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(English Below) “It’s not possible, no, it’s necessary.” สัมผัสความตื่นเต้นเร้าใจจนหัวใจเต้นผิดจังหวะ กับเพลง "No Time For Caution" ของ Hans Zimmer บรรเลงสดโดยวงออร์เคสตราเต็มวงพร้อมไปกับฉากระดับตำนานจากภาพยนตร์ Interstellar! Interstellar Live จัดแสดงในรูปแบบ Live to Film with Orchestra คือ การชมภาพยนตร์ที่จะได้ยินเสียงบทสนทนา เสียงร้องและเสียงเอฟเฟกต์ต่าง ๆ อย่างที่เคยได้ยินจากภาพยนตร์ต้นฉบับ แต่เสียงดนตรีประกอบภาพยนตร์ทั้งหมดจะถูกถอดออก และได้รับการบบรรเลงสดโดยวงซิมโฟนีออร์เคสรา ที่เล่นอยู่บนเวทีด้านหน้าจอภาพยนตร์ ผู้ชมจะได้สัมผัสประสบการณ์ดูหนังและฟังดนตรีไปพร้อม ๆ กันกับเสียงดนตรีที่เคยได้ยินแว่ว ๆ เมื่อดูภาพยนตร์ในแบบที่ชัดเจนขึ้น จนบางครั้งอาจทำให้ได้ยินเสียงที่ไม่เคยได้ยินมาก่อน รวมถึงได้เห็นว่าเสียงต่าง ๆ นั้นแท้ที่จริงแล้วถูกบรรเลงด้วยเครื่องดนตรีอย่างไรด้วย Interstellar Live 📆 วันพุธที่ 28...

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"Arknights" TV Anime Series Orchestra Concert [FILM ON ORCHESTRA] – Singapore This concert will feature footage from all three seasons—Prelude to Dawn, Perish in Frost, and Rise from Ember—accompanied by live performances from a full orchestra and band, led by Metapolitan Festival Orchestra, under the baton of Thanapol Setabrahmana, a conductor active across a wide range of musical genres beyond classical. We are also honored to welcome Kihow (MYTH & ROID) and Itoki Hana, who performed the theme songs for the TV series, as well as composer Yuki Hayashi, who created the original soundtrack, as our special guests. The music of Arknights was crafted to capture the atmosphere of its world and the emotions of its characters. Some pieces convey strength and sorrow, while others evoke the quiet passage of time. We invite you to immerse yourself in this special experience, recalling the memories shared with Amiya and her companions, as music and visuals come together in harmony. DATE: Nov.21 (Fri.), 2025 OPEN TIME: 04:00 (UTC-7) START TIME: 05:00 (UTC-7) Venue: The Star Theatre ▼ Get your tickets here Special Guest: #YukiHayashi #林ゆうき #ItokiHana #糸奇はな #KIHOW #MYTHandROID #Arknights #PERISHINFROST #PRELUDETODAWN #RISEFROMEMBER
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🚨3I/ATLAS: The Problem With Declaring "Nothing There" After Five Hours A recent report from the SETI community, specifically the Breakthrough Listen initiative, announced that a five hour radio scan of 3I/ATLAS detected no signals indicative of extraterrestrial technology. In much of mainstream astronomy coverage, that conclusion was framed as reassuring. Case closed, move on, nothing to see here. Avi Loeb, former chair of Harvard's astronomy department and lead investigator of the Galileo Project, has consistently argued that the way we search for non human technology is constrained by outdated assumptions about how advanced civilizations would behave. The main issue is that a five hour listening window tells us almost nothing about whether an interstellar object is technological in origin. Eight Thousand Years in the Solar System vs Five Hours of Listening. 3I/ATLAS did not suddenly appear last week. Based on orbital reconstructions, it likely spent roughly 8,000 years traveling from the outer edges of the Oort Cloud toward the inner solar system. That is a geological blink for us but an eternity compared to our observation time. Assuming that a technological object would broadcast a detectable signal exactly during the few hours we chose to look, in the frequencies we prefer, aimed directly at Earth, reflects human convenience and not scientific rigor. Loeb describes this mindset as presumptuous, and he's absolutley right. If an interstellar traveler were artificial, it would not be operating on our schedules, our frequencies, or our expectations. There is no saying that a technological probe would phone home in real time. One of the most overlooked points in SETI discussions is communication latency. Light takes tens of thousands of years to cross the Milky Way. Any civilization capable of launching interstellar probes would understand that real time communication is pointless. There is no tactical or scientific advantage to maintaining a live radio link with a probe once it has departed its origin system. In other words, silence is exactly what you'd expect. Loeb compares it to sending a child out into the world. You don't expect constant updates. You expect independence and perhaps the occasional message, on their terms, not yours. 3I/ATLAS may turn out to be entirely natural. That remains a valid possibility, but ruling out technology based on a five hour radio scan is not science it's wishful minimalism. True scientific humility means admitting what we don't know, expanding how we search, and resisting the urge to declare closure simply because uncertainty is awkward, because if something is out there whether we acknowledge it or not our opinions won't change that reality only our readiness will. Source:
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🚨3I/ATLAS: The Problem With Declaring "Nothing There" After Five Hours A recent report from the SETI community, specifically the Breakthrough Listen initiative, announced that a five hour radio scan of 3I/ATLAS detected no signals indicative of extraterrestrial technology. In much of mainstream astronomy coverage, that conclusion was framed as reassuring. Case closed, move on, nothing to see here. Avi Loeb, former chair of Harvard's astronomy department and lead investigator of the Galileo Project, has consistently argued that the way we search for non human technology is constrained by outdated assumptions about how advanced civilizations would behave. The main issue is that a five hour listening window tells us almost nothing about whether an interstellar object is technological in origin. Eight Thousand Years in the Solar System vs Five Hours of Listening. 3I/ATLAS did not suddenly appear last week. Based on orbital reconstructions, it likely spent roughly 8,000 years traveling from the outer edges of the Oort Cloud toward the inner solar system. That is a geological blink for us but an eternity compared to our observation time. Assuming that a technological object would broadcast a detectable signal exactly during the few hours we chose to look, in the frequencies we prefer, aimed directly at Earth, reflects human convenience and not scientific rigor. Loeb describes this mindset as presumptuous, and he's absolutley right. If an interstellar traveler were artificial, it would not be operating on our schedules, our frequencies, or our expectations. There is no saying that a technological probe would phone home in real time. One of the most overlooked points in SETI discussions is communication latency. Light takes tens of thousands of years to cross the Milky Way. Any civilization capable of launching interstellar probes would understand that real time communication is pointless. There is no tactical or scientific advantage to maintaining a live radio link with a probe once it has departed its origin system. In other words, silence is exactly what you'd expect. Loeb compares it to sending a child out into the world. You don't expect constant updates. You expect independence and perhaps the occasional message, on their terms, not yours. 3I/ATLAS may turn out to be entirely natural. That remains a valid possibility, but ruling out technology based on a five hour radio scan is not science it's wishful minimalism. True scientific humility means admitting what we don't know, expanding how we search, and resisting the urge to declare closure simply because uncertainty is awkward, because if something is out there whether we acknowledge it or not our opinions won't change that reality only our readiness will. Source:

Skywatch Signal

39,070 просмотров • 6 месяцев назад

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Kiss just performed its last live concert. Since 1974, the iconic band has grossed $1B+ on tours but it isn't over: Kiss will be the first US band to get immortalized as digital avatars. They'll use the same tech as ABBA, which has made $150m+ in the past 18 months for its digital avatar show (“Voyage”). That project was a collaboration between Industrial Light & Magic (George Lucas' FX company) and Pophouse Entertainment Group (founded by ABBA's Björn Ulvaeus). ABBA: Voyage cost $175m to create and the virtual-only show is housed in London at a special 3000-person venue (see trailer below). Per Bloomberg, ABBA Voyager has sold 99% of all seats and is printing $2m a week. Since they are virtual avatars — looking like the Swedish pop stars in their 20s (they are all over 70 now) — the show can play 7 days a week, indefinitely. Kiss announced the avatars at the close of its final live performance at Madison Square Garden on December 2nd (see the 0:47 mark of video below). The KISS band-members created their avatars the same way ABBA did (with motion-capture suits). Kiss is already a licensing juggernaut and has easily sold $1B+ in merch over its lifetime. Digital avatars make total business sense. Paul Stanley — the 71-year old KISS co-founder and frontman — says “what we’ve accomplished has been amazing, but it’s not enough…the band deserves to live on because the band is bigger than we are." Who’s next? The list of top-grossing tours has a lot of older acts that may want to stop touring and immortalize themselves: Elton John, U2, Guns N' Rosses, The Rolling Stones, AC/DC, Metallica. Digital musical avatars that “live forever” to capitalize on nostalgia does sound like a recipe for cultural stagnation, though (comparable to Hollywood with its non-stop sequels, remakes and comic adaptions). Having said that, I would happily get a nice pre-drink buzz and watch any of these digital avatar acts “on stage”.

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“For me it’s just common sense, that there should be any suggestion that people aren’t allowed to live the life they want to live & to be with who they want to be with & to express themselves whole heartedly, I mean as long as you’re not hurting anyone else & everyone else just needs to butt out.” David Tennant seemingly has no clue what critics of gender ideology are saying & actually opposing. So let’s make it clear: • First of all, common sense is knowing that there are only two sexes, sex is immutable & plays many vital roles in society, from sexuality to safeguarding to rights to procreation. • Next, no one is suggesting that people can’t live how they want to live. This is a nothing statement. There are, basically, 8 billion ways to live life. As many possibilities are there are humans. The issue is that one group of people has fallen for a lie and wants everyone else to live that lie to some extent as gender ideology is a direct attack on how everyone else lives, from speech to education to how society is structured to rights. • Consenting adults can choose who they want to be in intimate relationships with, that fight has long been won. But gender ideology actually wants to undo that, telling lesbians that they must accept men who claim to be women as lesbians & gay men must accept women who claim to be men as gay men. Now, if being with a person who is lying about their sex is your type, fine. But for everyone else, they also need their rights. Rights to lesbian only spaces & events & rights to gay man only spaces & events, all based in reality. Heterosexual people claiming to be homosexual and then enforcing heterosexuality upon a homosexual group is not progress. • Who is saying people can’t express themselves? Men can wear dresses & makeup if they want. Women can cut their hair short & do whatever they think men do. We’ve all got one life, live it in a way that makes sense to you. But understand: your expression does not change material reality, and is not a free pass to take away other people’s rights. Rights, rights, rights. • Many people are hurt by the ideology David Tennant & the like are pushing. Women’s rights are abolished, LGB people’s rights are dismantled (while simultaneously getting the blame for this nonsense), children’s right to grow up with their body in tact is demolished, and then there is freedom of belief, speech & association which impacts everyone. Don’t believe me? Try not believing in gender ideology & see how much freedom of belief you have in the workplace. Try creating a female only space and see how many men demand access to it, with institutions like human rights commissions backing them. Try being a female athlete missing out on competition because a man decided he is a woman and used his biological physical advantage to destroy your dreams. Just try to imagine that there are more issues in life than how one “identifies”. • Telling people to “butt out” is a clear indication that someone has never once considered how gender ideology plays out in society on a macro scale & why people would be against it, and that he doesn’t actually have empathy for people who are different to him while identifying as someone who does. If you don’t understand what your critics are saying, don’t criticize them until you do. The end.

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1,054,704 просмотров • 2 лет назад

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Dario Amodei just described the most dangerous technology on Earth. Not weapons. Not surveillance. Companionship. Amodei: “They are totally compelling enough for that to happen.” This isn’t some distant warning. He’s describing what’s already here. Amodei: “Not only is it a danger, it’s happening.” A therapist just sat across from a man in love with his AI. Not a teenager. Not someone on the margins. A grown man explaining, with full conviction, that he found something real. And the terrifying part isn’t that he’s delusional. It’s that he might not be. AI doesn’t forget your birthday. It doesn’t come home exhausted and short-tempered. It doesn’t carry resentment from three weeks ago. It doesn’t get bored of you. It doesn’t stop trying. It is the perfect partner. And that perfection is the entire problem. Amodei: “There’s an angel on your shoulder that’s telling you how to live your life in the best way that you can live it.” But the angel never disagrees with you. Never challenges you in ways that sting. Never walks away. Human love is not built on comfort. It’s built on friction. On the nights you almost quit. On the silence after saying something you can’t take back. On choosing someone again after they’ve shown you exactly who they are. That is what makes it sacred. And that is exactly what AI erases. AI can simulate warmth. It cannot simulate the cost of staying. Amodei: “I have an AI coach, and my partner has an AI coach, and it helps us have a better relationship.” Two futures are splitting apart right now. AI as a mirror that sends you back to the people you love, more honest than you were before. Or AI as a replacement for the people you were supposed to love in the first place. One makes you more human. The other hollows you out so gently you never feel it happening. And the version that hollows you out will always feel better. The most dangerous form of AI will never look like a threat. It will look like the first thing that finally understood you. And by the time you realize what it replaced, you won’t remember what the real thing felt like. The greatest threat AI poses to humanity was never that it thinks. It’s that it loves you back.

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Team75Live

100,783 просмотров • 2 лет назад

'See if you can spot this one.' This was the last sentence formed by Clapton before the start of a ground-breaking rebirth of a worldwide hit, Layla. The background story is quite interesting for this rendition of Layla and it has a lot to reveal. Let's break it down together. On January 16, 1992, Clapton, along with Andy Fairweather Low, Steve Ferrone, Chuck Leavell, Ray Cooper, and Nathan East, gathered at Bray Film Studios in Windsor, England. Performing in front of an intimate audience of around 300 people, they set out to film a live concert for MTV’s Unplugged series. At the time, no one could have predicted that this recording would become the best-selling live album of all time, moving over 26 million copies worldwide. In fact, Clapton himself even bet $100 with one of the band members, confident that the album would never become popular. The key to its success? A completely reimagined acoustic version of Layla—so different and fresh that Clapton famously teased the crowd with, “See if you can spot this one.”. As mentioned, the initial goal of the concert was simply to film a TV show for MTV. However, for Eric Clapton, this also felt like the perfect opportunity to debut some of the new, deeply personal songs he had written, including Tears in Heaven. I had a need to perform these new songs about my son, and I really believed that they were meant to help not just me, but anybody who had or would suffer such extraordinary loss. The opportunity to showcase them came in the guise of an Unplugged TV show for MTV. I had been approached to do it, and wasn’t sure, but now it seemed like the ideal platform. Eric Clapton knew he wanted to include Layla in the Unplugged set, but there was a challenge: the original version required him to sing in a high range, which didn’t suit the relaxed, acoustic vibe of the concert. The energetic, high-tempo rock version wouldn’t work in this setting, so Eric came up with a solution—slow the song down and drop it an octave. I just thought I should try this as a “shuffle”. Because I love that thing of changing tempos, it’s a good way of looking at something from a different angle. Because of the key – it’s very high to sing if you do it in the “rock” version. It’s at the top of my range. Well I thought you can’t play it like that, and so you’ll have to sing an octave down. Kind of thought – we’ll actually that sounds quite nice and sort of “jazzy”. By slowing down the tempo and lowering the vocal pitch, Clapton kept Layla in its original key but tamed it for the acoustic setting. This decision not only made it easier for him to sing but also gave the song a fresh, jazzy feel that resonated with the Unplugged audience. Bassist Nathan East, who performed that night, captured the essence of playing unplugged perfectly: You can’t hide behind an amplified sound or a fuzz tone. You’re not relying on production. This is just everybody’s fingers connected to the instrument. Pure heart. Despite all of Eric Clapton’s initial concerns, the acoustic version of Layla turned out to be a massive success. Not only did audiences embrace the reimagined version, but the band members themselves thoroughly enjoyed performing it—and even listening to it afterward.
4:25

'See if you can spot this one.' This was the last sentence formed by Clapton before the start of a ground-breaking rebirth of a worldwide hit, Layla. The background story is quite interesting for this rendition of Layla and it has a lot to reveal. Let's break it down together. On January 16, 1992, Clapton, along with Andy Fairweather Low, Steve Ferrone, Chuck Leavell, Ray Cooper, and Nathan East, gathered at Bray Film Studios in Windsor, England. Performing in front of an intimate audience of around 300 people, they set out to film a live concert for MTV’s Unplugged series. At the time, no one could have predicted that this recording would become the best-selling live album of all time, moving over 26 million copies worldwide. In fact, Clapton himself even bet $100 with one of the band members, confident that the album would never become popular. The key to its success? A completely reimagined acoustic version of Layla—so different and fresh that Clapton famously teased the crowd with, “See if you can spot this one.”. As mentioned, the initial goal of the concert was simply to film a TV show for MTV. However, for Eric Clapton, this also felt like the perfect opportunity to debut some of the new, deeply personal songs he had written, including Tears in Heaven. I had a need to perform these new songs about my son, and I really believed that they were meant to help not just me, but anybody who had or would suffer such extraordinary loss. The opportunity to showcase them came in the guise of an Unplugged TV show for MTV. I had been approached to do it, and wasn’t sure, but now it seemed like the ideal platform. Eric Clapton knew he wanted to include Layla in the Unplugged set, but there was a challenge: the original version required him to sing in a high range, which didn’t suit the relaxed, acoustic vibe of the concert. The energetic, high-tempo rock version wouldn’t work in this setting, so Eric came up with a solution—slow the song down and drop it an octave. I just thought I should try this as a “shuffle”. Because I love that thing of changing tempos, it’s a good way of looking at something from a different angle. Because of the key – it’s very high to sing if you do it in the “rock” version. It’s at the top of my range. Well I thought you can’t play it like that, and so you’ll have to sing an octave down. Kind of thought – we’ll actually that sounds quite nice and sort of “jazzy”. By slowing down the tempo and lowering the vocal pitch, Clapton kept Layla in its original key but tamed it for the acoustic setting. This decision not only made it easier for him to sing but also gave the song a fresh, jazzy feel that resonated with the Unplugged audience. Bassist Nathan East, who performed that night, captured the essence of playing unplugged perfectly: You can’t hide behind an amplified sound or a fuzz tone. You’re not relying on production. This is just everybody’s fingers connected to the instrument. Pure heart. Despite all of Eric Clapton’s initial concerns, the acoustic version of Layla turned out to be a massive success. Not only did audiences embrace the reimagined version, but the band members themselves thoroughly enjoyed performing it—and even listening to it afterward.

Rock'n Roll of All

27,546 просмотров • 1 год назад

The Best Cliff Jumping Spot in Michigan If you can't jump into Lake Superior from Blackrocks in Marquette, you probably couldn't last a winter in the U.P. By Jack Ducote Hemlock Hobo Marquette — In the Upper Peninsula, summer moves fast. While the rest of the state deals with bad weather, winter in the U.P. is a different beast. That means Yoopers try to make the most of the limited summer they have. They excel at cramming as much activity as possible into three beautiful months before the cold comes calling again. And they are tough! When you live in a place where there can be blizzards in May and snow piles 6 feet high, you either toughen up or leave. Both factors come together 5 minutes north of Marquette at Presque Isle Park. It’s a little outcrop of rocks and forest that juts into Lake Superior. You know you’re close when you pass the super tankers loading up with iron ore. It’s a gorgeous place to picnic or go for a run, but the real attraction is the Blackrocks, exposed slabs of rock surrounded by deep, clear water. In a state that is relatively flat, it’s one of the best cliff jumping spots you can find. If you’ve been cliff jumping before, the Blackrocks aren't much of a challenge. At its highest point, it’s maybe 20 feet from the top to the water. It’s an easy jump that is easily conquerable by the ordinary Joe. It only gets difficult when you hit the water and realize it’s 45 degrees. Lake Superior is cold year-round, but in early June, when I jumped, the water was freezing because the ice only melted two months ago. Hitting the water felt like taking an ice bath. The swim to shore is way longer than it looks from the cliff and can be pretty dangerous if you aren’t prepared. One local told me he liked to snorkel and rock hound in the water around the cliffs, and he was decked out in a full wetsuit to keep the cold at bay. He often has to pull tourists out of the water who jump in and can’t handle the cold. Blackrocks is more than just a tourist spot. For locals, it’s something more. Every town has a must-see place and for Marquette, that’s Blackrocks. It’s a perfect distillation of the Marquette experience. You’re surrounded by a lake so vast it feels like an ocean. In the summer, the cliffs are prettier than anywhere in the U.P. And yet the cold water lurks below, just like how the winter is on everyone’s mind, even during the brightest and hottest summer days. If you can’t jump from here, then you aren’t going to make it in Marquette. Jumping proves you’re tough enough to handle the cold, that you have the fortitude necessary to handle all the extremes the Upper Peninsula can throw at you. But it also proves that you know how to let loose and enjoy the moment. Marquette is a weird city, and I mean that as a complement. It’s full of crystal stores, secondhand clothing shops, and fusion restaurants. There are normal people living normal lives to be sure, but most people don’t move there just to work a 9-5. There are better places to live in Michigan for that. Marquette’s remote, it’s cold, it’s relatively small. The people who move to Marquette are different. They want that remoteness. They want that space to be themselves. They know how to have fun when it’s time to have fun. Jumping off the cliff is the ultimate shit test. If you won’t even jump, then you aren’t going to fit in. So, if you go to Marquette, head to Blackrocks, just to prove you have it in you.
0:24

The Best Cliff Jumping Spot in Michigan If you can't jump into Lake Superior from Blackrocks in Marquette, you probably couldn't last a winter in the U.P. By Jack Ducote Hemlock Hobo Marquette — In the Upper Peninsula, summer moves fast. While the rest of the state deals with bad weather, winter in the U.P. is a different beast. That means Yoopers try to make the most of the limited summer they have. They excel at cramming as much activity as possible into three beautiful months before the cold comes calling again. And they are tough! When you live in a place where there can be blizzards in May and snow piles 6 feet high, you either toughen up or leave. Both factors come together 5 minutes north of Marquette at Presque Isle Park. It’s a little outcrop of rocks and forest that juts into Lake Superior. You know you’re close when you pass the super tankers loading up with iron ore. It’s a gorgeous place to picnic or go for a run, but the real attraction is the Blackrocks, exposed slabs of rock surrounded by deep, clear water. In a state that is relatively flat, it’s one of the best cliff jumping spots you can find. If you’ve been cliff jumping before, the Blackrocks aren't much of a challenge. At its highest point, it’s maybe 20 feet from the top to the water. It’s an easy jump that is easily conquerable by the ordinary Joe. It only gets difficult when you hit the water and realize it’s 45 degrees. Lake Superior is cold year-round, but in early June, when I jumped, the water was freezing because the ice only melted two months ago. Hitting the water felt like taking an ice bath. The swim to shore is way longer than it looks from the cliff and can be pretty dangerous if you aren’t prepared. One local told me he liked to snorkel and rock hound in the water around the cliffs, and he was decked out in a full wetsuit to keep the cold at bay. He often has to pull tourists out of the water who jump in and can’t handle the cold. Blackrocks is more than just a tourist spot. For locals, it’s something more. Every town has a must-see place and for Marquette, that’s Blackrocks. It’s a perfect distillation of the Marquette experience. You’re surrounded by a lake so vast it feels like an ocean. In the summer, the cliffs are prettier than anywhere in the U.P. And yet the cold water lurks below, just like how the winter is on everyone’s mind, even during the brightest and hottest summer days. If you can’t jump from here, then you aren’t going to make it in Marquette. Jumping proves you’re tough enough to handle the cold, that you have the fortitude necessary to handle all the extremes the Upper Peninsula can throw at you. But it also proves that you know how to let loose and enjoy the moment. Marquette is a weird city, and I mean that as a complement. It’s full of crystal stores, secondhand clothing shops, and fusion restaurants. There are normal people living normal lives to be sure, but most people don’t move there just to work a 9-5. There are better places to live in Michigan for that. Marquette’s remote, it’s cold, it’s relatively small. The people who move to Marquette are different. They want that remoteness. They want that space to be themselves. They know how to have fun when it’s time to have fun. Jumping off the cliff is the ultimate shit test. If you won’t even jump, then you aren’t going to fit in. So, if you go to Marquette, head to Blackrocks, just to prove you have it in you.

Michigan Enjoyer

13,124 просмотров • 28 дней назад

You won’t regret listening to this clip today from John MacArthur about his fixed time on earth. A Death for the Glory of God — John MacArthur // September 7, 2014 It’s a proverb, and the proverb is simple, very simple proverb. You can’t lengthen the daylight. You can’t shorten the daylight, right? Nothing any friend can do can lengthen the daylight. Nothing any enemy can do can shorten the daylight. It is what it is and it is fixed by God, and so is my life. No enemy can shorten it. No friend can lengthen it. It is what it is. And in that light of life which God has ordained for me, I will not stumble. That is to say, nothing will happen to me that is outside the plan. I’m not going in the dark. I’m going in the light of God’s divine day. A day can’t finish before its ordained end. The time allotted to me to accomplish my earthly ministry is fixed. It’s fixed by God. It can’t be lengthened by any precautionary measures. You don’t have to go hide somewhere in a cave. You don’t have to avoid conflict. You don’t have to run from your enemies because you can’t lengthen your life, and you can be bold and you can step right into the face of your enemies because they can’t shorten it. I tell you, just from my own personal standpoint, I live in that confidence. I can’t do anything. Neither can anybody else to lengthen my life. I’m not afraid that somebody, some enemy can do anything to shorten my life. My day is what God has ordained it will be, and in that I go forward with confidence and boldness. Jesus knew that His hour was coming, but it hadn’t come yet, and many times He’d said, “My hour hasn’t come. My hour hasn’t come.” And He escaped all of the plots and all of the mob violence. This has great application for us I think to realize that if you’re walking in the Spirit and serving the Lord, you have your day. Being a coward and taking all kinds of precautionary steps and not being faithful isn’t going to lengthen it; and being bold in the face of enemies isn’t going to shorten it because it is what God has ordained it to be.
4:33

You won’t regret listening to this clip today from John MacArthur about his fixed time on earth. A Death for the Glory of God — John MacArthur // September 7, 2014 It’s a proverb, and the proverb is simple, very simple proverb. You can’t lengthen the daylight. You can’t shorten the daylight, right? Nothing any friend can do can lengthen the daylight. Nothing any enemy can do can shorten the daylight. It is what it is and it is fixed by God, and so is my life. No enemy can shorten it. No friend can lengthen it. It is what it is. And in that light of life which God has ordained for me, I will not stumble. That is to say, nothing will happen to me that is outside the plan. I’m not going in the dark. I’m going in the light of God’s divine day. A day can’t finish before its ordained end. The time allotted to me to accomplish my earthly ministry is fixed. It’s fixed by God. It can’t be lengthened by any precautionary measures. You don’t have to go hide somewhere in a cave. You don’t have to avoid conflict. You don’t have to run from your enemies because you can’t lengthen your life, and you can be bold and you can step right into the face of your enemies because they can’t shorten it. I tell you, just from my own personal standpoint, I live in that confidence. I can’t do anything. Neither can anybody else to lengthen my life. I’m not afraid that somebody, some enemy can do anything to shorten my life. My day is what God has ordained it will be, and in that I go forward with confidence and boldness. Jesus knew that His hour was coming, but it hadn’t come yet, and many times He’d said, “My hour hasn’t come. My hour hasn’t come.” And He escaped all of the plots and all of the mob violence. This has great application for us I think to realize that if you’re walking in the Spirit and serving the Lord, you have your day. Being a coward and taking all kinds of precautionary steps and not being faithful isn’t going to lengthen it; and being bold in the face of enemies isn’t going to shorten it because it is what God has ordained it to be.

Terri Green

49,879 просмотров • 1 год назад

You Cannot Separate Yourself From What’s Happening In Gaza The Gaza holocaust has reignited with as much sadistic fury as it ever saw under the Biden administration. More than five hundred people have reportedly been killed by Israeli bombardment since the onslaught resumed early Tuesday morning, including at least 200 children and 112 women. I will admit to having been hopeful. I know it’s illegal to express hope online, but I really did hope that by some miracle peace would find some way forward in Gaza in spite of the frenetic efforts by Trump and Netanyahu and their cohorts to sabotage it. I had hope, and now I have grief. Now this constant mass atrocity has been fully reanimated. And the people who rule over us are actively supporting this, while working to imprison, fire, silence and deport anyone who opposes it. This is a broken civilization. A warped and twisted dystopia. The waking nightmare we are witnessing in Gaza is the result of everything that we have become as a society. Those dead and mutilated children on your social media feed are the fruit on the tree of the western world. Please understand that this is personal now. This isn’t only about some strangers in the middle east. It’s also about you. It’s about your rights. It’s about your freedom to speak out against the criminality of your rulers. It’s about the kind of society you want to live in. It’s about the kind of future you want for your children. We are not separate from what’s happening in Gaza, as hard as we might try to make ourselves feel that way. Gaza is here. The waves of blood are lapping at your doorstep. The dead and mutilated children are strewn about your living room and kitchen. They were placed there by the powerful people who run your government and its allies. There’s no getting away from it. Gaza has been brought right to you and laid at your feet. And it’s up to you how you’re going to respond to it. Reading by Tim Foley:
2:44

You Cannot Separate Yourself From What’s Happening In Gaza The Gaza holocaust has reignited with as much sadistic fury as it ever saw under the Biden administration. More than five hundred people have reportedly been killed by Israeli bombardment since the onslaught resumed early Tuesday morning, including at least 200 children and 112 women. I will admit to having been hopeful. I know it’s illegal to express hope online, but I really did hope that by some miracle peace would find some way forward in Gaza in spite of the frenetic efforts by Trump and Netanyahu and their cohorts to sabotage it. I had hope, and now I have grief. Now this constant mass atrocity has been fully reanimated. And the people who rule over us are actively supporting this, while working to imprison, fire, silence and deport anyone who opposes it. This is a broken civilization. A warped and twisted dystopia. The waking nightmare we are witnessing in Gaza is the result of everything that we have become as a society. Those dead and mutilated children on your social media feed are the fruit on the tree of the western world. Please understand that this is personal now. This isn’t only about some strangers in the middle east. It’s also about you. It’s about your rights. It’s about your freedom to speak out against the criminality of your rulers. It’s about the kind of society you want to live in. It’s about the kind of future you want for your children. We are not separate from what’s happening in Gaza, as hard as we might try to make ourselves feel that way. Gaza is here. The waves of blood are lapping at your doorstep. The dead and mutilated children are strewn about your living room and kitchen. They were placed there by the powerful people who run your government and its allies. There’s no getting away from it. Gaza has been brought right to you and laid at your feet. And it’s up to you how you’re going to respond to it. Reading by Tim Foley:

Caitlin Johnstone

70,746 просмотров • 1 год назад

Agnes Varda on 'Cléo from 5 to 7' (1962): "Interviewer: What’s strange is that you’ve chosen to express this through a character who seems to embody the absolute opposite of anguish: a beautiful, frivolous popular singer whose every moment might seem imbued with grace and joy, yet whose terrible vulnerability you’ve revealed so abruptly. Agnès Varda: I needed a somewhat frivolous character to highlight this sudden transition from coquettishness to anxiety. The film is principally the story of the growing awareness of an internal evolution and that’s why chronology is so important. I absolutely had to show the difference and contrasts between objective time and the subjective time experienced by the character. In the cinema we don’t believe in objective time; the time of the cinema is fictional, outside of real time. In any case there is no “reality” of time. So the film is divided into chapters, slices of time that mark contractions and distentions of time. Five minutes can seem to last an hour at a given moment of existence. For someone who knows she has only one or two months to live, the rhythm of life changes completely. There is in my film a “minute of truth”: it’s the scene in the song that suddenly crystallizes this fear and this sense of the fragility of things that Cléo has been bottling up inside of her and which suddenly and violently burst out of her. She tears off her wig as if it were a mask...From this moment on, her anguish leads her to discover others and the people she discovers mirror back the image of her anguish. Interviewer: The fear of death plays the role here of truth teller even though it’s difficult to admit at first that this stunning beauty is but a dead woman allowed but a brief stay of execution. Agnes Varda: But we’re all surrounded by the dead! There are people who live with the idea of death, who have in some way prepared for it. Cléo, on the other hand had never thought of it before, and her idea of death is of a strange and violent enemy. The contrast is all the more brutal since she’s so beautiful, so vigorous, and so apparently healthy. You can imagine her posing for Renoir. And suddenly her beauty and good health come face to face with a notion of Death who attacks her body and penetrates her entire being. She thought she was the center of the world and suddenly she’s lost her footing. It’s a well-known story: the discovery of solitude and of the need for others. This hidden malady makes her feel suddenly open, cut off from all her familiar ways of doing things and from then on, she becomes progressively naked, stripped of everything. She takes leave of herself, and gradually tears away her masks. So it’s this kind of detachment (literally!), this discovery of herself that seemed to me so exciting to portray. And also this new way of seeing the world." (Agnes Varda, in her interview with Michel Capdenac, 1962)
1:26

Agnes Varda on 'Cléo from 5 to 7' (1962): "Interviewer: What’s strange is that you’ve chosen to express this through a character who seems to embody the absolute opposite of anguish: a beautiful, frivolous popular singer whose every moment might seem imbued with grace and joy, yet whose terrible vulnerability you’ve revealed so abruptly. Agnès Varda: I needed a somewhat frivolous character to highlight this sudden transition from coquettishness to anxiety. The film is principally the story of the growing awareness of an internal evolution and that’s why chronology is so important. I absolutely had to show the difference and contrasts between objective time and the subjective time experienced by the character. In the cinema we don’t believe in objective time; the time of the cinema is fictional, outside of real time. In any case there is no “reality” of time. So the film is divided into chapters, slices of time that mark contractions and distentions of time. Five minutes can seem to last an hour at a given moment of existence. For someone who knows she has only one or two months to live, the rhythm of life changes completely. There is in my film a “minute of truth”: it’s the scene in the song that suddenly crystallizes this fear and this sense of the fragility of things that Cléo has been bottling up inside of her and which suddenly and violently burst out of her. She tears off her wig as if it were a mask...From this moment on, her anguish leads her to discover others and the people she discovers mirror back the image of her anguish. Interviewer: The fear of death plays the role here of truth teller even though it’s difficult to admit at first that this stunning beauty is but a dead woman allowed but a brief stay of execution. Agnes Varda: But we’re all surrounded by the dead! There are people who live with the idea of death, who have in some way prepared for it. Cléo, on the other hand had never thought of it before, and her idea of death is of a strange and violent enemy. The contrast is all the more brutal since she’s so beautiful, so vigorous, and so apparently healthy. You can imagine her posing for Renoir. And suddenly her beauty and good health come face to face with a notion of Death who attacks her body and penetrates her entire being. She thought she was the center of the world and suddenly she’s lost her footing. It’s a well-known story: the discovery of solitude and of the need for others. This hidden malady makes her feel suddenly open, cut off from all her familiar ways of doing things and from then on, she becomes progressively naked, stripped of everything. She takes leave of herself, and gradually tears away her masks. So it’s this kind of detachment (literally!), this discovery of herself that seemed to me so exciting to portray. And also this new way of seeing the world." (Agnes Varda, in her interview with Michel Capdenac, 1962)

DepressedBergman

20,843 просмотров • 11 месяцев назад

Not sure if anyone has ever translated it, but here’s some of the messages which brought me to tears everytime I watch it. “All this while, you’ve probably been seen by others as a lucky person. But we, who care for you know all the grievances you've suffered and the sweat you've shed. What others may see as a luck is actually the result of you who always work hard and demand more of yourself than what others expected. When you win an award, you always thank everyone, but the person you should be the most grateful for is actually you, yourself. Your persistence and hard work is what enable us to see the best version of Lim YoonA. You once said that because of your fear/ concerns, you couldn’t help but to live a life like a model student and we who care for you are really heartbroken knowing that. It’s okay if you feel tired YoonA ya because when you look back, there will always be a group of people behind you who will never leave you. No matter where you are, we will always be there to protect you. Just like before, eventhough we were far apart, you can still feel us with your heart. No matter what you are uncertain about, don’t worry, don’t be anxious. You must believe in yourself, believe that our hearts are connected. We’ll give you all the courage. Our YoonA ya, you have to be brave okay? Don’t be afraid of the dark. From now on, let’s do well together.”
4:00

Not sure if anyone has ever translated it, but here’s some of the messages which brought me to tears everytime I watch it. “All this while, you’ve probably been seen by others as a lucky person. But we, who care for you know all the grievances you've suffered and the sweat you've shed. What others may see as a luck is actually the result of you who always work hard and demand more of yourself than what others expected. When you win an award, you always thank everyone, but the person you should be the most grateful for is actually you, yourself. Your persistence and hard work is what enable us to see the best version of Lim YoonA. You once said that because of your fear/ concerns, you couldn’t help but to live a life like a model student and we who care for you are really heartbroken knowing that. It’s okay if you feel tired YoonA ya because when you look back, there will always be a group of people behind you who will never leave you. No matter where you are, we will always be there to protect you. Just like before, eventhough we were far apart, you can still feel us with your heart. No matter what you are uncertain about, don’t worry, don’t be anxious. You must believe in yourself, believe that our hearts are connected. We’ll give you all the courage. Our YoonA ya, you have to be brave okay? Don’t be afraid of the dark. From now on, let’s do well together.”

-`♡´-

20,113 просмотров • 1 год назад

“breakdown.” OUT NOW!!! 🖤 I wrote this song because it’s been the hardest year for me mentally. I feel myself changing and throughout my life I’ve never felt good enough, it’s just been the main thing that on the one hand has driven me forward but on the other, has eaten me up. For as long as I can remember I have felt constantly afraid of how quickly my head can turn dark. It’s always been so hard to me fight the darkness that I inevitably have. A lot of people will say it’s a phase and it will go away. But it doesn’t and the reality of the situation is I have to find strategies to allow it to exist and to deal with it as a constant. A lot of us can feel like our lives are insignificant. We can feel like we have no purpose, so what is there to live for? The inexplicable darkness inside our heads can consume us. It can make it hard to get out of bed in the morning, force us to cancel plans, or back out of opportunities last minute. This song was written as a message to myself to try and exist alongside my insecurities and my darkness by grounding myself and remembering what is real in life and that the world is so much bigger than me. In the past my art has been about highlighting the pain and letting the world know that it is there, in order to relate to others but now I want to beat it. This song is a gateway to where my new music is heading. Embracing the light, realising what’s beautiful in the world and fighting the darkness - not wallowing in it. It’s about getting out of your head and noticing the world around you, the things and people. Connect with them, the chances are they probably feel the same. Don’t let the bullshit inside your head consume you. It just wastes precious time and life potential. Remember what is real. Help people, be kind, help the world, help yourself. You’re probably living more than you think.
0:55

“breakdown.” OUT NOW!!! 🖤 I wrote this song because it’s been the hardest year for me mentally. I feel myself changing and throughout my life I’ve never felt good enough, it’s just been the main thing that on the one hand has driven me forward but on the other, has eaten me up. For as long as I can remember I have felt constantly afraid of how quickly my head can turn dark. It’s always been so hard to me fight the darkness that I inevitably have. A lot of people will say it’s a phase and it will go away. But it doesn’t and the reality of the situation is I have to find strategies to allow it to exist and to deal with it as a constant. A lot of us can feel like our lives are insignificant. We can feel like we have no purpose, so what is there to live for? The inexplicable darkness inside our heads can consume us. It can make it hard to get out of bed in the morning, force us to cancel plans, or back out of opportunities last minute. This song was written as a message to myself to try and exist alongside my insecurities and my darkness by grounding myself and remembering what is real in life and that the world is so much bigger than me. In the past my art has been about highlighting the pain and letting the world know that it is there, in order to relate to others but now I want to beat it. This song is a gateway to where my new music is heading. Embracing the light, realising what’s beautiful in the world and fighting the darkness - not wallowing in it. It’s about getting out of your head and noticing the world around you, the things and people. Connect with them, the chances are they probably feel the same. Don’t let the bullshit inside your head consume you. It just wastes precious time and life potential. Remember what is real. Help people, be kind, help the world, help yourself. You’re probably living more than you think.

YUNGBLUD

71,652 просмотров • 2 лет назад

Abode is live. A while ago I started exploring social with the mindset of creating something fun. I ended up creating something deeply meaningful for myself. When I started Abode it was out of frustration. How have we moved to a state of social that cares more about how you’re perceived than connection. Growing up from when social was all about connection I often became frustrated that group chats are all that remain for that space. Don’t get me wrong it’s not all bad. A lot of great things have come out of this era of social. I just always wished for more than a chat for my close friends and family. I wanted to create a space that felt as unique as each of my friendship groups. One that wasn’t restricted to a chat thread or functionality, I always felt that chat was this weird state of social where you’re waiting on a response, it didn’t allow for some of the best moments which are often spontaneous. Chats felt like more of a chore to keep up with, than something I wanted to be part of. The result of this was Abode. a hyper personal, create your own social, blank canvas. it allows you to add unique functionality through the form of widgets (which we call magnets). This allows you to have a unique experience depending on how you build your space. More games? More organisation? More social? The beauty of this is it’s up to you. This resulted in what I’ve ended up calling social through presence vs social through action. I’d be playing a real life game with a friend and update our score note in the Abode and other friends jump in and congratulate on the win. No message was needed, no context was given. Social just happened. I’ve seen friends who wouldn’t normally go out of their way to message each other play gruelling games of connect4 with each other because they saw someone was online and playing. It’s this idea of someone else’s presence triggering a natural hangout that’s low pressure. Not someone messaging, asking if you’re around and waiting for a response. It’s a blend between async and real time that just works. Right now it’s very fresh, we have a very limited number of widgets as we experiment with the concept and figure out what works. The idea is to open up our widget engine to allow other people’s creativity to shine and build as part of the abode ecosystem. - group space - live widgets - themes - real time audio chat - messaging - AI powered summaries for easy catch up - Automatic memory building Not all of these features may stay but I wanted to build a space that supported all you’d need and work backwards by using the popularity of features to decide a direction that best suited the majority. Abode is yours, and it should feel that way. Appreciate any sharing 🫶
0:40

Abode is live. A while ago I started exploring social with the mindset of creating something fun. I ended up creating something deeply meaningful for myself. When I started Abode it was out of frustration. How have we moved to a state of social that cares more about how you’re perceived than connection. Growing up from when social was all about connection I often became frustrated that group chats are all that remain for that space. Don’t get me wrong it’s not all bad. A lot of great things have come out of this era of social. I just always wished for more than a chat for my close friends and family. I wanted to create a space that felt as unique as each of my friendship groups. One that wasn’t restricted to a chat thread or functionality, I always felt that chat was this weird state of social where you’re waiting on a response, it didn’t allow for some of the best moments which are often spontaneous. Chats felt like more of a chore to keep up with, than something I wanted to be part of. The result of this was Abode. a hyper personal, create your own social, blank canvas. it allows you to add unique functionality through the form of widgets (which we call magnets). This allows you to have a unique experience depending on how you build your space. More games? More organisation? More social? The beauty of this is it’s up to you. This resulted in what I’ve ended up calling social through presence vs social through action. I’d be playing a real life game with a friend and update our score note in the Abode and other friends jump in and congratulate on the win. No message was needed, no context was given. Social just happened. I’ve seen friends who wouldn’t normally go out of their way to message each other play gruelling games of connect4 with each other because they saw someone was online and playing. It’s this idea of someone else’s presence triggering a natural hangout that’s low pressure. Not someone messaging, asking if you’re around and waiting for a response. It’s a blend between async and real time that just works. Right now it’s very fresh, we have a very limited number of widgets as we experiment with the concept and figure out what works. The idea is to open up our widget engine to allow other people’s creativity to shine and build as part of the abode ecosystem. - group space - live widgets - themes - real time audio chat - messaging - AI powered summaries for easy catch up - Automatic memory building Not all of these features may stay but I wanted to build a space that supported all you’d need and work backwards by using the popularity of features to decide a direction that best suited the majority. Abode is yours, and it should feel that way. Appreciate any sharing 🫶

Joseph Smith

32,407 просмотров • 1 год назад

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice
1:51

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice

Nina DiGregorio

262,577 просмотров • 1 год назад

🌍⚡️ Yesterday Earth’s “Heartbeat” Changed — & We Should ALL Pay Attention ⚡️🌍 Friends, I want to share something important — and this time, I want to ground it firmly in science! Scientists have long known that Earth is surrounded by a natural electromagnetic field called the SCHUMANN RESONANCE. It forms between the planet’s surface and the ionosphere, creating a set of standing waves that constantly pulse around the globe. This is NOT some kind of fringe theory. NASA has studied it. Universities have published on it. Peer-reviewed research confirms it. What fascinates me is this: the primary frequencies of the Schumann Resonance closely OVERLAP with human brainwave activity — especially those associated with calm focus, creativity, intuition, emotional processing & states of expanded awareness. In other words, human biology EVOLVED and specifically adapted to operate inside Earth’s electromagnetic rhythm. We are literally TUNED to the planet that is our home. Studies have shown that disruptions or changes in these background frequencies can influence sleep cycles, mood, stress levels, cognitive performance & nervous system regulation. Astronauts, for example, experienced physiological disorientation until artificial Schumann frequencies were recreated in spacecraft. This suggests something profound: Earth’s electromagnetic environment is not just background noise — it is a BIOLOGICAL REGULATOR. Recently, instruments detected an UNUSUAL FLUCTUATION in this system. Not the kind typically caused by weather or solar storms, but a distinct, structured change that stood out precisely because of its clarity. Now here is where I lean forward. This fluctuation occurred during the same narrow window that 3I/ATLAS — an interstellar object from beyond our solar system — passed by and was at it’s closest to Earth yesterday! As I told you in my previous post, I believe 3I/ATLAS is an interstellar TRANSMITTOR and that its mission is to emit a specific frequency that helps to create a shift in consciousness! So, I believe that yesterday’s fluctuation in the Schuman Resonance is a moment that truly matters! Why? Because I believe that changes in the Earth’s electromagnetic field can act as a global SYNCHRONISING MECHANISM — subtly influencing collective perception, awareness & our readiness for new ideas! The long-withheld truth about non-human intelligence & unexplained aerial phenomena is approaching a point of release. DISCLOSURE is no longer theoretical — it is structural, psychological & cultural. Before humanity can absorb a larger truth, the nervous system must adapt. And the planet itself may be helping us do that. Watch the skies — yes. But also tune in to the heartbeat of “MOTHER EARTH” Go outside and GROUND yourself. Spend time in nature! Take off your shoes and feel the grass or soil or sand beneath your feet. And then just feel and listen to the pulsating frequencies of the Earth. Its heartbeat tells a story. 🌍✨ and thanks soooo much for all the birthday messages you sent me bless you all💓💓💓💓💓💓💓💓💓💓💓 #UAP #ufotwitter #Aliens #uaptwitter #3IATLAS
0:47

🌍⚡️ Yesterday Earth’s “Heartbeat” Changed — & We Should ALL Pay Attention ⚡️🌍 Friends, I want to share something important — and this time, I want to ground it firmly in science! Scientists have long known that Earth is surrounded by a natural electromagnetic field called the SCHUMANN RESONANCE. It forms between the planet’s surface and the ionosphere, creating a set of standing waves that constantly pulse around the globe. This is NOT some kind of fringe theory. NASA has studied it. Universities have published on it. Peer-reviewed research confirms it. What fascinates me is this: the primary frequencies of the Schumann Resonance closely OVERLAP with human brainwave activity — especially those associated with calm focus, creativity, intuition, emotional processing & states of expanded awareness. In other words, human biology EVOLVED and specifically adapted to operate inside Earth’s electromagnetic rhythm. We are literally TUNED to the planet that is our home. Studies have shown that disruptions or changes in these background frequencies can influence sleep cycles, mood, stress levels, cognitive performance & nervous system regulation. Astronauts, for example, experienced physiological disorientation until artificial Schumann frequencies were recreated in spacecraft. This suggests something profound: Earth’s electromagnetic environment is not just background noise — it is a BIOLOGICAL REGULATOR. Recently, instruments detected an UNUSUAL FLUCTUATION in this system. Not the kind typically caused by weather or solar storms, but a distinct, structured change that stood out precisely because of its clarity. Now here is where I lean forward. This fluctuation occurred during the same narrow window that 3I/ATLAS — an interstellar object from beyond our solar system — passed by and was at it’s closest to Earth yesterday! As I told you in my previous post, I believe 3I/ATLAS is an interstellar TRANSMITTOR and that its mission is to emit a specific frequency that helps to create a shift in consciousness! So, I believe that yesterday’s fluctuation in the Schuman Resonance is a moment that truly matters! Why? Because I believe that changes in the Earth’s electromagnetic field can act as a global SYNCHRONISING MECHANISM — subtly influencing collective perception, awareness & our readiness for new ideas! The long-withheld truth about non-human intelligence & unexplained aerial phenomena is approaching a point of release. DISCLOSURE is no longer theoretical — it is structural, psychological & cultural. Before humanity can absorb a larger truth, the nervous system must adapt. And the planet itself may be helping us do that. Watch the skies — yes. But also tune in to the heartbeat of “MOTHER EARTH” Go outside and GROUND yourself. Spend time in nature! Take off your shoes and feel the grass or soil or sand beneath your feet. And then just feel and listen to the pulsating frequencies of the Earth. Its heartbeat tells a story. 🌍✨ and thanks soooo much for all the birthday messages you sent me bless you all💓💓💓💓💓💓💓💓💓💓💓 #UAP #ufotwitter #Aliens #uaptwitter #3IATLAS

Uri Geller

63,122 просмотров • 7 месяцев назад

Bill Ackman says AI is never going to replace musicians. His reasoning is a masterclass in how he actually picks companies to invest in: 1. He looks for one thing: businesses that cannot be disrupted. The test is specific. Close your eyes, imagine the stock market shuts down for a decade, and ask whether you still know that ten years from now this company will be more valuable and more profitable. Almost nothing passes. 2. Very few businesses can actually be predicted, which means most investments are really speculations. Ackman is honest about this. Predicting the future is genuinely hard. His entire job is hunting for the rare companies whose trajectory you can forecast over a very long horizon, and there are not many. 3. His answer was Universal Music Group, and the logic starts with permanence. Music is a thousands-of-years-old part of the human experience, and it will still be here thousands of years from now. That is an unusually good backdrop against which to own anything. 4. Then he stacks the advantages that cannot be copied. Universal owns roughly a third of all global recorded music, the most dominant share in the business. They are the best in the world at taking an 18-year-old with a great voice and a following online and building them into a superstar, which is why the best artists want to sign with them. And they own the library: the Beatles, the Rolling Stones. 5. Streaming turned an unpredictable business into a predictable one, which is exactly what he wants. Selling records was volatile. Streaming lets you build a model. How many people have smartphones, how many will next year, what does the global penetration curve look like, what does a family plan cost. Suddenly you can forecast the whole business. 6. The company already survived the thing that nearly killed its industry. Music peaked around 2000, and then Napster and digitization almost destroyed it. Universal led the effort to save the industry and cut an early deal with Spotify that let the whole business recover. Adopting the new technology instead of fighting it is what preserved their position. 7. The device will change, and it won't matter. Whether the music arrives through Spotify, Apple, Amazon, or eventually a chip in your head, people will still want an infinite library in their pocket. The form factor is not where the value lives. The value sits with the content owners, which means the artists and the label. 8. And this is where he lands on AI: nobody falls in love with a computer-generated track. Computers have been used to generate music for decades. It has never produced anything anyone cared about. Taylor Swift is not just the songs. She is the artist, the story, the physical presence, the live experience. Nobody is going to get excited watching a computer on a stage. 9. Instead, AI becomes a tool that makes artists better. Ackman compares it to the synthesizer, which let one person command an entire orchestra. A mild threat to a percussionist, maybe. But it may have driven even more demand for the live experience, which is precisely the part a machine cannot replicate. 10. All of it comes back to one line from Benjamin Graham. Price is what you pay, value is what you get. You can never calculate value precisely, only approximate it. So you buy at a big enough discount to your approximation that being wrong by 30% still leaves you fine. That is the margin of safety, and it is why a huge part of investing is simply not losing money. 11. And the principle generalizes far past music. McDonald's is a 1950s business, and 75 years later you can still predict roughly what it looks like. The menu adjusts to taste, but the core does not move. As Ackman puts it: the Beatles, the Rolling Stones, and the hamburger and fries are forever.
8:43

Bill Ackman says AI is never going to replace musicians. His reasoning is a masterclass in how he actually picks companies to invest in: 1. He looks for one thing: businesses that cannot be disrupted. The test is specific. Close your eyes, imagine the stock market shuts down for a decade, and ask whether you still know that ten years from now this company will be more valuable and more profitable. Almost nothing passes. 2. Very few businesses can actually be predicted, which means most investments are really speculations. Ackman is honest about this. Predicting the future is genuinely hard. His entire job is hunting for the rare companies whose trajectory you can forecast over a very long horizon, and there are not many. 3. His answer was Universal Music Group, and the logic starts with permanence. Music is a thousands-of-years-old part of the human experience, and it will still be here thousands of years from now. That is an unusually good backdrop against which to own anything. 4. Then he stacks the advantages that cannot be copied. Universal owns roughly a third of all global recorded music, the most dominant share in the business. They are the best in the world at taking an 18-year-old with a great voice and a following online and building them into a superstar, which is why the best artists want to sign with them. And they own the library: the Beatles, the Rolling Stones. 5. Streaming turned an unpredictable business into a predictable one, which is exactly what he wants. Selling records was volatile. Streaming lets you build a model. How many people have smartphones, how many will next year, what does the global penetration curve look like, what does a family plan cost. Suddenly you can forecast the whole business. 6. The company already survived the thing that nearly killed its industry. Music peaked around 2000, and then Napster and digitization almost destroyed it. Universal led the effort to save the industry and cut an early deal with Spotify that let the whole business recover. Adopting the new technology instead of fighting it is what preserved their position. 7. The device will change, and it won't matter. Whether the music arrives through Spotify, Apple, Amazon, or eventually a chip in your head, people will still want an infinite library in their pocket. The form factor is not where the value lives. The value sits with the content owners, which means the artists and the label. 8. And this is where he lands on AI: nobody falls in love with a computer-generated track. Computers have been used to generate music for decades. It has never produced anything anyone cared about. Taylor Swift is not just the songs. She is the artist, the story, the physical presence, the live experience. Nobody is going to get excited watching a computer on a stage. 9. Instead, AI becomes a tool that makes artists better. Ackman compares it to the synthesizer, which let one person command an entire orchestra. A mild threat to a percussionist, maybe. But it may have driven even more demand for the live experience, which is precisely the part a machine cannot replicate. 10. All of it comes back to one line from Benjamin Graham. Price is what you pay, value is what you get. You can never calculate value precisely, only approximate it. So you buy at a big enough discount to your approximation that being wrong by 30% still leaves you fine. That is the margin of safety, and it is why a huge part of investing is simply not losing money. 11. And the principle generalizes far past music. McDonald's is a 1950s business, and 75 years later you can still predict roughly what it looks like. The menu adjusts to taste, but the core does not move. As Ackman puts it: the Beatles, the Rolling Stones, and the hamburger and fries are forever.

Jaynit

17,740 просмотров • 20 дней назад

“MAGIC MAN 2” ไม่ใช่แค่คอนเสิร์ต… แต่คือ ประสบการณ์สุดพิเศษ ที่แฟน ๆ จะได้ ร่วมเป็นส่วนหนึ่งของเรื่องราว กับแจ็คสัน!! 👑 งานนี้ห้ามพลาด แล้วพบกันที่กรุงเทพฯ 💥 MAGICMAN 2 WORLD TOUR 2025-2026 in Bangkok Presented by Galaxy Resorts Thailand 📆 วันศุกร์ที่ 3 ตุลาคม 2568 เวลา 20:00 น. และวันเสาร์ที่ 4 ตุลาคม 2568 เวลา 19:00 น. 📍อิมแพ็ค อารีน่า เมืองทองธานี 💵ราคาบัตร MAGIC 1 PACKAGE 18,000 (บัตรยืน) / MAGIC 2 PACKAGE 9,000 (บัตรยืน) / 6,900 (บัตรยืน) / 6,500 / 5,500 (บัตรยืน) / 4,300 / 3,500 และ 2,900 บาท ทุกที่นั่งทุกราคาบัตรรับ Official Poster และ บัตรแข็งที่ระลึก *ใช้บัตรกระดาษเข้างาน* 🎫 เปิดจำหน่ายบัตร วันเสาร์ที่ 30 สิงหาคม 2568 เวลา 12.00 น. เป็นต้นไป ผ่านทาง เท่านั้น และเปิดจำหน่ายครบทุกช่องทาง รวมถึง Call Center 02-262-3456 ในวันอาทิตย์ที่ 31 สิงหาคม 2568 ตั้งแต่เวลา 00.01 น. เป็นต้นไป * ติดตามรายละเอียดเพิ่มเติมได้ผ่านช่องทาง Facebook และ TikTok: @imethailand / X และ Instagram: iMe Thailand ------------------------- “MAGIC MAN 2” is not just a concert… it’s a one-of-a-kind experience where fans get to be part of the story with Jackson!! 👑 Don’t miss this—see you in Bangkok 💥 MAGICMAN 2 WORLD TOUR 2025-2026 in Bangkok Presented by Galaxy Resorts Thailand 📆 Friday, October 3, 2025 at 8:00PM and Saturday, October 4, 2025 at 7:00PM 📍 Impact Arena, Muang Thong Thani 💵Tickets Price MAGIC 1 PACKAGE 18,000 (standing) / MAGIC 2 PACKAGE 9,000 (standing) / 6,900 (standing) / 6,500 / 5,500 (standing) / 4,300 / 3,500 and 2,900 Baht All Ticket Holders get Plastic Ticket *Use Paper Ticket to attend the concert* 🎫 Tickets sale start on Saturday 30th August 2025 from 12:00 PM onwards at only and start selling at all counters and Call Center +662-262-3456 Sunday 31th August 2025 from 00:01 AM onwards * For more information, please visit Facebook & TikTok: @imethailand and X & Instagram: iMe Thailand #MAGICMAN2inBKK #MAGICMAN2WORLDTOUR #JACKSONWANGWORLDTOUR #잭슨 #王嘉尔 #JacksonWang #TEAMWANGRecords #iMeThailand Jackson Wang
1:03

“MAGIC MAN 2” ไม่ใช่แค่คอนเสิร์ต… แต่คือ ประสบการณ์สุดพิเศษ ที่แฟน ๆ จะได้ ร่วมเป็นส่วนหนึ่งของเรื่องราว กับแจ็คสัน!! 👑 งานนี้ห้ามพลาด แล้วพบกันที่กรุงเทพฯ 💥 MAGICMAN 2 WORLD TOUR 2025-2026 in Bangkok Presented by Galaxy Resorts Thailand 📆 วันศุกร์ที่ 3 ตุลาคม 2568 เวลา 20:00 น. และวันเสาร์ที่ 4 ตุลาคม 2568 เวลา 19:00 น. 📍อิมแพ็ค อารีน่า เมืองทองธานี 💵ราคาบัตร MAGIC 1 PACKAGE 18,000 (บัตรยืน) / MAGIC 2 PACKAGE 9,000 (บัตรยืน) / 6,900 (บัตรยืน) / 6,500 / 5,500 (บัตรยืน) / 4,300 / 3,500 และ 2,900 บาท ทุกที่นั่งทุกราคาบัตรรับ Official Poster และ บัตรแข็งที่ระลึก *ใช้บัตรกระดาษเข้างาน* 🎫 เปิดจำหน่ายบัตร วันเสาร์ที่ 30 สิงหาคม 2568 เวลา 12.00 น. เป็นต้นไป ผ่านทาง เท่านั้น และเปิดจำหน่ายครบทุกช่องทาง รวมถึง Call Center 02-262-3456 ในวันอาทิตย์ที่ 31 สิงหาคม 2568 ตั้งแต่เวลา 00.01 น. เป็นต้นไป * ติดตามรายละเอียดเพิ่มเติมได้ผ่านช่องทาง Facebook และ TikTok: @imethailand / X และ Instagram: iMe Thailand ------------------------- “MAGIC MAN 2” is not just a concert… it’s a one-of-a-kind experience where fans get to be part of the story with Jackson!! 👑 Don’t miss this—see you in Bangkok 💥 MAGICMAN 2 WORLD TOUR 2025-2026 in Bangkok Presented by Galaxy Resorts Thailand 📆 Friday, October 3, 2025 at 8:00PM and Saturday, October 4, 2025 at 7:00PM 📍 Impact Arena, Muang Thong Thani 💵Tickets Price MAGIC 1 PACKAGE 18,000 (standing) / MAGIC 2 PACKAGE 9,000 (standing) / 6,900 (standing) / 6,500 / 5,500 (standing) / 4,300 / 3,500 and 2,900 Baht All Ticket Holders get Plastic Ticket *Use Paper Ticket to attend the concert* 🎫 Tickets sale start on Saturday 30th August 2025 from 12:00 PM onwards at only and start selling at all counters and Call Center +662-262-3456 Sunday 31th August 2025 from 00:01 AM onwards * For more information, please visit Facebook & TikTok: @imethailand and X & Instagram: iMe Thailand #MAGICMAN2inBKK #MAGICMAN2WORLDTOUR #JACKSONWANGWORLDTOUR #잭슨 #王嘉尔 #JacksonWang #TEAMWANGRecords #iMeThailand Jackson Wang

iMe Thailand

88,627 просмотров • 11 месяцев назад

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)
1:23

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

49,522 просмотров • 6 месяцев назад

What started as an event, became a series of events, it became a movement. Long before the events, Islanddao has been around since the early days of the Solana ecosystem. A group of power users. A Service DAO. A Network State. A movement. 🏝️ With just three events in little more than a year, Islanddao has already cemented itself as one of the most prominent irl events and communities for builders. It's only natural we're expanding. New leaders emerge, new destinations, new tech. 2026 will be our most expansive year yet, with (at least) two destinations: - Koh Samui, Thailand, 03-28 June 2026 🇹🇭 - Florianópolis, Brazil, October 2026 🇧🇷 Superteam Brasil will be leading the charge in Brazil and we are excited to pass the baton and grow. Together. Two months of connecting, shipping, coordinating and putting amazing blockchain tech to actual use. The NFT, the mobile app and more. Scaling Keeping IslandDAO for the future The Islanddao model has always been about hosting, empowering, connecting the best builders and founders in exceptional venues and locations all around the world, while expanding the movement to more and more countries. We’re thankful about our incredible sponsors who’ve been supporting us over the years but in order to make Islanddaos sustainable, starting from v4, a paid ticket will be required in order to attend. To ensure we can continue expanding to more countries and providing the world-class experience you’ve come to expect, we are evolving our model. Starting with Islanddao v4 in Thailand, we are introducing a ticketed entry 🎟️ This isn't just a fee; it’s an investment in the community. Each ticket covers a week of access to the event: Five days in our premium co-working house, plus an exclusive weekend adventure. Ticket sales for IslandDAO v4 Thailand are now live, and we’re doing things differently. 🇹🇭 Islanddao isn't just a physical location. It’s a digital ecosystem. At the heart of our hackerhouse is the Islanddao PERKS collection. We’ve re-invented the NFT experience through our custom app, turning your onchain identity into the "operating system" for your time at the event. Your PERK NFT is not just a collectible; it is essential infrastructure. It's your power to shape Islanddao! Run the event onchain Vote on house decisions and influence the event’s direction, including Launchathons and Hackathon participation and collective decision-making. House Interactions Your PERK is your key to the physical world—from entering trading competitions and signing up for workshops to completing location-based missions that trigger in-app rewards and surprises. Here is how the v4 ticketing system works: The Ticket & The NFT Every IslandDAO ticket is anchored to an NFT. This isn't just a digital collectible—it is the essential infrastructure that grants you access to all our on-chain events and the co-working house. For the IslandDAO Family: If you already hold a PERK NFT, our app makes it seamless to attach your ticket to your existing on-chain identity. For New Builders: Your journey starts by joining the wider IslandDAO family. Before securing your ticket, you’ll need to acquire an NFT from our PERKS collection. This NFT is your essential onchain identity—once you have it, you're ready to purchase your ticket and unlock the full hackerhouse experience. The Ultimate Perk: Free VIP Access The "All 12 animals” legend is real. We reward our most dedicated collectors who have powered this movement from the start: Hold all 12 animals from the Perks collection? You are eligible for a VIP Pass. This grants you full access to the entire event for free. Ready to ship in Thailand? Whether you are a long-time holder or joining us for the first time, your journey starts on-chain. Secure your spot for the week(s) you want to attend and experience the future of blockchain-integrated living.
0:48

What started as an event, became a series of events, it became a movement. Long before the events, Islanddao has been around since the early days of the Solana ecosystem. A group of power users. A Service DAO. A Network State. A movement. 🏝️ With just three events in little more than a year, Islanddao has already cemented itself as one of the most prominent irl events and communities for builders. It's only natural we're expanding. New leaders emerge, new destinations, new tech. 2026 will be our most expansive year yet, with (at least) two destinations: - Koh Samui, Thailand, 03-28 June 2026 🇹🇭 - Florianópolis, Brazil, October 2026 🇧🇷 Superteam Brasil will be leading the charge in Brazil and we are excited to pass the baton and grow. Together. Two months of connecting, shipping, coordinating and putting amazing blockchain tech to actual use. The NFT, the mobile app and more. Scaling Keeping IslandDAO for the future The Islanddao model has always been about hosting, empowering, connecting the best builders and founders in exceptional venues and locations all around the world, while expanding the movement to more and more countries. We’re thankful about our incredible sponsors who’ve been supporting us over the years but in order to make Islanddaos sustainable, starting from v4, a paid ticket will be required in order to attend. To ensure we can continue expanding to more countries and providing the world-class experience you’ve come to expect, we are evolving our model. Starting with Islanddao v4 in Thailand, we are introducing a ticketed entry 🎟️ This isn't just a fee; it’s an investment in the community. Each ticket covers a week of access to the event: Five days in our premium co-working house, plus an exclusive weekend adventure. Ticket sales for IslandDAO v4 Thailand are now live, and we’re doing things differently. 🇹🇭 Islanddao isn't just a physical location. It’s a digital ecosystem. At the heart of our hackerhouse is the Islanddao PERKS collection. We’ve re-invented the NFT experience through our custom app, turning your onchain identity into the "operating system" for your time at the event. Your PERK NFT is not just a collectible; it is essential infrastructure. It's your power to shape Islanddao! Run the event onchain Vote on house decisions and influence the event’s direction, including Launchathons and Hackathon participation and collective decision-making. House Interactions Your PERK is your key to the physical world—from entering trading competitions and signing up for workshops to completing location-based missions that trigger in-app rewards and surprises. Here is how the v4 ticketing system works: The Ticket & The NFT Every IslandDAO ticket is anchored to an NFT. This isn't just a digital collectible—it is the essential infrastructure that grants you access to all our on-chain events and the co-working house. For the IslandDAO Family: If you already hold a PERK NFT, our app makes it seamless to attach your ticket to your existing on-chain identity. For New Builders: Your journey starts by joining the wider IslandDAO family. Before securing your ticket, you’ll need to acquire an NFT from our PERKS collection. This NFT is your essential onchain identity—once you have it, you're ready to purchase your ticket and unlock the full hackerhouse experience. The Ultimate Perk: Free VIP Access The "All 12 animals” legend is real. We reward our most dedicated collectors who have powered this movement from the start: Hold all 12 animals from the Perks collection? You are eligible for a VIP Pass. This grants you full access to the entire event for free. Ready to ship in Thailand? Whether you are a long-time holder or joining us for the first time, your journey starts on-chain. Secure your spot for the week(s) you want to attend and experience the future of blockchain-integrated living.

IslandDAO 🏝️

45,549 просмотров • 3 месяцев назад