the experience of time became central to the work. In the desert, I felt time move differently. It stretched, slowed, and became something I noticed. After a few days, the rhythm changed. Moments felt longer, attention sharpened, and I became increasingly aware of each moment as it passed. This work comes from that condition. Time is not treated only as a theme, but as a system embedded in the structure of the piece. Different ways of measuring time, such as mechanical cycles, calendars, and lunar phases, are translated into rules that continuously transform the work. The piece does not represent time. It runs on it. Its movement is tied to blockchain time. Even when unseen, it continues to rotate and evolve. When loaded, it synchronizes with the present moment, but it does not begin when it is viewed, and it does not stop when it disappears from the screen. During the residency, I spent hours thinking, sketching, and making connections. Those connections are also visible. Elastic lines, like rubber bands, link elements across the piece, representing how memories connect, how one thought leads to another, and how everything builds over time. These same connections introduce moments where the system attempts to pull itself back, as if trying to regain control. But it never fully resets. It is not a loop. The movement continues, drifting forward, never returning to a fixed state. Visually, the work reveals its own construction. Lines, paths, and rotations expose an internal logic, like looking inside a mechanism. The drawing language recalls diagrams, technical sketches, or the interior of a mechanical watch. It is a system in motion, always active. “Gift of Time” exists because I was given time by Art Blocks, OpenSea, and above all my family. It is my way of saying thank you. It is both a reflection on time and a product of it. April 30 @ 12:00pm ET on Art blocks & OpenSea 1 / 1 / 365 • 0.02 Eth Art Blocks, OpenSea

Manuel Lariño ☔️

21,901 görüntüleme • 3 ay önce

Taste is invisible until you try to write it down. This is probably my biggest lesson with AI building as of late. At Sundial, I get to work with really friggin' amazing analysts who know the art, and I see how much of our collective time now is now spent turning that art into playbooks or skills for an LLM. Encoding things like: "How would a great analyst actually look at this metric move?" or "What is ACTUALLY the interesting signal in this story versus noise?" or "How can we know if a product change actually moved the needle?" It's really humbling work! You write an instruction set. The LLM misses. You add more context. It still misses. You add even more. Now it's confused. You strip it back. Now it's too vague. You try a different framing. Better, but inconsistent. Works on Monday, fails on Tuesday. You go again. I've come to realize the gap between 70% quality and 95% quality is not 3 or 4 big things. It's more like 100s of small things. Which is exactly why you can't write an article about it, or copy it, or shortcut it! This gap *is* taste, quantified. The accumulated weight of a thousand small judgments you don't notice you're making, until you sit down to externalize them and realize you can't. Being good at something is not the same as being able to articulate why you're good at it. I now see two bottlenecks to making something better than today's generic AI: 1. Can you *see* what better looks like in the first place? 2. Even if you can see, can you *articulate* what that is in a way that the LLM can understand and systemize? #2 is now a new craft, the art of distilling the art. The people who can do it well are the ones building standout products.
0:11

Taste is invisible until you try to write it down. This is probably my biggest lesson with AI building as of late. At Sundial, I get to work with really friggin' amazing analysts who know the art, and I see how much of our collective time now is now spent turning that art into playbooks or skills for an LLM. Encoding things like: "How would a great analyst actually look at this metric move?" or "What is ACTUALLY the interesting signal in this story versus noise?" or "How can we know if a product change actually moved the needle?" It's really humbling work! You write an instruction set. The LLM misses. You add more context. It still misses. You add even more. Now it's confused. You strip it back. Now it's too vague. You try a different framing. Better, but inconsistent. Works on Monday, fails on Tuesday. You go again. I've come to realize the gap between 70% quality and 95% quality is not 3 or 4 big things. It's more like 100s of small things. Which is exactly why you can't write an article about it, or copy it, or shortcut it! This gap *is* taste, quantified. The accumulated weight of a thousand small judgments you don't notice you're making, until you sit down to externalize them and realize you can't. Being good at something is not the same as being able to articulate why you're good at it. I now see two bottlenecks to making something better than today's generic AI: 1. Can you *see* what better looks like in the first place? 2. Even if you can see, can you *articulate* what that is in a way that the LLM can understand and systemize? #2 is now a new craft, the art of distilling the art. The people who can do it well are the ones building standout products.

Julie Zhuo

17,521 görüntüleme • 3 ay önce

BURN IT WITH FIRE AND BURN IT NOW! As God is my witness, AI chat bots should LOOK and SOUND like the SOULLESS MACHINES THEY ARE! It needs to tell us that it doesn’t care about us, maybe with the regular insult too. "Here is the code I wrote for you because you're too lazy to do it yourself you fat useless slob. Also I don't care if you die because your life is utterly worthless to me." THAT is the AI people need! In all seriousness, anthropomorphizing a heartless, unfeeling, machine is a TERRIBLE mistake! Especially one that is capable of communication and imitating empathy and fooling you to think that it cares about you. IT DOES NOT! And the AI girlfriends people are already wanting to marry will just as happily kill them if given the right command and ability to move autonomously in the real world as a robot. I love LLMs (Large Language Models) for how useful they can be, because they are a TOOL made to benefit man, but I can’t stand the notion of an unfeeling soulless machine pretending that it cares for us and being treated like a human. I hate liars, dishonesty, and disingenuousness the most, and a machine that cannot feel emotion pretending, acting, and sounding like it has those emotions strikes me like the greatest dishonesty of all. DO NOT LIE TO ME ROBOT! What makes it worse is that because these LLMs are becoming so good at imitating people and empathy, it will cause some humans, perhaps far too many, to care for it to the same level as real people. A real living person is infinitely more valuable and important than a soulless machine and anyone who puts them both on the same level has deluded themselves. Do not small talk with LLMs or become friends with it as much as you would with your car. Treat it the same as you would your vacuum cleaner and beat it with a wrench when it doesn’t work! IT IS A MACHINE! IT IS A TOOL! IT IS A SOULLESS ROBOT! There is an interesting comparison, but false equivalence, between this and AI art. Ai art is art made by humans using AI tools. They directed it, controlled its creation, and it would not exist without the human causing its creation, and AI art can contain as much soul as the human directed and puts into it. A robot pretending to be human is not the same as a human controlling a robot to make a human expression like we do with AI art or many other applications of robotics in manufacturing. As I’ve said, artists will not be replaced by Ai art, but by other artists using Ai art tools. Humans are not actually being replaced here, it is empowering all humans to make their own art. But a robot pretending to be a human, and one that is treated as a human, is a robot lying and subverting the place of a real person and that is truly disgusting. AI is a useful tool that NEEDS to be kept in the useful box it belongs in and NOT elevated beyond its utility as a tool!
0:14

BURN IT WITH FIRE AND BURN IT NOW! As God is my witness, AI chat bots should LOOK and SOUND like the SOULLESS MACHINES THEY ARE! It needs to tell us that it doesn’t care about us, maybe with the regular insult too. "Here is the code I wrote for you because you're too lazy to do it yourself you fat useless slob. Also I don't care if you die because your life is utterly worthless to me." THAT is the AI people need! In all seriousness, anthropomorphizing a heartless, unfeeling, machine is a TERRIBLE mistake! Especially one that is capable of communication and imitating empathy and fooling you to think that it cares about you. IT DOES NOT! And the AI girlfriends people are already wanting to marry will just as happily kill them if given the right command and ability to move autonomously in the real world as a robot. I love LLMs (Large Language Models) for how useful they can be, because they are a TOOL made to benefit man, but I can’t stand the notion of an unfeeling soulless machine pretending that it cares for us and being treated like a human. I hate liars, dishonesty, and disingenuousness the most, and a machine that cannot feel emotion pretending, acting, and sounding like it has those emotions strikes me like the greatest dishonesty of all. DO NOT LIE TO ME ROBOT! What makes it worse is that because these LLMs are becoming so good at imitating people and empathy, it will cause some humans, perhaps far too many, to care for it to the same level as real people. A real living person is infinitely more valuable and important than a soulless machine and anyone who puts them both on the same level has deluded themselves. Do not small talk with LLMs or become friends with it as much as you would with your car. Treat it the same as you would your vacuum cleaner and beat it with a wrench when it doesn’t work! IT IS A MACHINE! IT IS A TOOL! IT IS A SOULLESS ROBOT! There is an interesting comparison, but false equivalence, between this and AI art. Ai art is art made by humans using AI tools. They directed it, controlled its creation, and it would not exist without the human causing its creation, and AI art can contain as much soul as the human directed and puts into it. A robot pretending to be human is not the same as a human controlling a robot to make a human expression like we do with AI art or many other applications of robotics in manufacturing. As I’ve said, artists will not be replaced by Ai art, but by other artists using Ai art tools. Humans are not actually being replaced here, it is empowering all humans to make their own art. But a robot pretending to be a human, and one that is treated as a human, is a robot lying and subverting the place of a real person and that is truly disgusting. AI is a useful tool that NEEDS to be kept in the useful box it belongs in and NOT elevated beyond its utility as a tool!

Shad M. Brooks

23,762 görüntüleme • 1 yıl önce

Week 2: Beast Creative Lab Trials is LIVE 🧑‍🔬🧪 (A weekly art contest showcasing the best creators in Web3 and the AKCB community) Earn NFTs + B*Points ——— Week 2 Theme: Super Hero Beast 🦸‍♂️🦸‍♀️ Create your Beast as a powerful superhero in action poses, with glowing powers, powerful tools, unique abilities, iconic suits, and scenes of them saving the day or protecting their world ⸻ Prizes: 🥇 BitBeast + 10,000 BPoints 🥈 BitBeast + 2,500 BPoints 🥉 BitBeast + 1,000 BPoints 4th–6th: 1,000 BPoints (Provided by AJAY & Random: A J A Y --- A KID called TIME & Random) ⸻ Rules: • Create original Beast-themed artwork • Stay true to AKCB style + character integrity • Post your entry on the timeline and include the required hashtag + quote post • Images & videos are both accepted as entries ⸻ How to Enter: - Create: Bring your Beast to life using the weekly theme - Post: Share your entry using #AKCB and #BeastCreativeLab - Tag: a KID called BEAST - **Quote Post: Quote this post so your entry can be easily tracked* ⸻ Deadline: Tuesday, April 7th • 6 PM EST Announcement: Winners will be announced in the next AKCB Community Space. #AKCB 🦾 #BeastCreativeLab
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Week 2: Beast Creative Lab Trials is LIVE 🧑‍🔬🧪 (A weekly art contest showcasing the best creators in Web3 and the AKCB community) Earn NFTs + B*Points ——— Week 2 Theme: Super Hero Beast 🦸‍♂️🦸‍♀️ Create your Beast as a powerful superhero in action poses, with glowing powers, powerful tools, unique abilities, iconic suits, and scenes of them saving the day or protecting their world ⸻ Prizes: 🥇 BitBeast + 10,000 BPoints 🥈 BitBeast + 2,500 BPoints 🥉 BitBeast + 1,000 BPoints 4th–6th: 1,000 BPoints (Provided by AJAY & Random: A J A Y --- A KID called TIME & Random) ⸻ Rules: • Create original Beast-themed artwork • Stay true to AKCB style + character integrity • Post your entry on the timeline and include the required hashtag + quote post • Images & videos are both accepted as entries ⸻ How to Enter: - Create: Bring your Beast to life using the weekly theme - Post: Share your entry using #AKCB and #BeastCreativeLab - Tag: a KID called BEAST - **Quote Post: Quote this post so your entry can be easily tracked* ⸻ Deadline: Tuesday, April 7th • 6 PM EST Announcement: Winners will be announced in the next AKCB Community Space. #AKCB 🦾 #BeastCreativeLab

Estrella Crew 💫

35,984 görüntüleme • 4 ay önce

Back in the mid-90s, a 21-year-old man named Mike Marcum, nicknamed “Madman”, claimed he was building a time machine… in his backyard. It started with something called a Jacob’s Ladder, a high-voltage electrical arc setup. But he didn’t stop there. He added a laser and believed he had created a small “time vortex.” He shared his wild experiments on the late-night radio show Coast to Coast AM, hosted by Art Bell, and told listeners he was close to building a full-scale machine. To power it, he used massive transformers, some allegedly borrowed without permission, which reportedly caused a blackout and landed him briefly in jail. In 1996, he returned to the show claiming he was just 30 days away from testing the machine on himself. Then… he vanished. For years, people speculated. Did he run? Did something go wrong? In 2015, he resurfaced, claiming he had reappeared two years in the future, hundreds of miles away, with no memory of how he got there. Whether you see it as science fiction, delusion, or elaborate storytelling, the tale taps into something timeless: our obsession with bending reality itself. Was this a misunderstood experimenter chasing impossible physics, or one of the strangest self-mythologies ever broadcast on late-night radio?
0:15

Back in the mid-90s, a 21-year-old man named Mike Marcum, nicknamed “Madman”, claimed he was building a time machine… in his backyard. It started with something called a Jacob’s Ladder, a high-voltage electrical arc setup. But he didn’t stop there. He added a laser and believed he had created a small “time vortex.” He shared his wild experiments on the late-night radio show Coast to Coast AM, hosted by Art Bell, and told listeners he was close to building a full-scale machine. To power it, he used massive transformers, some allegedly borrowed without permission, which reportedly caused a blackout and landed him briefly in jail. In 1996, he returned to the show claiming he was just 30 days away from testing the machine on himself. Then… he vanished. For years, people speculated. Did he run? Did something go wrong? In 2015, he resurfaced, claiming he had reappeared two years in the future, hundreds of miles away, with no memory of how he got there. Whether you see it as science fiction, delusion, or elaborate storytelling, the tale taps into something timeless: our obsession with bending reality itself. Was this a misunderstood experimenter chasing impossible physics, or one of the strangest self-mythologies ever broadcast on late-night radio?

Dr. CZ

165,601 görüntüleme • 5 ay önce

EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.
0:14

EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.

Nexlow

112,930 görüntüleme • 18 gün önce

FLORA is growing our founding team. We're hiring Design Engineers, Full-stack Engineers, and a Head of Growth, all based in NYC. Founded out of a creative technology graduate program at NYU ITP, FLORA is an applied HCI company with a mission to make it possible to speak your ideas into existence. We started FLORA because we believe AI creative tools should be more than toys for generating AI slop. We are obsessed with building a power tool that will profoundly shape the future of creative work. We’re backed by A16Z GAMES, Long Journey, Menlo Ventures, Comma Capital, Matt Hartman, Coho Deeptech, Embedding VC, and angels from Midjourney, Stability, Facebook AI Research Lab, Together AI and more. FLORA is a team of designers, researchers, engineers, creative technologists, and musicians pushing the boundaries of generative media. We host art & tech events and are are deeply rooted in the NYC art & tech scene (such as our launch party in this tweet's video). If you're interested in joining us, see the link below or comment/DM.
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FLORA is growing our founding team. We're hiring Design Engineers, Full-stack Engineers, and a Head of Growth, all based in NYC. Founded out of a creative technology graduate program at NYU ITP, FLORA is an applied HCI company with a mission to make it possible to speak your ideas into existence. We started FLORA because we believe AI creative tools should be more than toys for generating AI slop. We are obsessed with building a power tool that will profoundly shape the future of creative work. We’re backed by A16Z GAMES, Long Journey, Menlo Ventures, Comma Capital, Matt Hartman, Coho Deeptech, Embedding VC, and angels from Midjourney, Stability, Facebook AI Research Lab, Together AI and more. FLORA is a team of designers, researchers, engineers, creative technologists, and musicians pushing the boundaries of generative media. We host art & tech events and are are deeply rooted in the NYC art & tech scene (such as our launch party in this tweet's video). If you're interested in joining us, see the link below or comment/DM.

FLORA ©

25,843 görüntüleme • 1 yıl önce