Loading video...

Video Failed to Load

There was a problem loading this video. This could be due to a temporary network issue or the video might be unavailable.

Do mushrooms communicate? Research shows they're connected through a mycelium network, like the wood wide web. Two Amanita muscaria mushrooms, a PlantWave device, and the soil's electrical changes turn into sound. Biosonification at work—Mario’s soundtrack.🍄🔊

truthache

63,957 subscribers

45,521 views • 7 months ago •via X (Twitter)

Arts Health & Wellness Science & Technology

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

🇬🇧 MAGIC: MUSHROOMS MAKING MUSIC Engineers in the UK just turned fungi into musicians. By placing sensors on mushroom caps, they captured the natural electrical impulses fungi generate - and used them to control motors that play real instruments. The result? A trippy fusion of biology and sound - where mushrooms don’t just inspire the vibe, they create it. And it’s not just a party trick. Scientists believe fungal networks use these signals to communicate amongst each other. So this might not just be music by mushrooms... it could be music from them. Source: Bionica and the Wires, longliveai

🇬🇧 MAGIC: MUSHROOMS MAKING MUSIC Engineers in the UK just turned fungi into musicians. By placing sensors on mushroom caps, they captured the natural electrical impulses fungi generate - and used them to control motors that play real instruments. The result? A trippy fusion of biology and sound - where mushrooms don’t just inspire the vibe, they create it. And it’s not just a party trick. Scientists believe fungal networks use these signals to communicate amongst each other. So this might not just be music by mushrooms... it could be music from them. Source: Bionica and the Wires, longliveai

Mario Nawfal

49,962 views • 1 year ago

Scientists at Cornell University have developed a “biohybrid” robot that moves in response to signals from the nervous system of fungi. These robots incorporate mycelium, the root system of fungi, which senses and communicates through electrical signals. Researchers grew mycelium directly into the robot's electronics, allowing it to drive the machine by processing these natural signals. The team built two versions: one with wheels and another spider-shaped with soft legs. Both versions respond to light and other stimuli, with the mycelium sending signals to the robot's actuators to initiate movement. Experiments demonstrated the robots' ability to move based on natural mycelium signals, react to ultraviolet light, and even allow manual override. Future developments may include multiple inputs like chemical signatures, enhancing the robot's ability to autonomously interact with its environment. Credit: Cornell University #engineering

Scientists at Cornell University have developed a “biohybrid” robot that moves in response to signals from the nervous system of fungi. These robots incorporate mycelium, the root system of fungi, which senses and communicates through electrical signals. Researchers grew mycelium directly into the robot's electronics, allowing it to drive the machine by processing these natural signals. The team built two versions: one with wheels and another spider-shaped with soft legs. Both versions respond to light and other stimuli, with the mycelium sending signals to the robot's actuators to initiate movement. Experiments demonstrated the robots' ability to move based on natural mycelium signals, react to ultraviolet light, and even allow manual override. Future developments may include multiple inputs like chemical signatures, enhancing the robot's ability to autonomously interact with its environment. Credit: Cornell University #engineering

Wevolver

22,008 views • 1 year ago

🚨STUDY: MAGIC MUSHROOM COMPOUND "RESETS" BRAIN Psilocybin, the hallucinogenic compound in magic mushrooms, temporarily resets entire brain networks controlling time and self-perception, according to a new Nature study. Researchers observed "massive changes" in seven volunteers' brains, with some patterns resembling entirely different individuals. Most changes lasted hours, but one brain link remained disrupted for weeks. The default mode network, active during daydreaming, became desynchronized during drug effects. Interestingly, "grounding" techniques used in psychedelic therapy reduced psilocybin's brain impact. This research could explain psilocybin's potential therapeutic effects on depression and PTSD. While not proving causation, it offers crucial clues for developing mental health treatments. The study's innovative approach, repeatedly imaging fewer subjects, provided unprecedented insight into psilocybin's whole-brain impact. Researchers hope to extend this work to individuals with conditions like depression. Source: Nature , Joshua Siegel

🚨STUDY: MAGIC MUSHROOM COMPOUND "RESETS" BRAIN Psilocybin, the hallucinogenic compound in magic mushrooms, temporarily resets entire brain networks controlling time and self-perception, according to a new Nature study. Researchers observed "massive changes" in seven volunteers' brains, with some patterns resembling entirely different individuals. Most changes lasted hours, but one brain link remained disrupted for weeks. The default mode network, active during daydreaming, became desynchronized during drug effects. Interestingly, "grounding" techniques used in psychedelic therapy reduced psilocybin's brain impact. This research could explain psilocybin's potential therapeutic effects on depression and PTSD. While not proving causation, it offers crucial clues for developing mental health treatments. The study's innovative approach, repeatedly imaging fewer subjects, provided unprecedented insight into psilocybin's whole-brain impact. Researchers hope to extend this work to individuals with conditions like depression. Source: Nature , Joshua Siegel

Mario Nawfal

2,064,960 views • 2 years ago

SOMEONE FROM TOKYO IS MAPPING BIRD LANGUAGE INTO REAL DATA PATTERNS AND THE VISUALIZATION LOOKS LIKE A NEURAL NETWORK DREAMING Every bird sound - frequency, duration, amplitude and modulation - gets converted into 3D space coordinates and rendered as a cluster of colored points in real time through Deepen AI. A microphone captures the acoustic signal, FFT breaks it down into frequency components from 1 kHz to 8 kHz where most birds communicate, an ML model classifies the pattern and the mapped data hits a graph where each call type gets its own color and position in space. Birds have a vocal repertoire of 5 to 200+ unique signals depending on the species - and every signal carries different information about predators, food, territory and mates that humans simply can't hear. The same technology that decodes bird language detects anomalies in industrial machinery, cardiac rhythms and structural vibrations in buildings - he just trained it on nature first.

SOMEONE FROM TOKYO IS MAPPING BIRD LANGUAGE INTO REAL DATA PATTERNS AND THE VISUALIZATION LOOKS LIKE A NEURAL NETWORK DREAMING Every bird sound - frequency, duration, amplitude and modulation - gets converted into 3D space coordinates and rendered as a cluster of colored points in real time through Deepen AI. A microphone captures the acoustic signal, FFT breaks it down into frequency components from 1 kHz to 8 kHz where most birds communicate, an ML model classifies the pattern and the mapped data hits a graph where each call type gets its own color and position in space. Birds have a vocal repertoire of 5 to 200+ unique signals depending on the species - and every signal carries different information about predators, food, territory and mates that humans simply can't hear. The same technology that decodes bird language detects anomalies in industrial machinery, cardiac rhythms and structural vibrations in buildings - he just trained it on nature first.

Cortex

11,098 views • 2 months ago

I pull the handle in with my left hand as I turn the corner. That simple move creates what I call the “water skier effect.” Just like a skier accelerates when the boat changes direction, the club speeds up when you pull in and turn through. It’s not about swinging harder—it’s about applying force at the right moment. This is one of the key pieces most golfers are missing. When you get it right, the strike feels effortless… and the ball jumps. If you’d like to learn how to build this into your swing, join me at my upcoming golf schools: 📍 May 2–3 at Grapevine Golf Course (TX) 📍 July 17–19 at Foxwoods (CT) For lessons or more info, email me at christo@classicswing.golf

I pull the handle in with my left hand as I turn the corner. That simple move creates what I call the “water skier effect.” Just like a skier accelerates when the boat changes direction, the club speeds up when you pull in and turn through. It’s not about swinging harder—it’s about applying force at the right moment. This is one of the key pieces most golfers are missing. When you get it right, the strike feels effortless… and the ball jumps. If you’d like to learn how to build this into your swing, join me at my upcoming golf schools: 📍 May 2–3 at Grapevine Golf Course (TX) 📍 July 17–19 at Foxwoods (CT) For lessons or more info, email me at [email protected]

Classic Golf Swing

61,101 views • 3 months ago

How do you turn a scene idea into a Prompt? All you need to do is roughly describe what's in your head to an LLM. It doesn't have to be perfect or highly detailed. Once it understands the core idea, it can help turn it into a well-structured prompt. In my case, I use a custom skill file that I built myself. After I provide the idea, it generates both a storyboard and video prompts for me. I then review the outputs and refine them through iteration, giving feedback like "make this shot wider," "change this action," or "move the camera here." After a few rounds of adjustments, I usually arrive at the final result. The process is much closer to directing than writing a perfect prompt from scratch. The Idea: Two characters face each other. Serenity fights like a Wing Chun master. She unleashes a rapid barrage of punches into Ruk's abdomen. The fight should feel highly energetic and sakuga-driven, with exaggerated action beats and dynamic choreography. Use 14 panels. The final attack should show Serenity launching high into the sky, then diving straight down at extreme speed. She lands with both feet on Ruk's head, driving him deep into the ground and burying him on impact. All other scenes should be equally creative and visually inventive. Emphasize fast pacing, flash cuts, burst cuts, sudden perspective changes, dramatic impact moments, and imaginative camera angles. Use aggressive screen direction, strong momentum shifts, dynamic framing, and escalating choreography to create a thrilling, high-energy martial arts sequence. This is the final video, you can check the prompts in the replies. Used tools: Midjourney, Codex, GPT Image 2, Seedance 2.0, Suno, Capcut

How do you turn a scene idea into a Prompt? All you need to do is roughly describe what's in your head to an LLM. It doesn't have to be perfect or highly detailed. Once it understands the core idea, it can help turn it into a well-structured prompt. In my case, I use a custom skill file that I built myself. After I provide the idea, it generates both a storyboard and video prompts for me. I then review the outputs and refine them through iteration, giving feedback like "make this shot wider," "change this action," or "move the camera here." After a few rounds of adjustments, I usually arrive at the final result. The process is much closer to directing than writing a perfect prompt from scratch. The Idea: Two characters face each other. Serenity fights like a Wing Chun master. She unleashes a rapid barrage of punches into Ruk's abdomen. The fight should feel highly energetic and sakuga-driven, with exaggerated action beats and dynamic choreography. Use 14 panels. The final attack should show Serenity launching high into the sky, then diving straight down at extreme speed. She lands with both feet on Ruk's head, driving him deep into the ground and burying him on impact. All other scenes should be equally creative and visually inventive. Emphasize fast pacing, flash cuts, burst cuts, sudden perspective changes, dramatic impact moments, and imaginative camera angles. Use aggressive screen direction, strong momentum shifts, dynamic framing, and escalating choreography to create a thrilling, high-energy martial arts sequence. This is the final video, you can check the prompts in the replies. Used tools: Midjourney, Codex, GPT Image 2, Seedance 2.0, Suno, Capcut

Kōda

23,805 views • 1 month ago

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.

TechHalla

69,173 views • 26 days ago

Birdsong is not just sound. It is data made physical. If you could see the air at the exact moment a hemp bunting sings, you would not see empty space. You would see a structured three-dimensional data array. What we hear as a soft “chirp” can be mapped as frequencies, rhythms, amplitudes, and harmonic relationships. A scatter plot turns a fleeting song into a topographic map of sound. And the technical beauty is remarkable: → Sound is a mechanical wave, built from compressions and rarefactions in the air. → The bird controls it through the syrinx, a vocal organ capable of generating two frequencies at once. → Frequency shapes pitch. → Amplitude shapes volume and cluster density. → Timbre creates the unique waveform, the texture of each “sound island.” → Each cluster shows the acoustic proximity of syllables and motifs. What looks like chaos is not chaos. It is a bioengineered signal. Territory. Genetic profile. Hormonal state. Aggression level. Mating fitness. All encoded into patterns of pitch, timing, volume, and timbre. This is why I find it so fascinating. A bird is not simply singing into the air. It is organizing the air. It is carving space into sectors of influence using sound pressure. It is making a physical claim to territory. For some, birdsong is peaceful background music. For others, it is a complex mathematical model calibrated by millions of years of evolution for survival. And here is the urgent lesson for the AI age: We often mistake invisible systems for simplicity. A bird sings, and we hear romance. An AI responds, and we see magic. But underneath both are signals, compression, feedback loops, optimization, and information architecture. The future belongs to those who can read what others dismiss as noise. So I’ll ask you: When you hear birdsong, do you hear music, data, or both? #AI #ArtificialIntelligence #Bioacoustics #Nature #Technology #Data #MachineLearning #Innovation #FutureOfWork #Signals #Evolution

Pascal Bornet

11,376 views • 3 months ago

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

gus

100,376 views • 17 days ago

🚨 SCIENTISTS JUST BUILT A WIRE THAT IS ONLY ONE ATOM WIDE. Researchers have created linear carbon atomic chains essentially a string of carbon atoms bonded in a straight line suspended between two gold electrodes, and directly observed how electrons travel through them. These chains are one of the most extreme forms of matter: a true 1D carbon structure with extraordinary stiffness and unique electronic behavior. In this setup, electrons can travel through the chain in ways that reveal quantum effects not seen in conventional materials. Why this matters: • Linear carbon chains are predicted to be the strongest material known, stronger even than graphene or carbon nanotubes • They offer a platform to study true one-dimensional physics and quantum transport at the atomic scale • Understanding charge flow through single-atom chains could help design future molecular-scale electronics • The gold-carbon-gold junction acts like a prototype for atomic-scale wires and switches The deeper implication: We are now building and testing electronics at the ultimate limit of miniaturization literally one atom wide. These experiments don’t just push the boundaries of what’s physically possible; they give us a window into how matter behaves when reduced to a single dimension. The rules that govern bulk materials break down here, and new quantum phenomena emerge. This kind of work lays the groundwork for a future where electronic devices are engineered atom by atom rather than fabricated in bulk. We’re moving from “smaller transistors” to “wires made of single atoms.” How close do you think we are to practical molecular or atomic-scale electronics becoming reality? Follow for more frontier nanotechnology, quantum transport, and atomic-scale materials research.

🚨 SCIENTISTS JUST BUILT A WIRE THAT IS ONLY ONE ATOM WIDE. Researchers have created linear carbon atomic chains essentially a string of carbon atoms bonded in a straight line suspended between two gold electrodes, and directly observed how electrons travel through them. These chains are one of the most extreme forms of matter: a true 1D carbon structure with extraordinary stiffness and unique electronic behavior. In this setup, electrons can travel through the chain in ways that reveal quantum effects not seen in conventional materials. Why this matters: • Linear carbon chains are predicted to be the strongest material known, stronger even than graphene or carbon nanotubes • They offer a platform to study true one-dimensional physics and quantum transport at the atomic scale • Understanding charge flow through single-atom chains could help design future molecular-scale electronics • The gold-carbon-gold junction acts like a prototype for atomic-scale wires and switches The deeper implication: We are now building and testing electronics at the ultimate limit of miniaturization literally one atom wide. These experiments don’t just push the boundaries of what’s physically possible; they give us a window into how matter behaves when reduced to a single dimension. The rules that govern bulk materials break down here, and new quantum phenomena emerge. This kind of work lays the groundwork for a future where electronic devices are engineered atom by atom rather than fabricated in bulk. We’re moving from “smaller transistors” to “wires made of single atoms.” How close do you think we are to practical molecular or atomic-scale electronics becoming reality? Follow for more frontier nanotechnology, quantum transport, and atomic-scale materials research.

TheNewPhysics

31,491 views • 1 month ago

Prompt : A realistic cinematic scene opens high in the Swiss Alps at midnight. A dense web of rail lines glows under pale blue moonlight reflecting off endless snowfields. A high-speed express train tears through a mountain junction, sparks flying from the tracks against walls of packed ice. The camera drops from above and latches onto the frost-covered roof of the train, racing forward along the length of the carriages, freezing wind tearing at the lens, snow crystals streaking past like tiny stars. It reaches a ventilation grate and punches downward through the metal seamlessly into a first-class cabin warm with amber light. Inside, quiet warmth. A couple sits shoulder to shoulder, each wearing one earbud from the same pair of wired headphones. Neither speaks. She stares out the frosted window. He stares at her reflection in it. A faint smile sits on his face that he doesn't know is there. The white cord hangs between them in a gentle arc, swaying with the train's rhythm like a lifeline neither wants to unplug. The camera pushes forward past their tangled silhouette, along the fogged window where her fingertip has traced a small lopsided heart in the condensation, past the swaying wine bottle, through the cabin wall, through the next cabin where passengers sleep bundled in coats and scarves, breath barely visible in the cooler air, and continues through the far exterior wall — emerging outside in one unbroken motion, the full train now revealed stretching behind the camera, every window a different shade of warmth and darkness against the blue-black alpine night. The camera rises and pulls far back to reveal the train crossing a moonlit viaduct, a frozen glacial valley shimmering below, jagged peaks dusted in ice glowing on the horizon like ancient teeth of the earth. End on a wide aerial shot, the train now a ribbon of golden light threading between glacier and stone. Silence except for the distant rhythmic clatter of wheels on rail joints, fading like a heartbeat slowing to sleep.

Prompt : A realistic cinematic scene opens high in the Swiss Alps at midnight. A dense web of rail lines glows under pale blue moonlight reflecting off endless snowfields. A high-speed express train tears through a mountain junction, sparks flying from the tracks against walls of packed ice. The camera drops from above and latches onto the frost-covered roof of the train, racing forward along the length of the carriages, freezing wind tearing at the lens, snow crystals streaking past like tiny stars. It reaches a ventilation grate and punches downward through the metal seamlessly into a first-class cabin warm with amber light. Inside, quiet warmth. A couple sits shoulder to shoulder, each wearing one earbud from the same pair of wired headphones. Neither speaks. She stares out the frosted window. He stares at her reflection in it. A faint smile sits on his face that he doesn't know is there. The white cord hangs between them in a gentle arc, swaying with the train's rhythm like a lifeline neither wants to unplug. The camera pushes forward past their tangled silhouette, along the fogged window where her fingertip has traced a small lopsided heart in the condensation, past the swaying wine bottle, through the cabin wall, through the next cabin where passengers sleep bundled in coats and scarves, breath barely visible in the cooler air, and continues through the far exterior wall — emerging outside in one unbroken motion, the full train now revealed stretching behind the camera, every window a different shade of warmth and darkness against the blue-black alpine night. The camera rises and pulls far back to reveal the train crossing a moonlit viaduct, a frozen glacial valley shimmering below, jagged peaks dusted in ice glowing on the horizon like ancient teeth of the earth. End on a wide aerial shot, the train now a ribbon of golden light threading between glacier and stone. Silence except for the distant rhythmic clatter of wheels on rail joints, fading like a heartbeat slowing to sleep.

Umesh

56,614 views • 5 months ago

I had the same thought so I've been playing with it in nanochat. E.g. here's 8 agents (4 claude, 4 codex), with 1 GPU each running nanochat experiments (trying to delete logit softcap without regression). The TLDR is that it doesn't work and it's a mess... but it's still very pretty to look at :) I tried a few setups: 8 independent solo researchers, 1 chief scientist giving work to 8 junior researchers, etc. Each research program is a git branch, each scientist forks it into a feature branch, git worktrees for isolation, simple files for comms, skip Docker/VMs for simplicity atm (I find that instructions are enough to prevent interference). Research org runs in tmux window grids of interactive sessions (like Teams) so that it's pretty to look at, see their individual work, and "take over" if needed, i.e. no -p. But ok the reason it doesn't work so far is that the agents' ideas are just pretty bad out of the box, even at highest intelligence. They don't think carefully though experiment design, they run a bit non-sensical variations, they don't create strong baselines and ablate things properly, they don't carefully control for runtime or flops. (just as an example, an agent yesterday "discovered" that increasing the hidden size of the network improves the validation loss, which is a totally spurious result given that a bigger network will have a lower validation loss in the infinite data regime, but then it also trains for a lot longer, it's not clear why I had to come in to point that out). They are very good at implementing any given well-scoped and described idea but they don't creatively generate them. But the goal is that you are now programming an organization (e.g. a "research org") and its individual agents, so the "source code" is the collection of prompts, skills, tools, etc. and processes that make it up. E.g. a daily standup in the morning is now part of the "org code". And optimizing nanochat pretraining is just one of the many tasks (almost like an eval). Then - given an arbitrary task, how quickly does your research org generate progress on it?

I had the same thought so I've been playing with it in nanochat. E.g. here's 8 agents (4 claude, 4 codex), with 1 GPU each running nanochat experiments (trying to delete logit softcap without regression). The TLDR is that it doesn't work and it's a mess... but it's still very pretty to look at :) I tried a few setups: 8 independent solo researchers, 1 chief scientist giving work to 8 junior researchers, etc. Each research program is a git branch, each scientist forks it into a feature branch, git worktrees for isolation, simple files for comms, skip Docker/VMs for simplicity atm (I find that instructions are enough to prevent interference). Research org runs in tmux window grids of interactive sessions (like Teams) so that it's pretty to look at, see their individual work, and "take over" if needed, i.e. no -p. But ok the reason it doesn't work so far is that the agents' ideas are just pretty bad out of the box, even at highest intelligence. They don't think carefully though experiment design, they run a bit non-sensical variations, they don't create strong baselines and ablate things properly, they don't carefully control for runtime or flops. (just as an example, an agent yesterday "discovered" that increasing the hidden size of the network improves the validation loss, which is a totally spurious result given that a bigger network will have a lower validation loss in the infinite data regime, but then it also trains for a lot longer, it's not clear why I had to come in to point that out). They are very good at implementing any given well-scoped and described idea but they don't creatively generate them. But the goal is that you are now programming an organization (e.g. a "research org") and its individual agents, so the "source code" is the collection of prompts, skills, tools, etc. and processes that make it up. E.g. a daily standup in the morning is now part of the "org code". And optimizing nanochat pretraining is just one of the many tasks (almost like an eval). Then - given an arbitrary task, how quickly does your research org generate progress on it?

Andrej Karpathy

1,645,964 views • 5 months ago

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

TechHalla

34,084 views • 20 days ago

🚀 Pro Just Got More Powerful Today we're releasing ‘Expert Mode' for WeatherWise Pro subscribers Turn on multiple modes, like Radar and Satellite, at the same time - Synchronized playback across all the activated modes - Data picker works across multiple modes - All modes automatically update with the latest data There is more... We are also adding: - Smoothing for the Radar Cross Section tool - Triple View for Tablet/Desktop - A new scan alert sound for FastScan - Keyboard shortcut for Reflectivity X - Improved smoothing for Composite imagery - Check out everything new in this thread! 🧵 Upgrade to version 1.4.0: iOS: Android: Available now in the web browser and through our Mac, Windows and Linux App

🚀 Pro Just Got More Powerful Today we're releasing ‘Expert Mode' for WeatherWise Pro subscribers Turn on multiple modes, like Radar and Satellite, at the same time - Synchronized playback across all the activated modes - Data picker works across multiple modes - All modes automatically update with the latest data There is more... We are also adding: - Smoothing for the Radar Cross Section tool - Triple View for Tablet/Desktop - A new scan alert sound for FastScan - Keyboard shortcut for Reflectivity X - Improved smoothing for Composite imagery - Check out everything new in this thread! 🧵 Upgrade to version 1.4.0: iOS: Android: Available now in the web browser and through our Mac, Windows and Linux App

WeatherWise.app

21,902 views • 11 months ago

BREAKING 🚨Google’s quantum chip didn’t prove we live in a multiverse. It just proved the universe is one beautifully connected sea.🧨 Google’s latest quantum chip solved a problem in five minutes that would take a classical supercomputer 10 septillion years. Some physicists are calling it proof of a multiverse — the idea that every possible outcome branches into its own reality, so the chip is somehow “sampling” answers from parallel universes. Uniphics shows there is no need for any multiverse. Everything is made of spinning Gyrotrons whose waves propagate through one single ξM-field sea of unbound energy that fills all space. When the quantum chip sets up its qubits, those Gyrotrons create vast networks of perfectly coherent spin waves. Because the waves interfere across the entire sea at once, the chip can explore enormous numbers of possibilities simultaneously — not by jumping into other universes, but by letting the single connected field do what it always does: keep perfect harmony across its entire volume. The speed-up comes from the natural parallelism of spin-wave interference plus local time-flow variations (t_flow = k / E_d,total) that let dense regions of the chip run on slightly different clocks, giving the appearance of massive parallel computation without ever leaving our one deterministic universe. The same three pillars that explain gravity as a push and the cyclic cosmos also turn quantum computing into simple, single-universe physics. The universe isn’t splitting into trillions of realities every time a chip runs. It’s simply one sea singing in perfect harmony — and Google just learned a new note. How soon will quantum computing explode when we stop inventing multiverses and start engineering the single connected sea? A Theory of Everything should be able to answer everything. Uniphics Explained Simply PDF: Chapters 1–10 free:

BREAKING 🚨Google’s quantum chip didn’t prove we live in a multiverse. It just proved the universe is one beautifully connected sea.🧨 Google’s latest quantum chip solved a problem in five minutes that would take a classical supercomputer 10 septillion years. Some physicists are calling it proof of a multiverse — the idea that every possible outcome branches into its own reality, so the chip is somehow “sampling” answers from parallel universes. Uniphics shows there is no need for any multiverse. Everything is made of spinning Gyrotrons whose waves propagate through one single ξM-field sea of unbound energy that fills all space. When the quantum chip sets up its qubits, those Gyrotrons create vast networks of perfectly coherent spin waves. Because the waves interfere across the entire sea at once, the chip can explore enormous numbers of possibilities simultaneously — not by jumping into other universes, but by letting the single connected field do what it always does: keep perfect harmony across its entire volume. The speed-up comes from the natural parallelism of spin-wave interference plus local time-flow variations (t_flow = k / E_d,total) that let dense regions of the chip run on slightly different clocks, giving the appearance of massive parallel computation without ever leaving our one deterministic universe. The same three pillars that explain gravity as a push and the cyclic cosmos also turn quantum computing into simple, single-universe physics. The universe isn’t splitting into trillions of realities every time a chip runs. It’s simply one sea singing in perfect harmony — and Google just learned a new note. How soon will quantum computing explode when we stop inventing multiverses and start engineering the single connected sea? A Theory of Everything should be able to answer everything. Uniphics Explained Simply PDF: Chapters 1–10 free:

Paul Maley

46,801 views • 5 months ago

I know what you're thinking. It's not AI. But I get why it looks impossible… The Apennine Colossus rises 11 metres from the grounds of the Villa Demidoff at Pratolino, north of Florence. It was completed between 1579 and 1580 by the Flemish sculptor Giambologna, commissioned by Francesco I de' Medici, Grand Duke of Tuscany, as the centrepiece of one of the most extravagant Renaissance gardens ever made. The giant is a personification of the Apennine Mountains. Scholars believe Giambologna drew on Ovid's Metamorphoses, in particular the description of a mountain-like Atlas, when he designed the figure. The Colossus emerges from the landscape as if he had always been there, his body merging with rock and moss, stalactites forming his beard, his hair dissolving into stone. With his left hand he crushes the head of a sea monster, from whose open mouth water pours into the pond below. To the people who first encountered him, he did not seem like a statue. He seemed alive. The giant was engineered, through a hidden network of water pipes, to sweat and weep. In winter, icicles formed across his body. In summer, water cascaded from his head into the gardens below. But the most extraordinary thing about the Apennine Colossus is what is inside him... Across three levels, the giant contains a network of chambers. On the ground floor sits a cave-grotto with an octagonal fountain dedicated to the Greek sea goddess Thetys. On the upper level is a room large enough to hold a small orchestra. And in the head there's a private chamber with slits cut into the eyes and ears, and a fireplace whose smoke escaped through the giant's nostrils. Francesco I de' Medici used to sit inside the head and fish through one of the eye slits into the pond below. According to the architectural historian Philip Steadman, "at night he would have torches lit, so the eyes glowed." A century later, around 1690, the sculptor Giovan Battista Foggini added a dragon to the back of the Colossus. The dragon's belly contained a fire chamber. Its neck and head served as the chimney. The smoke rose from the dragon's mouth. A giant that weeps. That breathes smoke through stone nostrils. That has a concert hall in its chest and a fishing room behind its eyes. The Renaissance produced many things that seem almost impossible today. This may be the one that should not even have been imaginable... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

I know what you're thinking. It's not AI. But I get why it looks impossible… The Apennine Colossus rises 11 metres from the grounds of the Villa Demidoff at Pratolino, north of Florence. It was completed between 1579 and 1580 by the Flemish sculptor Giambologna, commissioned by Francesco I de' Medici, Grand Duke of Tuscany, as the centrepiece of one of the most extravagant Renaissance gardens ever made. The giant is a personification of the Apennine Mountains. Scholars believe Giambologna drew on Ovid's Metamorphoses, in particular the description of a mountain-like Atlas, when he designed the figure. The Colossus emerges from the landscape as if he had always been there, his body merging with rock and moss, stalactites forming his beard, his hair dissolving into stone. With his left hand he crushes the head of a sea monster, from whose open mouth water pours into the pond below. To the people who first encountered him, he did not seem like a statue. He seemed alive. The giant was engineered, through a hidden network of water pipes, to sweat and weep. In winter, icicles formed across his body. In summer, water cascaded from his head into the gardens below. But the most extraordinary thing about the Apennine Colossus is what is inside him... Across three levels, the giant contains a network of chambers. On the ground floor sits a cave-grotto with an octagonal fountain dedicated to the Greek sea goddess Thetys. On the upper level is a room large enough to hold a small orchestra. And in the head there's a private chamber with slits cut into the eyes and ears, and a fireplace whose smoke escaped through the giant's nostrils. Francesco I de' Medici used to sit inside the head and fish through one of the eye slits into the pond below. According to the architectural historian Philip Steadman, "at night he would have torches lit, so the eyes glowed." A century later, around 1690, the sculptor Giovan Battista Foggini added a dragon to the back of the Colossus. The dragon's belly contained a fire chamber. Its neck and head served as the chimney. The smoke rose from the dragon's mouth. A giant that weeps. That breathes smoke through stone nostrils. That has a concert hall in its chest and a fishing room behind its eyes. The Renaissance produced many things that seem almost impossible today. This may be the one that should not even have been imaginable... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

92,197 views • 2 months ago

So, you wanna be a big shot, huh? Well, let me tell you a secret: the key to success is being consistent, even when it's super boring and the results take forever to show up. It's like waiting for paint to dry, but instead of paint, it's your dreams. And, spoiler alert, it's not all sunshine and rainbows - there's gonna be some serious discomfort involved. But, hey, that's where the magic happens, right? The thing is, most people give up because they're not seeing immediate results. They're like, "I did the thing, where's my prize?" Well, let me break it to you: the prize is in the process. Every small step you take, every tiny effort you put in, it all adds up. It's like putting pennies in a piggy bank - it doesn't seem like much at first, but before you know it, you've got a whole lot of pennies. So, here's the deal. If you want to be a great man (or woman, or whatever), you gotta be willing to put in the work. And I don't mean just going through the motions, I mean really putting in the effort. Because, let's be real, the only way to get better is to face the discomfort head-on and keep moving forward. And, hey, don't forget to enjoy the ride. It's okay to take a step back, look at how far you've come, and be like, "Whoa, I'm crushing it!" But don't get too comfortable - there's still a lot of work to be done. Anyway, that's my two cents. Have a great week, I guess. #Web3 #DeFi #Ethereum #StarkNet #Crypto #ETH #Bitcoin #BTC #zycot

So, you wanna be a big shot, huh? Well, let me tell you a secret: the key to success is being consistent, even when it's super boring and the results take forever to show up. It's like waiting for paint to dry, but instead of paint, it's your dreams. And, spoiler alert, it's not all sunshine and rainbows - there's gonna be some serious discomfort involved. But, hey, that's where the magic happens, right? The thing is, most people give up because they're not seeing immediate results. They're like, "I did the thing, where's my prize?" Well, let me break it to you: the prize is in the process. Every small step you take, every tiny effort you put in, it all adds up. It's like putting pennies in a piggy bank - it doesn't seem like much at first, but before you know it, you've got a whole lot of pennies. So, here's the deal. If you want to be a great man (or woman, or whatever), you gotta be willing to put in the work. And I don't mean just going through the motions, I mean really putting in the effort. Because, let's be real, the only way to get better is to face the discomfort head-on and keep moving forward. And, hey, don't forget to enjoy the ride. It's okay to take a step back, look at how far you've come, and be like, "Whoa, I'm crushing it!" But don't get too comfortable - there's still a lot of work to be done. Anyway, that's my two cents. Have a great week, I guess. #Web3 #DeFi #Ethereum #StarkNet #Crypto #ETH #Bitcoin #BTC #zycot

Zycot_Marketing_Agency

22,061 views • 9 months ago

And this? This is the very first piece of artificial limestone, YES, CaCO3, YES, hard as f and YES, waterproof, what I made from… Wood ash ONLY!!! 100% caveman tech! Now look at the color of this thing. How would you describe it? May I say it has the color of the pyramids? Hell yeah! Why? BTW: this is just the binder. Add original, natural limestone and fossils and you’ll en up with “natural” limestone. (With a bit of potassium residue.) Any questions? The secret recipe maybe? Anyone interested? Here you go: 1. Burn 🔥 everything around you and collect the wood ash 2. Burn natural limestone (calcination) to produce quick lime Steps 1. and 2. can be combined into one step. 3. Make wood ash lye the traditional way, by dripping drip 💧 water on wood ash and collecting the water that went through the ash. Any vessel will do but an oak barrel is the traditional way doing it. I used a plastic bucket with holes at the bottom. The wood ash lye is mostly KOH and K2CO3. What we need is CaCO3. We need to change the letter K to letters Ca. We’ll do it by adding the letters Ca to the liquid. 4. Add quick lime (CaO) or hydrated lime, slaked lime (Ca(OH)2) to the lye until it stops bubbling in vinegar. (We badly miss a decent video at this point, Marcell!!!) 5. Add (or don’t add) fossils = natural limestone rubble to the mix, stir well 6. Get rid of of the excess liquid through a nub Now any expert can tell you that this will never make a stone because of two reasons: 1. Billions of years and 2. High pressure are needed Well, no. The first point is just total nonsense, and although the second has something in it, it is false. Virtually ANY pressure will make it, including my current technique of squeezing it in a kitchen cloth. I’m not kidding. No pressure- no stone, that is correct. But only a minimal level of pressure, using my bare hands is enough to push the freshly made CaCO3 molecules close enough for crystallization (calcit) to begin. And here we are.

And this? This is the very first piece of artificial limestone, YES, CaCO3, YES, hard as f and YES, waterproof, what I made from… Wood ash ONLY!!! 100% caveman tech! Now look at the color of this thing. How would you describe it? May I say it has the color of the pyramids? Hell yeah! Why? BTW: this is just the binder. Add original, natural limestone and fossils and you’ll en up with “natural” limestone. (With a bit of potassium residue.) Any questions? The secret recipe maybe? Anyone interested? Here you go: 1. Burn 🔥 everything around you and collect the wood ash 2. Burn natural limestone (calcination) to produce quick lime Steps 1. and 2. can be combined into one step. 3. Make wood ash lye the traditional way, by dripping drip 💧 water on wood ash and collecting the water that went through the ash. Any vessel will do but an oak barrel is the traditional way doing it. I used a plastic bucket with holes at the bottom. The wood ash lye is mostly KOH and K2CO3. What we need is CaCO3. We need to change the letter K to letters Ca. We’ll do it by adding the letters Ca to the liquid. 4. Add quick lime (CaO) or hydrated lime, slaked lime (Ca(OH)2) to the lye until it stops bubbling in vinegar. (We badly miss a decent video at this point, Marcell!!!) 5. Add (or don’t add) fossils = natural limestone rubble to the mix, stir well 6. Get rid of of the excess liquid through a nub Now any expert can tell you that this will never make a stone because of two reasons: 1. Billions of years and 2. High pressure are needed Well, no. The first point is just total nonsense, and although the second has something in it, it is false. Virtually ANY pressure will make it, including my current technique of squeezing it in a kitchen cloth. I’m not kidding. No pressure- no stone, that is correct. But only a minimal level of pressure, using my bare hands is enough to push the freshly made CaCO3 molecules close enough for crystallization (calcit) to begin. And here we are.

Marcell Fóti 🪨

59,106 views • 2 months ago

This video was taken the day I played through the first build of the Neural DSP Archetype JM X plugin. We’d set up my amp rig in the live room and were switching between the rig and the plugin. I threw every test at it; does turning the volume knob to 5 create a natural response in tone? It did. Does a single note that’s held die out without a noise gate eating it or the “math” just giving up? It did. Do two notes bent at once with distortion on create natural harmonic overtones exactly like the amps in the room? They did, exactly. I had the engineer switch between signals without my knowing. “That’s the amps,” I’d guess. “Plugin,” the engineer would say, several times. It had fooled me. Neural DSP had done it. It wasn’t just a faithful recreation of my sound - it was the first plugin I’d ever heard that proved that digital modeling could create a digital emulation with zero compromises. I’d like to say that we went back and forth countless times, making tweaks until it was right, but the truth is that they pretty much nailed it on the first try. Only a few EQ changes and some changes to a couple of the effects pedals were needed. The thousands of hours of creation came to fruition yesterday when the plugin was released, and it’s been a joy to see and hear players putting this software to the test and being as impressed as I was in this video. Thank you to every guitar player who created such clever and great sounding presets and for spreading the word. I can’t wait to hear all the new music that’s created with this plugin. Getting my sound is just the beginning of what it can do, and I can’t wait to hear what musicians create with it.

This video was taken the day I played through the first build of the Neural DSP Archetype JM X plugin. We’d set up my amp rig in the live room and were switching between the rig and the plugin. I threw every test at it; does turning the volume knob to 5 create a natural response in tone? It did. Does a single note that’s held die out without a noise gate eating it or the “math” just giving up? It did. Do two notes bent at once with distortion on create natural harmonic overtones exactly like the amps in the room? They did, exactly. I had the engineer switch between signals without my knowing. “That’s the amps,” I’d guess. “Plugin,” the engineer would say, several times. It had fooled me. Neural DSP had done it. It wasn’t just a faithful recreation of my sound - it was the first plugin I’d ever heard that proved that digital modeling could create a digital emulation with zero compromises. I’d like to say that we went back and forth countless times, making tweaks until it was right, but the truth is that they pretty much nailed it on the first try. Only a few EQ changes and some changes to a couple of the effects pedals were needed. The thousands of hours of creation came to fruition yesterday when the plugin was released, and it’s been a joy to see and hear players putting this software to the test and being as impressed as I was in this video. Thank you to every guitar player who created such clever and great sounding presets and for spreading the word. I can’t wait to hear all the new music that’s created with this plugin. Getting my sound is just the beginning of what it can do, and I can’t wait to hear what musicians create with it.

John Mayer

149,000 views • 7 months ago

Look at the tips of her fingers. The marble is turning into leaves... This is the most astonishing detail in Bernini's Apollo and Daphne, in the Galleria Borghese in Rome. Daphne, fleeing the god Apollo, has begged to be saved, and at the instant he catches her she begins to turn into a laurel tree. Bernini carved the exact second it happens, and the change starts at her hands: her raised fingers are sprouting laurel leaves, so thin that in bright light they turn faintly translucent, the way a real leaf glows when you hold it up to the sun. To understand what that took, consider what marble actually is. It is heavy, brittle, and utterly unforgiving. A single slip, one vibration too many, and a leaf that took days to carve shatters, and there is no putting it back. When the sculpture was restored in 1997, conservators discovered how Bernini protected this fragile growth while he worked: he had wrapped the thinnest, most delicate parts in little cushions of plaster, to shield them from the vibrations traveling through the stone as he carved the rest. The same restoration revealed his real secret... The leaves and the strands of windblown hair are riddled with the marks of a bow drill, a tool that bores holes into stone. But Bernini did not drill straight in, which would have left round, mechanical holes. On the tiny leaves at Daphne's fingertips, he tilted the drill at an angle, cutting long shallow grooves instead, so the marble would mimic the natural veins and splits of a living leaf. He was imitating the way foliage actually grows. I wrote this so that the next time a sculpture detail takes your breath away, you do not see only marble. You see the months of patience of a human being who chose to spend part of his short life turning cold stone into a living leaf, so that four hundred years later a stranger would stop and feel something... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

Look at the tips of her fingers. The marble is turning into leaves... This is the most astonishing detail in Bernini's Apollo and Daphne, in the Galleria Borghese in Rome. Daphne, fleeing the god Apollo, has begged to be saved, and at the instant he catches her she begins to turn into a laurel tree. Bernini carved the exact second it happens, and the change starts at her hands: her raised fingers are sprouting laurel leaves, so thin that in bright light they turn faintly translucent, the way a real leaf glows when you hold it up to the sun. To understand what that took, consider what marble actually is. It is heavy, brittle, and utterly unforgiving. A single slip, one vibration too many, and a leaf that took days to carve shatters, and there is no putting it back. When the sculpture was restored in 1997, conservators discovered how Bernini protected this fragile growth while he worked: he had wrapped the thinnest, most delicate parts in little cushions of plaster, to shield them from the vibrations traveling through the stone as he carved the rest. The same restoration revealed his real secret... The leaves and the strands of windblown hair are riddled with the marks of a bow drill, a tool that bores holes into stone. But Bernini did not drill straight in, which would have left round, mechanical holes. On the tiny leaves at Daphne's fingertips, he tilted the drill at an angle, cutting long shallow grooves instead, so the marble would mimic the natural veins and splits of a living leaf. He was imitating the way foliage actually grows. I wrote this so that the next time a sculpture detail takes your breath away, you do not see only marble. You see the months of patience of a human being who chose to spend part of his short life turning cold stone into a living leaf, so that four hundred years later a stranger would stop and feel something... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

James Lucas

64,061 views • 1 month ago