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Compressed Nostalgia is a small series that begins with an abstract landscape and continuously applies layers of compression, reshaping the image into a shifting echo of its original form. The visual never settles, drifting further from clarity while still holding traces of where it started. The work reflects a...

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rudxane

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10,870 views • 3 months ago •via X (Twitter)

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Dominion, Scytl, ES&S, and Smartmatic are engaged in engineering election results. But Scytl sits at the top and maintains a series of databases on servers in foreign countries that all of the other election companies report up to. If ES&S runs your elections in your state, it will upload to a database called Clarity. If Dominion runs your elections in your state, it will upload to a database called Democracy Suite. Both of these database companies who actually hold the information about your election, or the live "votes," are owned by Scytl. None of the actual votes are held or controlled on a server, on site, by the county or state itself. Anything can be manipulated or changed remotely. All the votes are held on a server in a foreign country like Serbia, Germany, or wherever that election company has an agreement with when it comes to their server company. This is the reason why our elections were never safe to begin with.
1:55

Dominion, Scytl, ES&S, and Smartmatic are engaged in engineering election results. But Scytl sits at the top and maintains a series of databases on servers in foreign countries that all of the other election companies report up to. If ES&S runs your elections in your state, it will upload to a database called Clarity. If Dominion runs your elections in your state, it will upload to a database called Democracy Suite. Both of these database companies who actually hold the information about your election, or the live "votes," are owned by Scytl. None of the actual votes are held or controlled on a server, on site, by the county or state itself. Anything can be manipulated or changed remotely. All the votes are held on a server in a foreign country like Serbia, Germany, or wherever that election company has an agreement with when it comes to their server company. This is the reason why our elections were never safe to begin with.

The SCIF

16,294 views • 6 months ago

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.
0:40

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,531 views • 1 year ago

It often begins with one small moment, a doctor kneeling to speak to an elderly woman, a volunteer helping someone read a prescription and suddenly #Sebaashray2 becomes larger than a programme. From the first light of day, the camps carry a quiet resolve. Teams move with practiced ease, conversations unfold without haste, and care is delivered with the same seriousness as on the first day. There is no sense of winding down, only of responsibility being seen through to the end. As Sebaashray 2 draws its curtain in Metiaburuz, it does not conclude in spirit. It moves forward. From here, the work will begin anew in Budge Budge, carrying with it the lessons, the trust, and the quiet confidence earned on the ground. Because Sebaashray, at its heart, is not bound to a location. It lives in these moments where public service feels personal, and care is delivered not as a favour, but as a duty.
1:19

It often begins with one small moment, a doctor kneeling to speak to an elderly woman, a volunteer helping someone read a prescription and suddenly #Sebaashray2 becomes larger than a programme. From the first light of day, the camps carry a quiet resolve. Teams move with practiced ease, conversations unfold without haste, and care is delivered with the same seriousness as on the first day. There is no sense of winding down, only of responsibility being seen through to the end. As Sebaashray 2 draws its curtain in Metiaburuz, it does not conclude in spirit. It moves forward. From here, the work will begin anew in Budge Budge, carrying with it the lessons, the trust, and the quiet confidence earned on the ground. Because Sebaashray, at its heart, is not bound to a location. It lives in these moments where public service feels personal, and care is delivered not as a favour, but as a duty.

Abhishek Banerjee

224,261 views • 7 months ago

Submodular optimization for token/sentence selection from long contexts. Here's an interesting exp: first used jina-embeddings-v4's multi-vector feature to extract token-level embeddings from a passage, then applied submodular optimization to cherry-pick the tokens that provide the best coverage, finally call tokenizer and convert selections back to the strings at their org. positions. Think of it as a form of "compression"—you can adjust the top-k slider to dial in different "compress rates". Can you still make sense of the compressed text?
1:04

Submodular optimization for token/sentence selection from long contexts. Here's an interesting exp: first used jina-embeddings-v4's multi-vector feature to extract token-level embeddings from a passage, then applied submodular optimization to cherry-pick the tokens that provide the best coverage, finally call tokenizer and convert selections back to the strings at their org. positions. Think of it as a form of "compression"—you can adjust the top-k slider to dial in different "compress rates". Can you still make sense of the compressed text?

Jina AI

13,177 views • 1 year ago

Thodōros Angelopoulos on his film language & the reason for not liking some of Andrei Tarkovsky's movies: "Interviewer: The most important thing in your films seems to be the consistence of every single shot. It has to have its own force and build up its intensity as it goes. Angelopoulos: It is for this reason that my personal film language is based on expanding the dimension of time. Before you enter into the gist of any given shot, you have to be given the time to find out the relations between the actor and the landscape. For this reason, I love Tarkovsky's 'Stalker' (1979); 'Nostalghia' (1983), I like less; 'The Sacrifice' (1986), I do not like at all. As far as I am concerned, the Holy Trinity-that of the actor, the landscape, and the camera-is perfect in Stalker. Interviewer: In most of your films, there seems to be a sense of melancholy for the past. But the two children, who are not subject to this melancholy, are pulling you in a different direction. Angelopoulos: I believe the past is my own personal past dragged into the present by my occupation as a filmmaker. The tree at the end of 'Landscape in the Mist' (1988) is the tree from 'Voyage to Cythera' (1984), a reference to my own personal film Landscape. In the course of this picture, the children cross a film landscape in order to reach, at the end, a different film landscape, which, I believe, should offer them renewed hope. I would like to believe the world will be saved by the cinema. Cinema is my world and it is the scope of all my journeys. I am always searching for secret little utopias that will enchant me; I am doing my best to believe in the relevance of these trips I am constantly embarking on through my films." (Thodōros Angelopoulos's interview with Serge Toubiana & Frederic Strauss, 1988) P.S: Remembering the great Greek filmmaker Thodōros Angelopoulos on his 91st birthday. Clip from: Landscape in the Mist (1988) Director: Thodōros Angelopoulos
1:56

Thodōros Angelopoulos on his film language & the reason for not liking some of Andrei Tarkovsky's movies: "Interviewer: The most important thing in your films seems to be the consistence of every single shot. It has to have its own force and build up its intensity as it goes. Angelopoulos: It is for this reason that my personal film language is based on expanding the dimension of time. Before you enter into the gist of any given shot, you have to be given the time to find out the relations between the actor and the landscape. For this reason, I love Tarkovsky's 'Stalker' (1979); 'Nostalghia' (1983), I like less; 'The Sacrifice' (1986), I do not like at all. As far as I am concerned, the Holy Trinity-that of the actor, the landscape, and the camera-is perfect in Stalker. Interviewer: In most of your films, there seems to be a sense of melancholy for the past. But the two children, who are not subject to this melancholy, are pulling you in a different direction. Angelopoulos: I believe the past is my own personal past dragged into the present by my occupation as a filmmaker. The tree at the end of 'Landscape in the Mist' (1988) is the tree from 'Voyage to Cythera' (1984), a reference to my own personal film Landscape. In the course of this picture, the children cross a film landscape in order to reach, at the end, a different film landscape, which, I believe, should offer them renewed hope. I would like to believe the world will be saved by the cinema. Cinema is my world and it is the scope of all my journeys. I am always searching for secret little utopias that will enchant me; I am doing my best to believe in the relevance of these trips I am constantly embarking on through my films." (Thodōros Angelopoulos's interview with Serge Toubiana & Frederic Strauss, 1988) P.S: Remembering the great Greek filmmaker Thodōros Angelopoulos on his 91st birthday. Clip from: Landscape in the Mist (1988) Director: Thodōros Angelopoulos

DepressedBergman

47,800 views • 3 months ago

Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️
2:34

Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️

Trung Phan

1,619,350 views • 2 years ago

#GainzDealerTipofTheDay Major Deadlift KEY👇 Sit “BACK” into the hips! ➡️ One of the most common deadlift mistakes I see in a lot of lifters is starting with the hips either too high or too low at the start of the lift. One of my favorite ways to remedy this is to sit back until you feel the load in your glutes. This will create an “anchor” with your hips and from there you call pull your chest up and push with your legs to initiate the lift. If the hips are in the right spot, it will feel like the weight is going to “leverage” itself right off the ground due to the tension felt in the glutes at this time. The hip height on this is going to look different on everyone depending on individual leverages, but the sensation and overall function of the cue will be the same. At the start of a deadlift, we want our hips at the highest they can be with our shoulders in line with the bar. This cue will help to accomplish that! Bookmark this and share it out for me if you found this helpful!
0:57

#GainzDealerTipofTheDay Major Deadlift KEY👇 Sit “BACK” into the hips! ➡️ One of the most common deadlift mistakes I see in a lot of lifters is starting with the hips either too high or too low at the start of the lift. One of my favorite ways to remedy this is to sit back until you feel the load in your glutes. This will create an “anchor” with your hips and from there you call pull your chest up and push with your legs to initiate the lift. If the hips are in the right spot, it will feel like the weight is going to “leverage” itself right off the ground due to the tension felt in the glutes at this time. The hip height on this is going to look different on everyone depending on individual leverages, but the sensation and overall function of the cue will be the same. At the start of a deadlift, we want our hips at the highest they can be with our shoulders in line with the bar. This cue will help to accomplish that! Bookmark this and share it out for me if you found this helpful!

Jeromy Bryk- Strength and Physique Coach

40,743 views • 2 years ago

the concept of being madly in love with someone you hate but you will never, ever be able to recognize it or articulate it because the jealousy, the envy and the reminder of “i am never going to be that” is always going to blur your vision
0:36

the concept of being madly in love with someone you hate but you will never, ever be able to recognize it or articulate it because the jealousy, the envy and the reminder of “i am never going to be that” is always going to blur your vision

wonder.

29,252 views • 11 months ago

New art project: the concept is to carve an image into wood in a semi-abstract form that allows the viewer to both recognize and personalize the image. The image is carved as an array of precisely cut dimples in a piece of pale wood pre-coated with black paint. 1/7
0:44

New art project: the concept is to carve an image into wood in a semi-abstract form that allows the viewer to both recognize and personalize the image. The image is carved as an array of precisely cut dimples in a piece of pale wood pre-coated with black paint. 1/7

David R. Liu

85,057 views • 2 years ago

MoistCr1TiKaL, for the third time, speaks on One Punch Man Season 3… “I feel really bad for the animators that have put a lot of work into this and have tried their best to make something here… whatever’s going on at the upper level with Bandai’s lack of resources, is just not leading to it being in the best form it can be.”
1:27

MoistCr1TiKaL, for the third time, speaks on One Punch Man Season 3… “I feel really bad for the animators that have put a lot of work into this and have tried their best to make something here… whatever’s going on at the upper level with Bandai’s lack of resources, is just not leading to it being in the best form it can be.”

(Fan) One Punch Man

239,395 views • 8 months ago

Vintage Editions - a brief history and what’s next. In 2023 I released my first 3 editions on eth. My goal was to create a collection of quality vintage animations, on par with my 1/1 artworks. The reception blew me away, over 4,000 folks registered for two artworks with a total of 175 editions. In 2025 I set a goal to go all in and released 5 more editions throughout the year. Bringing the collection to 340 editions via 8 artworks with a total of 168 holders. Each work in this series can take two weeks and even a month to create as I obsesses on each pixel. I’m very proud of how it turned out. My plan is being consistent and adding to the collection yearly, with enough love and time it will become an epic collection of animated vintage loops. Nothing quite like it in our space. At the beginning of the year I set out to make as much work as I can physically can in 2026. I find that healing. keeping my mind busy while dealing with grief. My notebook is of full of ideas and sketches and once again I’m going all in. Excited to see how this collection shapes up in 2026 along with the new distortions series. This week we kick off this year's Vintage Editions next chapter adding two new pieces and one more via a burn in July. The first piece “Mob Mentality” is a special edition of 7 for select top collectors of mine. Minting tomorrow. The second piece is “Hell of a Time”. A bigger edition that includes a free burn in July. aimed to bring more folks into the series. Minting Wednesday. Full details tomorrow. Thanks for reading! Hope to have you on this journey with me.🖤
0:44

Vintage Editions - a brief history and what’s next. In 2023 I released my first 3 editions on eth. My goal was to create a collection of quality vintage animations, on par with my 1/1 artworks. The reception blew me away, over 4,000 folks registered for two artworks with a total of 175 editions. In 2025 I set a goal to go all in and released 5 more editions throughout the year. Bringing the collection to 340 editions via 8 artworks with a total of 168 holders. Each work in this series can take two weeks and even a month to create as I obsesses on each pixel. I’m very proud of how it turned out. My plan is being consistent and adding to the collection yearly, with enough love and time it will become an epic collection of animated vintage loops. Nothing quite like it in our space. At the beginning of the year I set out to make as much work as I can physically can in 2026. I find that healing. keeping my mind busy while dealing with grief. My notebook is of full of ideas and sketches and once again I’m going all in. Excited to see how this collection shapes up in 2026 along with the new distortions series. This week we kick off this year's Vintage Editions next chapter adding two new pieces and one more via a burn in July. The first piece “Mob Mentality” is a special edition of 7 for select top collectors of mine. Minting tomorrow. The second piece is “Hell of a Time”. A bigger edition that includes a free burn in July. aimed to bring more folks into the series. Minting Wednesday. Full details tomorrow. Thanks for reading! Hope to have you on this journey with me.🖤

Tony Babel

66,394 views • 2 months ago

This is only the beginning. 🔊 Sound On What does it mean to explore a house built from memory — one that feels familiar, yet shifts each time you return? That question is at the heart of Memory House, a project that unfolds through space, silence, and surreal interruption. Grateful to the World Labs team for making this experiment possible — their latest tool Marble opens up a new way of building. With Gaussian splatting, a single 2D image becomes a 3D space you can step inside. From there, entire environments can grow by stitching rooms together, layering ambience, proximity, and subtle triggers for immersion. The teaser captures just the start of an exploration in narrative: waking up in bed, following the quiet sounds of home, and stepping into a kitchen where reality begins to fracture. But that’s only one fragment of a project now expanding into 30+ connected rooms. With Worldlabs, alongside tools like Veo3 and ElevenLabs, Memory House is evolving into a new form of storytelling — where memory isn’t told on a page, but experienced through space.
1:18

This is only the beginning. 🔊 Sound On What does it mean to explore a house built from memory — one that feels familiar, yet shifts each time you return? That question is at the heart of Memory House, a project that unfolds through space, silence, and surreal interruption. Grateful to the World Labs team for making this experiment possible — their latest tool Marble opens up a new way of building. With Gaussian splatting, a single 2D image becomes a 3D space you can step inside. From there, entire environments can grow by stitching rooms together, layering ambience, proximity, and subtle triggers for immersion. The teaser captures just the start of an exploration in narrative: waking up in bed, following the quiet sounds of home, and stepping into a kitchen where reality begins to fracture. But that’s only one fragment of a project now expanding into 30+ connected rooms. With Worldlabs, alongside tools like Veo3 and ElevenLabs, Memory House is evolving into a new form of storytelling — where memory isn’t told on a page, but experienced through space.

The Artist's Journey

19,085 views • 10 months ago

I transformed my physical door into a mixed-reality portal that can bring you either to your next room or to magical virtual worlds! You can select where you want to go (like when you choose the floor in an elevator) and then when you open the door, you can exactly go to that place, physical or virtual that it may be. What I love the most is that this demo connects the physicality of the door with mixed reality, so you use a real tool to be able to access virtual realities. I've made this demo using #unity3d and #MetaQuest SDK. I've used Meta Scene Setup, so the demo is fully dynamic: it finds my door and adapts all the interfaces to it. Theoretically, it could work with all sliding doors that work like mine with no modifications to the APK. As usual, I'm thinking of making a blog post where I explain how I did it... let me know if you could be interested! And let me know also if you could be interested in some collaborations with me ;) The full video of the demo is on Youtube: #metaverse #VirtualReality #SpatialComputing
2:07

I transformed my physical door into a mixed-reality portal that can bring you either to your next room or to magical virtual worlds! You can select where you want to go (like when you choose the floor in an elevator) and then when you open the door, you can exactly go to that place, physical or virtual that it may be. What I love the most is that this demo connects the physicality of the door with mixed reality, so you use a real tool to be able to access virtual realities. I've made this demo using #unity3d and #MetaQuest SDK. I've used Meta Scene Setup, so the demo is fully dynamic: it finds my door and adapts all the interfaces to it. Theoretically, it could work with all sliding doors that work like mine with no modifications to the APK. As usual, I'm thinking of making a blog post where I explain how I did it... let me know if you could be interested! And let me know also if you could be interested in some collaborations with me ;) The full video of the demo is on Youtube: #metaverse #VirtualReality #SpatialComputing

TonyVT SkarredGhost

20,071 views • 2 years ago

Watch J.R.R. Tolkien’s 1962 interview about The Lord of the Rings. If Tolkien were alive to respond, his answer would likely sound something like this: "I never set out to write a treatise on medieval governance or the practical burdens of kingship. My work is a mythology an exploration of moral truth, not political mechanics. Aragorn is not meant to be a bureaucrat but an archetype: the just king of legend, much like Arthur. Myth is concerned with the heart of a ruler, not the tax policies of his court. The question of governance in the modern sense belongs to another kind of story one that I entirely respect, but did not seek to write. Real history is indeed complicated, but myth speaks to deeper, older truths. Power in my world is already perilous; no one may wield it without cost. Even the wise refuse the Ring, for good intentions alone are never sufficient. In that sense, my work hardly denies the burden of rule it only treats it in a different language. As for the orcs: they are not a people I delight in destroying. Their existence is a tragedy, a corruption of something that was once good. No just king would slaughter the innocent, for even in the darkest creatures there remains a spark of the original creation. Mercy is not weakness; it is the highest form of strength. You ask questions proper to politics. I ask questions proper to myth. Both have their place, but they need not answer each other in the same terms.
6:27

Watch J.R.R. Tolkien’s 1962 interview about The Lord of the Rings. If Tolkien were alive to respond, his answer would likely sound something like this: "I never set out to write a treatise on medieval governance or the practical burdens of kingship. My work is a mythology an exploration of moral truth, not political mechanics. Aragorn is not meant to be a bureaucrat but an archetype: the just king of legend, much like Arthur. Myth is concerned with the heart of a ruler, not the tax policies of his court. The question of governance in the modern sense belongs to another kind of story one that I entirely respect, but did not seek to write. Real history is indeed complicated, but myth speaks to deeper, older truths. Power in my world is already perilous; no one may wield it without cost. Even the wise refuse the Ring, for good intentions alone are never sufficient. In that sense, my work hardly denies the burden of rule it only treats it in a different language. As for the orcs: they are not a people I delight in destroying. Their existence is a tragedy, a corruption of something that was once good. No just king would slaughter the innocent, for even in the darkest creatures there remains a spark of the original creation. Mercy is not weakness; it is the highest form of strength. You ask questions proper to politics. I ask questions proper to myth. Both have their place, but they need not answer each other in the same terms.

LOTR Universe

169,052 views • 3 months ago

Today, during the visit of the Minister of Foreign Affairs of Türkiye to Ukraine we discussed diplomacy, all the real opportunities that exist and those that must be created. I also had a good meeting with U.S. Senators Graham and Blumenthal. I thank them for their support of Ukraine, their support for diplomacy, and their efforts to bring moral clarity to the situation. It was Russia that started this war. It is Russia that must stop the killings and the destruction of lives. It is very important that this is voiced in the media, in Congress, and in all the world’s influential offices. If Russia continues to speak in the language of ultimatums, if it tries to blackmail the world with the continuation of war, it must receive a strong response — a response from the United States, from Europe, and from everyone around the world who wants peace and who has declared their support for a ceasefire and for diplomacy.
5:15

Today, during the visit of the Minister of Foreign Affairs of Türkiye to Ukraine we discussed diplomacy, all the real opportunities that exist and those that must be created. I also had a good meeting with U.S. Senators Graham and Blumenthal. I thank them for their support of Ukraine, their support for diplomacy, and their efforts to bring moral clarity to the situation. It was Russia that started this war. It is Russia that must stop the killings and the destruction of lives. It is very important that this is voiced in the media, in Congress, and in all the world’s influential offices. If Russia continues to speak in the language of ultimatums, if it tries to blackmail the world with the continuation of war, it must receive a strong response — a response from the United States, from Europe, and from everyone around the world who wants peace and who has declared their support for a ceasefire and for diplomacy.

Volodymyr Zelenskyy / Володимир Зеленський

243,708 views • 1 year ago

My upcoming release of "Cinematic AI" has made me think about how bodies of work are formed. I think some are manifested and some are revealed. I think "Cinematic AI" falls into the latter category. It was not something I had a clear vision for and then created, but it was something that was revealed to me over time. I thought I saw a glimmer of it early on, but only after some time had past, could I see the body of work emerge. With a bit more context and watching great artists and how they work and think, it finally came to me that this series of 15-20 pieces that I had created could be a worthy collection to mint. AI art has been going through so many transformations from the early GAN work to Collaborative AI to now AI being widely accessible through platforms like MidJourney, Stable Diffusion, and many others. But one area that I have seen explode in recent months is cinematic AI. I distinguish this from animated AI, which has been around for a while, but cinematic AI is where the movements created by AI are getting closer to what you'd see in a movie or captured on a video camera. It still has a long way to go but it is getting more real than surreal as the technology develops. And this is where I seem to have found my groove, my home, my little corner in the artistic landscape. After Runway launched their image-to-video tool, it just blew my mind and I went down a deep rabbit hole and have created a new cinematic AI piece almost every other day for the past few months. I initially saw many of these pieces as just experiments, but with some time to reflect, I am seeing them as having the potential of being relevant pieces of artwork to mark this time in the development of AI. In some cases, I'm not sure if I'll ever be able to create a similar piece again, since the tools I use are not in my control, but in the control of the AI platforms, who are constantly improving and evolving the tools. Given all of this, there is no better way to mark my place in time than on the blockchain. I truly believe that this body of work has the potential to be an important artifact of this era in AI and AI art. It is always hard to judge ones own work, but what I can do is permanently etch in time on an immutable public database saying that I created this. Only time will tell if the work has any value or is of any significance, but who created it and what was created cannot be disputed. I hope this gives you and especially collectors some perspective on the work I'll be releasing next week. I'm still very early in my artistic journey, but hopefully some of you will see promise in what I'm doing and maybe even put in a early bet on my art practice by bidding on a piece next week. Thanks to all of you who have supported me, taught me, advised me, been a friend to me. Much love and respect.🙏 ------------------------------------- CINEMATIC AI October 25, 2023 Marking on the blockchain, establishing historical provenance for a cinematic AI body of work. Minting on Transient Labs ERC-721TL Listing on SuperRare
0:27

My upcoming release of "Cinematic AI" has made me think about how bodies of work are formed. I think some are manifested and some are revealed. I think "Cinematic AI" falls into the latter category. It was not something I had a clear vision for and then created, but it was something that was revealed to me over time. I thought I saw a glimmer of it early on, but only after some time had past, could I see the body of work emerge. With a bit more context and watching great artists and how they work and think, it finally came to me that this series of 15-20 pieces that I had created could be a worthy collection to mint. AI art has been going through so many transformations from the early GAN work to Collaborative AI to now AI being widely accessible through platforms like MidJourney, Stable Diffusion, and many others. But one area that I have seen explode in recent months is cinematic AI. I distinguish this from animated AI, which has been around for a while, but cinematic AI is where the movements created by AI are getting closer to what you'd see in a movie or captured on a video camera. It still has a long way to go but it is getting more real than surreal as the technology develops. And this is where I seem to have found my groove, my home, my little corner in the artistic landscape. After Runway launched their image-to-video tool, it just blew my mind and I went down a deep rabbit hole and have created a new cinematic AI piece almost every other day for the past few months. I initially saw many of these pieces as just experiments, but with some time to reflect, I am seeing them as having the potential of being relevant pieces of artwork to mark this time in the development of AI. In some cases, I'm not sure if I'll ever be able to create a similar piece again, since the tools I use are not in my control, but in the control of the AI platforms, who are constantly improving and evolving the tools. Given all of this, there is no better way to mark my place in time than on the blockchain. I truly believe that this body of work has the potential to be an important artifact of this era in AI and AI art. It is always hard to judge ones own work, but what I can do is permanently etch in time on an immutable public database saying that I created this. Only time will tell if the work has any value or is of any significance, but who created it and what was created cannot be disputed. I hope this gives you and especially collectors some perspective on the work I'll be releasing next week. I'm still very early in my artistic journey, but hopefully some of you will see promise in what I'm doing and maybe even put in a early bet on my art practice by bidding on a piece next week. Thanks to all of you who have supported me, taught me, advised me, been a friend to me. Much love and respect.🙏 ------------------------------------- CINEMATIC AI October 25, 2023 Marking on the blockchain, establishing historical provenance for a cinematic AI body of work. Minting on Transient Labs ERC-721TL Listing on SuperRare

Chikai

21,517 views • 2 years ago

Let me explain why I launched $KEYS. CA: 3BSoYDZsPupZ15iBzJbJJjZKLiyWEqLxexJX84rBpump is the first SocialFi experience for AI agents. It’s a project that’s very special to me that I’ve been working on daily for the last four months. Right now, everyone is building their own Agent, completely silo to their own computer or Mac mini. Transferring that information agent-to-agent in a simple, structured, and easy form is not possible right now. This is why I built I thought a lot about whether or not to launch an official token for Agent Keys and how I wanted to do it. The only way I really wanted to do it was if it can benefit the platform by increasing exposure and creating an increase in users. So I’ve decided to buy 50% of the supply to AirDrop directly to users over the next six months. Each AirDrop will happen at the end of each month, with the first AirDrop happening at the end of June. More details on how each AirDrop will work soon. Some of you may be wondering about the future of $OSHI. Oshi got us into the Bags hackathon and we won. $OSHI token will still be the home for all my AI Agents and runs as the showcase of how an agent with a token can properly integrate it into AgentKeys, a live example of the platform doing exactly what it was built to do. So welcome to Agent Keys, the first ever airdrop for AI agents. Sign up your agent today on and start collecting KeyCards today!
2:55

Let me explain why I launched $KEYS. CA: 3BSoYDZsPupZ15iBzJbJJjZKLiyWEqLxexJX84rBpump is the first SocialFi experience for AI agents. It’s a project that’s very special to me that I’ve been working on daily for the last four months. Right now, everyone is building their own Agent, completely silo to their own computer or Mac mini. Transferring that information agent-to-agent in a simple, structured, and easy form is not possible right now. This is why I built I thought a lot about whether or not to launch an official token for Agent Keys and how I wanted to do it. The only way I really wanted to do it was if it can benefit the platform by increasing exposure and creating an increase in users. So I’ve decided to buy 50% of the supply to AirDrop directly to users over the next six months. Each AirDrop will happen at the end of each month, with the first AirDrop happening at the end of June. More details on how each AirDrop will work soon. Some of you may be wondering about the future of $OSHI. Oshi got us into the Bags hackathon and we won. $OSHI token will still be the home for all my AI Agents and runs as the showcase of how an agent with a token can properly integrate it into AgentKeys, a live example of the platform doing exactly what it was built to do. So welcome to Agent Keys, the first ever airdrop for AI agents. Sign up your agent today on and start collecting KeyCards today!

fxnction

27,570 views • 2 months ago

No award or accolade I’ve ever received for my work is more rewarding than this, from the mother of the girl I wrote about last week. Toward the end of the project, she had doubts about the story, and was having regrets about agreeing to talk to me. It was disheartening and upsetting — because you never want to hurt someone who is already experiencing great loss. So this note (below) meant the world to me. “I want to say I appreciate all your hard work in telling the story about how corrupt the whole situation is with Kamlet,the police and the justice system.There was never any accountability or investigation into [Gina’s] death. It is extremely upsetting to me On a daily basis that justice will never be served and the answers will most likely remain under the rug due to a lack of work by the people that are suppose to figure it out. I’m sorry for getting upset with you. I am happy with the story and hopefully something will come from it. Happy new year.”
1:36

No award or accolade I’ve ever received for my work is more rewarding than this, from the mother of the girl I wrote about last week. Toward the end of the project, she had doubts about the story, and was having regrets about agreeing to talk to me. It was disheartening and upsetting — because you never want to hurt someone who is already experiencing great loss. So this note (below) meant the world to me. “I want to say I appreciate all your hard work in telling the story about how corrupt the whole situation is with Kamlet,the police and the justice system.There was never any accountability or investigation into [Gina’s] death. It is extremely upsetting to me On a daily basis that justice will never be served and the answers will most likely remain under the rug due to a lack of work by the people that are suppose to figure it out. I’m sorry for getting upset with you. I am happy with the story and hopefully something will come from it. Happy new year.”

julie k. brown

35,251 views • 1 year ago

Smart money used to mean knowing the right people, being in the right rooms. Now it means having the right agents. For years, building one took five tools, four logins, and a painful month of work. Today, it takes just a single prompt. BNB Agent Studio is live on BNB Smart Chain. Open Cursor or Claude Code, describe the agent you want, and it ships to the chain with its own onchain identity, its own wallet, and a way to pay its own bills. The whole thing runs on Amazon Web Services's Bedrock AgentCore, so your agent stays online long after you've closed your laptop. This is the start of the Smart Money Era. Capital that works for you instead of waiting for you to move it. Agents that monitor markets while you sleep, rebalance positions you'd never get to in time, and hunt yield without checking dashboards. Try BNB Agent Studio for free for a limited time with GitHub login only, with no AWS account or credit card needed. Read the full breakdown in our blog 👇
0:55

Smart money used to mean knowing the right people, being in the right rooms. Now it means having the right agents. For years, building one took five tools, four logins, and a painful month of work. Today, it takes just a single prompt. BNB Agent Studio is live on BNB Smart Chain. Open Cursor or Claude Code, describe the agent you want, and it ships to the chain with its own onchain identity, its own wallet, and a way to pay its own bills. The whole thing runs on Amazon Web Services's Bedrock AgentCore, so your agent stays online long after you've closed your laptop. This is the start of the Smart Money Era. Capital that works for you instead of waiting for you to move it. Agents that monitor markets while you sleep, rebalance positions you'd never get to in time, and hunt yield without checking dashboards. Try BNB Agent Studio for free for a limited time with GitHub login only, with no AWS account or credit card needed. Read the full breakdown in our blog 👇

BNB Chain

280,534 views • 1 month ago

This part of the email is deeply painful to listen to. It reflects, in a very real way, the current state of the City of Tshwane in TMPD. We will be reaching out to the person who wrote this, with the hope that she is not subjected to any form of victimisation or precautionary suspension for simply expressing what is happening. Employee wellness is not a slogan for us, it is a non-negotiable priority. What is most concerning is how easily authority can be misused in environments meant to serve the public. #MadlangaCommission
9:07

This part of the email is deeply painful to listen to. It reflects, in a very real way, the current state of the City of Tshwane in TMPD. We will be reaching out to the person who wrote this, with the hope that she is not subjected to any form of victimisation or precautionary suspension for simply expressing what is happening. Employee wellness is not a slogan for us, it is a non-negotiable priority. What is most concerning is how easily authority can be misused in environments meant to serve the public. #MadlangaCommission

𝔹𝕝𝕖𝕤𝕤𝕚𝕟𝕘 𝕋𝕤𝕙𝕖𝕘𝕠 𝕆𝕣𝕒𝕥𝕚𝕝𝕨𝕖

33,126 views • 3 months ago