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Couldn’t sleep so here I am scrolling through Friday’s footage from — and I keep coming back to this little guy. Born this week. First time mama did an absolutely beautiful job. And this calf — almost grey, almost purple. Stunning. Haven’t had one come out that color before...

16,060 görüntüleme • 5 ay önce •via X (Twitter)

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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 görüntüleme • 1 yıl önce

I OPEN SOURCED NOVAMP TERMINAL THAT MADE $100K+ FOR ROBINHOOD MEMECOIN TRADERS last memecoin cycle i was buying wrong tokens a lot. six figures in profit and i still have no idea how much i left on the table buying vamped tokens instead of the original. so this cycle i built the thing that tells you, and put it on GitHub for free. i came back with literally a cheat code for robinhood memecoin traders, and i am giving the whole thing away for free. NOVAMP, now open sourced on my GitHub. repo: [ here's what happens to you after u start using it: news breaks. a name catches. sixty seconds later there are 20+ tokens carrying that ticker or that name. you read number one's timeline. you buy number seven. it goes to zero and you write "rugged" in the group chat. nobody rugged you. you bought the copy, and the copy was never going anywhere. that is not a small leak. that is where most of retail's money on this chain quietly goes, and no chart on earth will ever show it to you. so i built the thing that tells you which one is real. paste a ticker or a name. it pulls every launch fighting over it and labels each one: > ORIGINAL - first, and clean > TAINTED - first, but the operator loaded it himself > CONTESTED - not first, but smart money is here anyway > VAMP - a later copy with nothing of its own > DEAD - nothing is trading CONTESTED is the one that pays for the whole tool. first is not the same as real. when the first launch carries a fat dev buy, a stack of wallets exempt from the opening tax, and a deployer with a hundred launches and zero graduations, being first only means he got there first with the bait. the money is on number three. you would never have looked. WHAT YOU ACTUALLY GET: > before you buy one command gives you the whole cluster: who was first, how many seconds behind each copy landed, top 10 concentration with the curve and the pool excluded, dev share, how many wallets were let past the opening tax, and whether wallets with a real track record are already in. every point of the score prints its own reason next to it, so you argue with a line and not with a number. > after you buy point it at your own wallet. it tells you which of your positions are copies and puts the original right next to each one. most people find out they are holding number six. better from a terminal than from the chart at 3am. > the whole chain rank deployers by how many copies they shipped and how many other wallets share their funder. one operator running eleven addresses stops looking like eleven people. > while you sleep put a name on a watchlist, get a telegram the second somebody copies it or the cluster flips to CONTESTED. it reads the ticker AND the token name, so a copy that takes a fresh symbol and keeps the name does not slip past. it folds cyrillic lookalikes, zero width characters, leetspeak, plurals, filler words. no key. no signer. no buy button. the build literally fails if signing code ever enters the repo. free, MIT, runs on your machine and not on mine. robinhood liquidity is back and you don't have to be exit liquidity this time. leaving the full repo below. i am developing it daily, more coming.

Oracle Boar

18,514 görüntüleme • 15 gün önce

Mathieu Kassovitz on why 'La Haine' (1995) would have been horrible had it been in colour instead of Black & White: "Interviewer: Was it essential that it was three kids? Kassovitz: I needed a trio because when you’re with a friend, you have a discussion, and it ends fast because either you agree, or you don’t, but you cannot argue all the time. Three people can disagree all the time because it bounces from one to the other. I wanted one guy that’s the funny one in the middle; the political one that wants to get even with the society; and then the other one who’s trying to hold it in because he knows what real violence is. It was a trick, like the black and white is a trick too – to make it universal, a story that happens everywhere, so you don’t know if it’s Paris or Mexico or Brooklyn: it could be anywhere. Interviewer: How does black and white make it more universal? Kassovitz: When you look at black-and-white footage from the war, it changes when you see that footage put in colour. I did the voiceover for 'Apocalypse', a fantastic documentary series covering wars, for which they colourised all these black-and-white images and rendered them in HD. In colour, all of a sudden the footage becomes very personal – you see your grandfathers there, it’s not just ghosts or an artistic image, it could be today. What black and white does is bring poetry into reality. That’s why when you do a movie about poverty where you don’t have control over the environment and things are supposed to be ugly, it’s very difficult. It costs a lot of money to make it look good. But it doesn’t cost anything to make it look good in black and white. If I showed you 'La Haine' in colour, it’s horrible." (Mathieu Kassovitz's interview with Kaleem Aftab, BFI, 2020)

DepressedBergman

79,263 görüntüleme • 6 ay önce

Bret is atheist adjacent and Joel is a creationist, yet the agree on this: WEINSTEIN: I've been thinking that there's something actually incorrect about the religious stories, the way we're passing them down, that has us misunderstanding the problems. And I'm very interested in fixing that puzzle if it's fixable, because I don't think we can afford to misunderstand these problems. We have to address them, because they're going to be fatal. So they come down to issues of free will, the question of evil, and the question of dominion. This is the third one on that list. And the idea that we have dominion over the earth, because of the way it's interpreted, I think is a very destructive idea. SALATIN: Couldn't agree more. When those conquistadors came in and murdered civilizations and exploited the resources in the name of God and the queen, the crusades — the fact is that a lot has been done wrong in the name of God, or any religion for that matter. And certainly not just God. Name your divinity. Plenty has gone wrong in that. And so it is a right understanding, I think, of our role as stewards, as caretakers of something ultimately that is not ours. That is kind of a starting point across religions, across all beliefs. That is where you start. You don't start with "I'm in control." You start with "I'm a seeker and a learner. Teach me what I need to do to help." That's a very different thing than saying, "I'm going to come in and do this, this, and this, and it's going to do this, this, and this for me."

The DarkHorse Podcast

22,350 görüntüleme • 9 gün önce

This CIA-trained remote viewer just alleged he was abducted by Grey aliens and taken to an exotic, faraway planet. “The sky was black.” “The grass was totally black.” “The sun was out, but very dim.” The Greys even let him fly their UFO. Stop scrolling to hear Lyn Buchanan tell his life-changing abduction experience with Jesse Michels: “I heard something land in the backyard.” “I couldn’t move.” “Immediately I woke up, and I was sitting in a white room.” A pale, 7-foot tall being “came into the room, and I said: excuse me, can I sit by the window?” “He got this look of fear on his face and turned around and ran out.” “A few minutes later, a little Grey with three of these big guys huddled behind the Grey came in.” “The Grey said: we’ve got work to do, come with me.” “He was the pilot, and he had me kneel down in front of the control panel.” “With me kneeling down and him standing, we were eye to eye, so that tells you his size.” “We would land, the tall white guys would go out and come back in.” “I guess they were picking up more people.” “Finally [the Grey] said: we’re going on a long jump now.” “We didn’t land for quite a while.” “I said: I’ve been watching, can I try [flying] it?” “I tried it and I didn’t wreck the thing, but he was standing right over me just in case.” “We landed at some place that was not Earth.” “I looked out the front window, and there were two other ships.” “There was a string of people going, and I asked him: what do you do here?” “He said: we’re a medical team. We catch a lot of diseases going around space. And we have no immunity, but you people are like antibody factories. We use your antibodies for health.” “I was getting off, and they were going up this path to a pavilion that was up on the hill.” “He grabbed me by the arm, and he said: you don’t wanna go up there.” “He pulled me over to the side, and we sat down on the grass on the hillside.” “The grass was totally black.” “As we sat there … you could hear up on the hill, somebody would scream in horror, and everybody else would laugh.” “I said: what are you implanting in us?” “He said: we don’t implant anything into you.” “I said: well, we find these glass-like things implanted in us.” “He said: you people won’t be still. The tips of our instruments break off.” “And I said: well, why do you stick those?” “He said: because we take one or two cells of our diseased tissue, put it on that tip, implant it into you, and you will start making antibodies, and then we come back and harvest the antibodies.” Jesse Michels: “Do you know where this other planet is?” Buchanan: “No, I just know it wasn’t Earth.” Michels: “The other guy, the seven-foot guy—” Buchanan: “They struck me as being dumb as a rock.” “They were just workers for the Greys.” “While we’re there on the hillside, the pilot … went off and got another one that came back, sat down on the hill behind me and said: put up your hand.” “I put up my hand, he put his hand on the back of mine, and from that point on, I remembered nothing until the people were coming back down the hill, and I was in line with them, getting back onto the ship.” “The next morning, I was standing at the back window of [my house], and could not remember why I was there.” For 25 years, Buchanan had no memory of his abduction. Just a persistent, nagging feeling that he’d “forgotten something.” It wasn’t until 25 years later that he remembered everything. Jesse Michels American Alchemy
9:29

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This CIA-trained remote viewer just alleged he was abducted by Grey aliens and taken to an exotic, faraway planet. “The sky was black.” “The grass was totally black.” “The sun was out, but very dim.” The Greys even let him fly their UFO. Stop scrolling to hear Lyn Buchanan tell his life-changing abduction experience with Jesse Michels: “I heard something land in the backyard.” “I couldn’t move.” “Immediately I woke up, and I was sitting in a white room.” A pale, 7-foot tall being “came into the room, and I said: excuse me, can I sit by the window?” “He got this look of fear on his face and turned around and ran out.” “A few minutes later, a little Grey with three of these big guys huddled behind the Grey came in.” “The Grey said: we’ve got work to do, come with me.” “He was the pilot, and he had me kneel down in front of the control panel.” “With me kneeling down and him standing, we were eye to eye, so that tells you his size.” “We would land, the tall white guys would go out and come back in.” “I guess they were picking up more people.” “Finally [the Grey] said: we’re going on a long jump now.” “We didn’t land for quite a while.” “I said: I’ve been watching, can I try [flying] it?” “I tried it and I didn’t wreck the thing, but he was standing right over me just in case.” “We landed at some place that was not Earth.” “I looked out the front window, and there were two other ships.” “There was a string of people going, and I asked him: what do you do here?” “He said: we’re a medical team. We catch a lot of diseases going around space. And we have no immunity, but you people are like antibody factories. We use your antibodies for health.” “I was getting off, and they were going up this path to a pavilion that was up on the hill.” “He grabbed me by the arm, and he said: you don’t wanna go up there.” “He pulled me over to the side, and we sat down on the grass on the hillside.” “The grass was totally black.” “As we sat there … you could hear up on the hill, somebody would scream in horror, and everybody else would laugh.” “I said: what are you implanting in us?” “He said: we don’t implant anything into you.” “I said: well, we find these glass-like things implanted in us.” “He said: you people won’t be still. The tips of our instruments break off.” “And I said: well, why do you stick those?” “He said: because we take one or two cells of our diseased tissue, put it on that tip, implant it into you, and you will start making antibodies, and then we come back and harvest the antibodies.” Jesse Michels: “Do you know where this other planet is?” Buchanan: “No, I just know it wasn’t Earth.” Michels: “The other guy, the seven-foot guy—” Buchanan: “They struck me as being dumb as a rock.” “They were just workers for the Greys.” “While we’re there on the hillside, the pilot … went off and got another one that came back, sat down on the hill behind me and said: put up your hand.” “I put up my hand, he put his hand on the back of mine, and from that point on, I remembered nothing until the people were coming back down the hill, and I was in line with them, getting back onto the ship.” “The next morning, I was standing at the back window of [my house], and could not remember why I was there.” For 25 years, Buchanan had no memory of his abduction. Just a persistent, nagging feeling that he’d “forgotten something.” It wasn’t until 25 years later that he remembered everything. Jesse Michels American Alchemy

Holden Culotta

49,240 görüntüleme • 3 ay önce