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Hardcore Gains Vol.7 Interactive VR Gameplay Interactive. POV. VR. No limits. You’re the main character now. Watch the full uncensored version below. #VAM #VirtAMate #VRPorn #VRgame #anime #hentai #pov #Adultgame #Universens

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UniversenS

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29,938 次观看 • 3 个月前 •via X (Twitter)

NSFW#VAM#VirtAMate#VRPorn#VRgame#anime#hentai#pov#Adultgame#Universens
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👉 Subscribe now and unlock the full uncensored version + much more exclusive content: 🔥 Just me stretching my limits... and showing off how flexible this powerful body really is 😈 High kick, full control, and that teasing look that says I know exactly what you’re thinking. Want to see what happens when I take these clothes off and push even further? The real heat, the close-ups, the muscle worship, and all the dirty fantasies you crave... only on my Fansly. No filters. No limits. Just pure strength and seduction.
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👉 Subscribe now and unlock the full uncensored version + much more exclusive content: 🔥 Just me stretching my limits... and showing off how flexible this powerful body really is 😈 High kick, full control, and that teasing look that says I know exactly what you’re thinking. Want to see what happens when I take these clothes off and push even further? The real heat, the close-ups, the muscle worship, and all the dirty fantasies you crave... only on my Fansly. No filters. No limits. Just pure strength and seduction.

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HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)
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HUGE UPDATE My twitch 3d livestream is now in VR and AR! We've basically made a hologram that can be shrunk down to sit on your desk!!! The 3d livestream is a real-time interactive point cloud (built using LiDAR cameras) of me, synced up with my regular twitch broadcasts. It's full 360, uses no avatars or assets, and has integrated twitch features such as chat, a movie screen with the normal 2D stream displayed, and customizable sprite characters that viewers can control and move freely about the space with AND they show up on the regular stream as if in the room with me. We've recently gotten collision working so I can swat viewers away and send them flying, added a racing minigame with hoops that also show up in the normal stream, and ultimately made VR / AR HOLOGRAMS I'm so excited and it's only gonna get better. We're adding more interactive features, working on better aesthetics, and creating REAL NON-VR holograms that can ACTUALLY sit on your desk!! I can't wait Follow the project here and on and swing by if you have any questions or if you want to join future playtests (please do ahaha) :)

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🚀 The Future of 3D Creation is Here! World Labs World Labs dropped a bombshell with #Marble, and the spatial computing world is buzzing. 🤯 👉 For Beginners: Create stunning 3D worlds, no code needed. 👉 For Pros: Power-up your workflow with advanced tools. 👉 For Industry: Marks a milestone in Spatial AI innovation! But let's talk about the elephant in the room: Hardware. 🖥️ While #Marble leverages cloud power to generate worlds in seconds, accessing and sharing them still depends heavily on local device performance. 𝗧𝗵𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝗔𝗿𝗲 𝗥𝗲𝗮𝗹: ➤ 𝗔𝗰𝗰𝗲𝘀𝘀𝗶𝗯𝗶𝗹𝗶𝘁𝘆: Basic laptops struggle to run initial generations smoothly — not to mention high-fidelity scenes. Sharable links are a step forward, but must every viewer own high-end hardware? ➤ 𝗠𝗼𝗯𝗶𝗹𝗲 𝗚𝗮𝗽: Full creation tools aren’t mobile-ready yet. Desktop is still a must for the complete experience. ➤ 𝗩𝗥 "𝗩𝗶𝗲𝘄𝗶𝗻𝗴": "Open in VR" is a great start—but true collaborative VR requires serious rendering power and device support. How do we include everyone, without top-tier headsets or perfect networks? We tested #Marble on a typical Windows laptop. See the performance gap? We bring fluid Marble experience via #LarkXR! 👀 ▶︎ 𝗙𝗹𝗶𝗽 𝘁𝗵𝗲 𝗦𝘄𝗶𝘁𝗰𝗵 #LarkXR is here. Our Cloud XR Streaming Technology delivers high-fidelity VR and 3D experiences to any device — breaking through hardware limits and compatibility gaps. Now every user can join, view, and collaborate seamlessly. #Marble Unlocks Spatial World Creation. #LarkXR Unlocks Interactive Immersive Accessibility. 𝘓𝘦𝘵'𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘵𝘰 𝘦𝘯𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦, 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘰𝘯 𝘢𝘯𝘺 𝘥𝘦𝘷𝘪𝘤𝘦, 𝘤𝘢𝘯 𝘵𝘳𝘶𝘭𝘺 𝘴𝘵𝘦𝘱 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥𝘴 𝘺𝘰𝘶 𝘤𝘳𝘦𝘢𝘵𝘦. 𝗚𝗲𝘁 𝗦𝘁𝗮𝗿𝘁𝗲𝗱 𝗪𝗶𝘁𝗵 𝗟𝗮𝗿𝗸𝗫𝗥 𝗧𝗼𝗱𝗮𝘆 🚀 🚀 🚀 #WorldLabs

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The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤
1:28

The state of LOW-FI and platform support (Death of PCVR): When the Kickstarter ran back in , the main focus was "Next-Gen VR", meaning at the time PCVR, with high hopes for PSVR2 (which hadn't been officially announced). During the next year or so, we (myself, Noah Rayburn and Mark Schramm #VR #AR #MR) focused purely on supporting PC VR hardware. Rift/S, Vive, Index (including controllers), all WMR devices, etc... Mark even added HOTAS and Leap Motion support. BUT, as I'm sure you know, PCVR has been in decline since around the launch of Half-Life: Alyx, which Anton Hand so eloquently called the punctuation mark on the gravestone of PCVR. The Rift store is a ghost town.. like officially.. even according to Meta, Viveport (lets not even go there), what else we got? WMR Store? Was that even a thing? Anyway... Lucky for us, PSVR2 was just over the horizon and we had the dev kits! How well is PSV2 doing though? Guess is (based on speaking with other top VR devs), not that great... Somewhere in there, the great and powerful Noah Rayburn was able to implement a pretty slick "non-VR mode" upon my request to be able to test the game without having to keep taking the HMD off and on while balancing controllers on my knees and working with janky Quest link stuff. Good news! Non-VR mode is great! No just for testing, but for playing. We decided to go full in on it's development and offer it to the consumers. Bonus, it also runs on Steam Deck! (See video below). Now as we gear up to finish the game and run out of money (hopefully in that order), I'm thinking a lot about the market for the game and our placement in it. We have a decent amount of wishlists (66k on Steam and 24k on PS5) so far. Hope is that launching as a PSVR2 title will capture a good chunk of those users, pushing it up on the general PSN store ranking (notoriously hard for indies to do otherwise), and we'll make some sales to traditional flat PS5 gamers as well. Snowballing a bit if we're lucky. Steam launch could do decently well if timed properly, with hopes of the same "VR first" snowballing effect. Why am I telling you all of this? I just thought it would be good to get it in writing and have a place to point. We are starting to run low on money (PCVR presales have basically dried up), so it's also to let you know that the fire is lit under my ass to ship this thing. That said, it won't ship until its good and done. A delayed game is eventually good, but a rushed game is forever bad. Oh, and before you say "Why not port it to Quest", put down the pipe. I understand that you're not a developer, but take my word for it, that's not happening. Not with this budget(or lack thereof), this sized team , or this generation of devices. Ok. that's it. My longest twitter post. PC/PCVR Preorder and early access: Steam Wishlist PSN Wishlist ❤️🧡💙🖤

Blair Renaud // LOW-FI 🟥🟧⬛

69,789 次观看 • 2 年前

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves
48:36

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves

Narushio

226,844 次观看 • 1 年前

🚨BREAKING: AIPAC just got absolutely NUKED — the most savage political ad in American history just dropped and they’re already shaking A new PAC just dropped the most devastating anti-AIPAC ad you’ll ever see. They’re not asking for permission. They’re not begging Congress. They’re coming for the seats. Meet AZAPAC – the Anti-Zionist America PAC Their mission: End the Israel lobby’s stranglehold on Congress. No more $33,000,000,000+ since Oct 7 while Americans rot. No more puppets. No more extortionist. This 90-second ad is pure fire. Watch till the end. 🔥 “We’re not pleading for our country back. We’re taking it.” They’re already backing warriors: 🇺🇸 Jose Vega vs Richie Torres (NY) 🇺🇸 Aaron Baker + Griff vs Florida’s biggest Zionists More coming. AZAPAC is non-partisan, just like AIPAC pretends to be. If you’re sick of being called “antisemitic” for wanting America First… This is your army. Go There RIGHT NOW → Follow AZAPAC and go check out their website, also FOLLOW Sabby Sabs and check her FULL Video. Both will be linked down in the comments below Donate. Volunteer. Amplify. The mask is off. The fight is on. Who’s in? 👇
5:34

🚨BREAKING: AIPAC just got absolutely NUKED — the most savage political ad in American history just dropped and they’re already shaking A new PAC just dropped the most devastating anti-AIPAC ad you’ll ever see. They’re not asking for permission. They’re not begging Congress. They’re coming for the seats. Meet AZAPAC – the Anti-Zionist America PAC Their mission: End the Israel lobby’s stranglehold on Congress. No more $33,000,000,000+ since Oct 7 while Americans rot. No more puppets. No more extortionist. This 90-second ad is pure fire. Watch till the end. 🔥 “We’re not pleading for our country back. We’re taking it.” They’re already backing warriors: 🇺🇸 Jose Vega vs Richie Torres (NY) 🇺🇸 Aaron Baker + Griff vs Florida’s biggest Zionists More coming. AZAPAC is non-partisan, just like AIPAC pretends to be. If you’re sick of being called “antisemitic” for wanting America First… This is your army. Go There RIGHT NOW → Follow AZAPAC and go check out their website, also FOLLOW Sabby Sabs and check her FULL Video. Both will be linked down in the comments below Donate. Volunteer. Amplify. The mask is off. The fight is on. Who’s in? 👇

Project Constitution

162,778 次观看 • 8 个月前

Anthropic's most viral feature is now open-source! Until now, Anthropic's Generative UI capabilities only existed inside its own products. CopilotKit🪁 just shipped Open Generative UI, an open-source implementation of Claude Artifacts that works in any app. The agent generates HTML/SVG at runtime, and CopilotKit streams it token-by-token into a sandboxed iframe inside the app's chat. So the user can watch the UI assemble itself in real time, not after the full response is ready. The sandbox is fully isolated with no access to the parent app, the DOM, or user data. So if the agent hallucinates broken markup or unexpected JavaScript, nothing leaks outside the iframe. Under the hood, the agent does not select from pre-built components. Instead, it generates arbitrary visuals from scratch every time. The output is unconstrained by default, but you can shape it by defining prompt-based skills that teach the agent specific visual formats or guidelines. For instance, a skill prompt can guide the agent toward producing a Chart.js dashboard with proper axis labels and responsive sizing, or an interactive 3D model with rotation controls. The video below shows this in action, and the output quality you see actually comes from the skills layer. Open Generative UI runs on AG-UI, so it works out of the box with LangGraph, CrewAI, Mastra, Google ADK, AWS Strands, and more. It also ships with a standalone MCP server that plugs into Claude Code, Cursor, or any MCP-compatible client. And the entire stack is built on top of CopilotKit, the open-source frontend framework for agents and generative UI. 30k+ GitHub stars, with SDKs for React, Next.js, Angular, and Vue. I have shared the GitHub repo and a live playground in the replies!
0:53

Anthropic's most viral feature is now open-source! Until now, Anthropic's Generative UI capabilities only existed inside its own products. CopilotKit🪁 just shipped Open Generative UI, an open-source implementation of Claude Artifacts that works in any app. The agent generates HTML/SVG at runtime, and CopilotKit streams it token-by-token into a sandboxed iframe inside the app's chat. So the user can watch the UI assemble itself in real time, not after the full response is ready. The sandbox is fully isolated with no access to the parent app, the DOM, or user data. So if the agent hallucinates broken markup or unexpected JavaScript, nothing leaks outside the iframe. Under the hood, the agent does not select from pre-built components. Instead, it generates arbitrary visuals from scratch every time. The output is unconstrained by default, but you can shape it by defining prompt-based skills that teach the agent specific visual formats or guidelines. For instance, a skill prompt can guide the agent toward producing a Chart.js dashboard with proper axis labels and responsive sizing, or an interactive 3D model with rotation controls. The video below shows this in action, and the output quality you see actually comes from the skills layer. Open Generative UI runs on AG-UI, so it works out of the box with LangGraph, CrewAI, Mastra, Google ADK, AWS Strands, and more. It also ships with a standalone MCP server that plugs into Claude Code, Cursor, or any MCP-compatible client. And the entire stack is built on top of CopilotKit, the open-source frontend framework for agents and generative UI. 30k+ GitHub stars, with SDKs for React, Next.js, Angular, and Vue. I have shared the GitHub repo and a live playground in the replies!

Akshay 🚀

86,515 次观看 • 2 个月前

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff
18:20

Predictix: DNA, AI, and the #Zionist Infiltration of UK Mental Health. My report yesterday for UK Column covers the Israeli influence over mental health in the UK - DNA-mining and fast-track drug prescription. Yesterday’s main report covers the progression from the UK-Israel partnership on health sectors in northern England to the involvement of Israeli “innovation” in mental health care and fast-track to drug prescription based on your DNA and demographic data. It is a terrifying glimpse into a future influenced and governed those who wish to see us converted into hackable humans with no connection to our collective Humanity. You can watch the full news program here. The following is taken from a recent article by Julian Rose, further excerpts below: Yuval Noah Harari, the Israeli professor of history and top advisor to the Word Economic Forum cabal, has made a point of stating how human beings are now “hackable”, and how this will enable the reengineering of the human into a gene edited version in which ‘all the faults have been removed’. With the result that this entity will then become ‘superior to God’. “We will do better than God” in Harari’s words. This has a strong throw-back to Hitler’s preoccupation with the pre World War Two eugenics program, designed to result in the breeding of ‘the perfect Aryan’. In the Nazi’s case, an athletic, blond haired, blue eyed ‘ubermensch’. Read more on my Substack: David Miller Crispin Flintoff

Vanessa Beeley

13,614 次观看 • 1 年前

‼️ VICTOR MARX CAUGHT RED-HANDED Weaving Another Fantastical Tale — Can’t Name the Man He Claims He Killed at Age 7, Doesn’t Know the Town, the House, or Where the Body Is 😱 This is the guy running for Governor of Colorado… and his “harrowing childhood” story is falling apart in real time. Candace Owens presses him on the story he’s told for years: At age 7, his stepfather forced him to shoot and kill a man, then bury the body in the backyard. Victor’s answers? Name of the victim? “I didn’t know who he was.” Town where it happened? (Stumbles, dodges, then finally says one of two sister towns — Mendenhall or Magee in Simpson County) Where was the house? Where’s the body buried? “We don’t know where the house is… we don’t know where he was buried.” What did the sheriff say when he called years later? It’s now a “cold case”… somehow. His own family in Mississippi says none of this ever happened. No missing person reports. No news stories. Nothing in a tiny rural community where a murder would’ve been noticed. Yet Victor Marx keeps telling this story on documentaries, in interviews, and at events. This is the SAME man who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her with a bulletproof car ✅ Announced his run for governor at Charlie’s memorial — a “calling from God” And now he can’t keep his own origin story straight? Deflection. Inconsistencies. Fantastical tales with zero verifiable details. This isn’t trauma. This is a pattern. FOLLOW Candace Owens RT this immediately Watch the FULL interview below and decide for yourself. They think you won’t notice. They think you’re not paying attention. ⚠️ My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you want the truth to keep coming, your support right now is everything. Link in bio. 💪 🔗
8:46

‼️ VICTOR MARX CAUGHT RED-HANDED Weaving Another Fantastical Tale — Can’t Name the Man He Claims He Killed at Age 7, Doesn’t Know the Town, the House, or Where the Body Is 😱 This is the guy running for Governor of Colorado… and his “harrowing childhood” story is falling apart in real time. Candace Owens presses him on the story he’s told for years: At age 7, his stepfather forced him to shoot and kill a man, then bury the body in the backyard. Victor’s answers? Name of the victim? “I didn’t know who he was.” Town where it happened? (Stumbles, dodges, then finally says one of two sister towns — Mendenhall or Magee in Simpson County) Where was the house? Where’s the body buried? “We don’t know where the house is… we don’t know where he was buried.” What did the sheriff say when he called years later? It’s now a “cold case”… somehow. His own family in Mississippi says none of this ever happened. No missing person reports. No news stories. Nothing in a tiny rural community where a murder would’ve been noticed. Yet Victor Marx keeps telling this story on documentaries, in interviews, and at events. This is the SAME man who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her with a bulletproof car ✅ Announced his run for governor at Charlie’s memorial — a “calling from God” And now he can’t keep his own origin story straight? Deflection. Inconsistencies. Fantastical tales with zero verifiable details. This isn’t trauma. This is a pattern. FOLLOW Candace Owens RT this immediately Watch the FULL interview below and decide for yourself. They think you won’t notice. They think you’re not paying attention. ⚠️ My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you want the truth to keep coming, your support right now is everything. Link in bio. 💪 🔗

Project Constitution

27,248 次观看 • 2 个月前

Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.
0:28

Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.

DAN · MXVDXN

30,013 次观看 • 1 个月前

🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn
6:04

🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn

Infinity Nikki

35,800 次观看 • 3 个月前

Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:
1:17

Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:

Jim Fan

226,089 次观看 • 5 个月前

‼️ VICTOR MARX DROPS THE MOST CHILLING LINE YET — Texted Erika Kirk “Don’t Worry, They Aren’t Coming For You… They Only Wanted Charlie” Minutes After The Assassination 😱 🚩How did he know that???🚩 On Candace Owens’ show, Victor casually admits he contacted Erika Kirk immediately after Charlie was shot and told her: “Nobody’s gonna kill you… you’re safe… you and the kids… no one’s coming after you. They just wanted Charlie.” He repeated that line twice. How the hell did Victor Marx know — within minutes — that the assassins “only wanted Charlie” and that Erika and her children were completely safe? He wasn’t there. He wasn’t law enforcement. He wasn’t on the security detail. Yet he was 100% confident the hit was surgical and the family was off-limits. This wasn’t comfort. This sounds like a message from someone with insider information — the same energy as Andrew Kolvet telling Candace “it was supposed to be you.” This is the SAME Victor Marx who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her the day the body came home on Air Force Two ✅ Delivered her a bulletproof car for “safety” ✅ Announced his run for Governor at the memorial — a “calling from God” Candace missed the massive red flag. We didn’t. This clip is nuclear. FOLLOW Candace Owens, RT this immediately and Watch the FULL interview below and tell me this doesn’t raise every hair on your neck. ⚠️ My channel is under coordinated attack to bankrupt me and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. 💪 🔗
9:38

‼️ VICTOR MARX DROPS THE MOST CHILLING LINE YET — Texted Erika Kirk “Don’t Worry, They Aren’t Coming For You… They Only Wanted Charlie” Minutes After The Assassination 😱 🚩How did he know that???🚩 On Candace Owens’ show, Victor casually admits he contacted Erika Kirk immediately after Charlie was shot and told her: “Nobody’s gonna kill you… you’re safe… you and the kids… no one’s coming after you. They just wanted Charlie.” He repeated that line twice. How the hell did Victor Marx know — within minutes — that the assassins “only wanted Charlie” and that Erika and her children were completely safe? He wasn’t there. He wasn’t law enforcement. He wasn’t on the security detail. Yet he was 100% confident the hit was surgical and the family was off-limits. This wasn’t comfort. This sounds like a message from someone with insider information — the same energy as Andrew Kolvet telling Candace “it was supposed to be you.” This is the SAME Victor Marx who: ✅ Announced Charlie Kirk’s assassination 90 minutes before the President ✅ Was inside Erika Kirk’s home “comforting” her the day the body came home on Air Force Two ✅ Delivered her a bulletproof car for “safety” ✅ Announced his run for Governor at the memorial — a “calling from God” Candace missed the massive red flag. We didn’t. This clip is nuclear. FOLLOW Candace Owens, RT this immediately and Watch the FULL interview below and tell me this doesn’t raise every hair on your neck. ⚠️ My channel is under coordinated attack to bankrupt me and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. 💪 🔗

Project Constitution

174,918 次观看 • 2 个月前

🎬 Whimsical Reverie | Preview: She Is Wildfire >> Main Attribute: Cool 🐺Outfit Preview [She Is Wildfire] can be evolved into the following outfits: [She Is Wildfire: Forest] (Stage 1), [She Is Wildfire: Waning Moon] (Stage 2), and [She Is Wildfire: Journey] (Stage 3). Fully glow it up to obtain the [She Is Wildfire: Frontispiece] outfit. ♦ By default, when Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the hood is up. Stylists can toggle between the hood-up and hood-down look by accessing [Form Shift] in the [Feature Collection] section of the main interface sidebar. The outerwear's appearance is saved independently for the base, evolved, and glowed-up versions. Please note: when using certain features (such as switching details at Evolution Stage 3), the outerwear will revert to its default hood-up state. If you prefer the hood-down look, go back and select [Form Shift] again. 🐺Outfit Ability [Hunting Elegy: Battle Companion]: In Itzaland, using Hunting Elegy: Battle Companion summons the Phantom Companion Moon-Hunting Wolf to fight alongside Nikki. While not in Co-hunt State, Nikki can use her gun to mark an enemy. The wolf follows with a pursuit attack, dealing increased damage to the marked target. The Moon-Hunting Wolf can launch Nikki into the air, then follow her aim and slam down onto the targeted enemy. When the Moon-Hunting Wolf deals a certain amount of damage on its own, Nikki gains Gunblossom Marks. Using the Companion Skill consumes all Gunblossom Marks to restore an equal amount of Health. Approach the Moon-Hunting Wolf and use the button to unleash its full power, transforming it into a giant form and entering Co-hunt State, allowing Nikki to control it directly. While in Co-hunt State, the Moon-Hunting Wolf continuously consumes Battle Companion Energy. When depleted, the Co-hunt State ends, and the wolf returns to its small form. When not in Co-hunt State, Battle Companion Energy gradually recovers. ♦ This Battle Companion ability is region-restricted and can only be used in Itzaland. Phantom Companions cannot be summoned in certain stages, Curio Domains, or Mothershroom Woods, and any summoned Phantom Companions cannot follow Nikki into these areas. ♦ When Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the Oathbound Co-hunt animation will automatically lower the hood upon finishing. If you'd like to keep the hood-up look instead, there is a toggle in the Ability Setup that lets you turn off the automatic hood removal. 🐺Resonance Rewards Based on your number of Resonance attempts in [Call of the Forest], you can earn rewards such as [She Is Wildfire: Makeup], [Momo's Cloak: Rose Flame], and [Decoration: Unawakened Forest], which can be placed in open spaces for photography and display. 🐺Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Time to Leave]. Reaching Evolution Stage 2 unlocks [Forest Hunter's Shadow] for Momo's Camera: Framed Moment and the decoration [Unawakened Forest: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Her Song of Freedom: Makeup], a new idle animation, the poses [Suspicious Figure], [Roaring Debut], and [Warming Up], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.4 The Forest Need Not Listen launches globally on March 26 (UTC-7)! ➤ Download Now: ➤ Join us on Reddit: #InfinityNikki #TheForestNeedNotListen
5:40

🎬 Whimsical Reverie | Preview: She Is Wildfire >> Main Attribute: Cool 🐺Outfit Preview [She Is Wildfire] can be evolved into the following outfits: [She Is Wildfire: Forest] (Stage 1), [She Is Wildfire: Waning Moon] (Stage 2), and [She Is Wildfire: Journey] (Stage 3). Fully glow it up to obtain the [She Is Wildfire: Frontispiece] outfit. ♦ By default, when Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the hood is up. Stylists can toggle between the hood-up and hood-down look by accessing [Form Shift] in the [Feature Collection] section of the main interface sidebar. The outerwear's appearance is saved independently for the base, evolved, and glowed-up versions. Please note: when using certain features (such as switching details at Evolution Stage 3), the outerwear will revert to its default hood-up state. If you prefer the hood-down look, go back and select [Form Shift] again. 🐺Outfit Ability [Hunting Elegy: Battle Companion]: In Itzaland, using Hunting Elegy: Battle Companion summons the Phantom Companion Moon-Hunting Wolf to fight alongside Nikki. While not in Co-hunt State, Nikki can use her gun to mark an enemy. The wolf follows with a pursuit attack, dealing increased damage to the marked target. The Moon-Hunting Wolf can launch Nikki into the air, then follow her aim and slam down onto the targeted enemy. When the Moon-Hunting Wolf deals a certain amount of damage on its own, Nikki gains Gunblossom Marks. Using the Companion Skill consumes all Gunblossom Marks to restore an equal amount of Health. Approach the Moon-Hunting Wolf and use the button to unleash its full power, transforming it into a giant form and entering Co-hunt State, allowing Nikki to control it directly. While in Co-hunt State, the Moon-Hunting Wolf continuously consumes Battle Companion Energy. When depleted, the Co-hunt State ends, and the wolf returns to its small form. When not in Co-hunt State, Battle Companion Energy gradually recovers. ♦ This Battle Companion ability is region-restricted and can only be used in Itzaland. Phantom Companions cannot be summoned in certain stages, Curio Domains, or Mothershroom Woods, and any summoned Phantom Companions cannot follow Nikki into these areas. ♦ When Nikki wears the outerwear "Emberwood Wanderings" from this outfit, the Oathbound Co-hunt animation will automatically lower the hood upon finishing. If you'd like to keep the hood-up look instead, there is a toggle in the Ability Setup that lets you turn off the automatic hood removal. 🐺Resonance Rewards Based on your number of Resonance attempts in [Call of the Forest], you can earn rewards such as [She Is Wildfire: Makeup], [Momo's Cloak: Rose Flame], and [Decoration: Unawakened Forest], which can be placed in open spaces for photography and display. 🐺Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Time to Leave]. Reaching Evolution Stage 2 unlocks [Forest Hunter's Shadow] for Momo's Camera: Framed Moment and the decoration [Unawakened Forest: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Her Song of Freedom: Makeup], a new idle animation, the poses [Suspicious Figure], [Roaring Debut], and [Warming Up], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.4 The Forest Need Not Listen launches globally on March 26 (UTC-7)! ➤ Download Now: ➤ Join us on Reddit: #InfinityNikki #TheForestNeedNotListen

Infinity Nikki

99,756 次观看 • 4 个月前

Kevin Kelly (Kevin Kelly) has spent more time thinking about the future than almost anyone else. From VR in the 1980s to the blockchain in the 2000s—and now generative AI—Kevin has spent a lifetime journeying to the frontiers of technology, only to return with rich stories about what’s next. Today, as WIRED’s senior maverick, his project for 2025 is to outline what the next century looks like in a world shaped by new technologies like AI and genetic engineering. He’s a personal hero of mine—not to mention a fellow Annie Dillard fan—and it was a privilege to have him on AI & I. We get into: - How you can predict the future. According to Kevin, the draw of new frontiers—from the first edition of Burning Man and remote corners of Asia, to the early days of the internet and AI—isn’t staying at the edge forever; it's returning with a story to tell. - Why history is so important to help you understand the future. To stay grounded while exploring what’s new, Kevin balances the thrill of the future with the wisdom of the past. He pairs AI research with reading about history, and playing with an AI tool by retreating to his workshop to make something with his hands. - From 1,000 true fans to an audience of one. Rather than creating for an audience, Kevin has been using LLMs to explore his own imagination. After realizing that da Vinci, Martin Luther, and Columbus were alive at the same time, he asked ChatGPT to imagine them snowed in at a hotel together, and the prompt spiraled into an epic saga, co-written with AI. But he has no plans to publish it because the joy was in creating something just for himself. - What the history of electricity can teach us about AI. Kevin draws a parallel between AI and the early days of electricity. We could produce electric sparks long before we understood the forces that created them, and now we’re building intelligent machines without really understanding what intelligence is. - Why Kevin sees intelligence as a mosaic—not a monolith. Kevin believes intelligence isn’t a single force, but a compound of many cognitive elements. He draws from Marvin Minsky’s “society of mind”—the theory that the mind is made up of smaller agents working together—and sees echoes of this in the Mixture of Experts architecture used in some models today. - Your competitive advantage is being yourself. Don’t aim to be the best—aim to be the only. Kevin realized that the stories no one else at Wired wanted to write were often the ones he was suited for, and trusting that instinct led to some of his best work. This is a must-watch for anyone who wants to make sense of AI through the lens of history, learn how to spot the future before it arrives, or grew up reading Wired. Watch below! Timestamps: 1. 00:00:50 - Introduction 2. 00:01:10 - Why Dan and Kelly love Annie Dillard 3. 00:12:52 - Learn how to predict the future like Kelly 4. 00:16:10 - What the history of electricity can teach us about AI 5. 00:20:13 - How Kelly thinks about the nature of intelligence 6. 00:25:44 - Kelly's advice on discovering your competitive advantage 7. 00:29:33 - The story of how Kelly assembled a bench of star writers for Wired 8. 00:34:43 - How Kelly used ChatGPT to co-create a book 9. 00:39:12 - Using AI as a mirror for your mind 10. 00:43:43 - What Kelly learned from betting on VR in the 1980s
53:41

Kevin Kelly (Kevin Kelly) has spent more time thinking about the future than almost anyone else. From VR in the 1980s to the blockchain in the 2000s—and now generative AI—Kevin has spent a lifetime journeying to the frontiers of technology, only to return with rich stories about what’s next. Today, as WIRED’s senior maverick, his project for 2025 is to outline what the next century looks like in a world shaped by new technologies like AI and genetic engineering. He’s a personal hero of mine—not to mention a fellow Annie Dillard fan—and it was a privilege to have him on AI & I. We get into: - How you can predict the future. According to Kevin, the draw of new frontiers—from the first edition of Burning Man and remote corners of Asia, to the early days of the internet and AI—isn’t staying at the edge forever; it's returning with a story to tell. - Why history is so important to help you understand the future. To stay grounded while exploring what’s new, Kevin balances the thrill of the future with the wisdom of the past. He pairs AI research with reading about history, and playing with an AI tool by retreating to his workshop to make something with his hands. - From 1,000 true fans to an audience of one. Rather than creating for an audience, Kevin has been using LLMs to explore his own imagination. After realizing that da Vinci, Martin Luther, and Columbus were alive at the same time, he asked ChatGPT to imagine them snowed in at a hotel together, and the prompt spiraled into an epic saga, co-written with AI. But he has no plans to publish it because the joy was in creating something just for himself. - What the history of electricity can teach us about AI. Kevin draws a parallel between AI and the early days of electricity. We could produce electric sparks long before we understood the forces that created them, and now we’re building intelligent machines without really understanding what intelligence is. - Why Kevin sees intelligence as a mosaic—not a monolith. Kevin believes intelligence isn’t a single force, but a compound of many cognitive elements. He draws from Marvin Minsky’s “society of mind”—the theory that the mind is made up of smaller agents working together—and sees echoes of this in the Mixture of Experts architecture used in some models today. - Your competitive advantage is being yourself. Don’t aim to be the best—aim to be the only. Kevin realized that the stories no one else at Wired wanted to write were often the ones he was suited for, and trusting that instinct led to some of his best work. This is a must-watch for anyone who wants to make sense of AI through the lens of history, learn how to spot the future before it arrives, or grew up reading Wired. Watch below! Timestamps: 1. 00:00:50 - Introduction 2. 00:01:10 - Why Dan and Kelly love Annie Dillard 3. 00:12:52 - Learn how to predict the future like Kelly 4. 00:16:10 - What the history of electricity can teach us about AI 5. 00:20:13 - How Kelly thinks about the nature of intelligence 6. 00:25:44 - Kelly's advice on discovering your competitive advantage 7. 00:29:33 - The story of how Kelly assembled a bench of star writers for Wired 8. 00:34:43 - How Kelly used ChatGPT to co-create a book 9. 00:39:12 - Using AI as a mirror for your mind 10. 00:43:43 - What Kelly learned from betting on VR in the 1980s

Dan Shipper 📧

67,883 次观看 • 1 年前

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!
0:27

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!

Hugh Hou

17,540 次观看 • 1 年前

DANCING IN THE STREET UPGRADED 4K VIDEO WITH PREVIOUSLY UNSEEN FOOTAGE “Just as long as you are there...” The headline says it all, keep reading for the full press release and links. #BowieJaggerDITS DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET WATCH THE 12” REMIX UPGRADED 4K VIDEO FEATURING UNSEEN FOOTAGE HERE NOW 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” OUT NOW ON PARLOPHONE RECORDS 40 years ago this week, the David Bowie and Mick Jagger duet of the Motown classic, “Dancing In The Street” was released with all the proceeds benefiting famine relief. The track and video had been debuted six weeks earlier during Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for the relief of the famine in Ethiopia. The video, which, like the song, had been recorded and filmed in thirteen hours, only fourteen days earlier, was shown just before Bowie took to the stage at Wembley Stadium. The making of the video was documented at the time, but that footage has mainly remained unseen until today. The new 4K video for the Steve Thompson Mix remix of the track features behind-the-scenes footage from the late-night shoot at Spillers Millennium Mills in the East End of London. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100. To celebrate the 40th anniversary of ”Dancing In The Street,” a limited edition white vinyl 12" is available now, bringing together every one of the song's mixes for the first time. As with the original, 30% of the retail price from the sale of this single, representing royalties and proceeds, will be donated to the Band Aid Charitable Trust by David Bowie, Mick Jagger and Parlophone Records. Talking about the collaboration today, Mick Jagger comments ‘’We had such a laugh doing ‘Dancing in the Street’ with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET - 40th ANNIVERSARY LIMITED EDITION REMASTERED WHITE VINYL 12” - OUT NOW ON PARLOPHONE
0:33

DANCING IN THE STREET UPGRADED 4K VIDEO WITH PREVIOUSLY UNSEEN FOOTAGE “Just as long as you are there...” The headline says it all, keep reading for the full press release and links. #BowieJaggerDITS DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET WATCH THE 12” REMIX UPGRADED 4K VIDEO FEATURING UNSEEN FOOTAGE HERE NOW 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” OUT NOW ON PARLOPHONE RECORDS 40 years ago this week, the David Bowie and Mick Jagger duet of the Motown classic, “Dancing In The Street” was released with all the proceeds benefiting famine relief. The track and video had been debuted six weeks earlier during Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for the relief of the famine in Ethiopia. The video, which, like the song, had been recorded and filmed in thirteen hours, only fourteen days earlier, was shown just before Bowie took to the stage at Wembley Stadium. The making of the video was documented at the time, but that footage has mainly remained unseen until today. The new 4K video for the Steve Thompson Mix remix of the track features behind-the-scenes footage from the late-night shoot at Spillers Millennium Mills in the East End of London. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100. To celebrate the 40th anniversary of ”Dancing In The Street,” a limited edition white vinyl 12" is available now, bringing together every one of the song's mixes for the first time. As with the original, 30% of the retail price from the sale of this single, representing royalties and proceeds, will be donated to the Band Aid Charitable Trust by David Bowie, Mick Jagger and Parlophone Records. Talking about the collaboration today, Mick Jagger comments ‘’We had such a laugh doing ‘Dancing in the Street’ with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET - 40th ANNIVERSARY LIMITED EDITION REMASTERED WHITE VINYL 12” - OUT NOW ON PARLOPHONE

David Bowie Official

20,816 次观看 • 11 个月前

QUESTION: What is the relationship between section 91(2)—the term limit provision—and section 95(2)—the term length provision in the Constitution of Zimbabwe (2013)? ANSWER: Section 91(2) is the term-limit provision. It regulates the President’s tenure by limiting the length of time that he or she may hold or occupy the Presidency as a public officer to a maximum of two terms—whether consecutive or not—where three or more years’ service is deemed a full term. By contrast, section 95(2) is the term-length provision. It regulates the electoral cycle of the Presidency as an office or institution by defining a single term as five years (now proposed to be seven years under Clause 4 of the Constitution of Zimbabwe (Amendment No. 3) H.B. 1 Bill, 2026). The relationship between sections 91(2) and 95(2) is therefore as clear and straightforward as that between a truck driver and a 500 km highway: section 91(2) limits the driver, while section 95(2) defines the length of the highway. Section 91(2) caps the time any individual may occupy the Presidency; section 95(2) sets the institutional length or duration of each presidential term or electoral cycle. This distinction matters because a persistent misconception claims that section 91(2) is not the presidential term-limit provision but merely a qualification rule for election as President, asserts that section 95(2) is the actual term-limit clause. Many who advance this incorrect view rely on one sentence in the obiter dictum by Patel JCC at paragraph 50 of the precedent-setting judgment in Marx Mupungu v Minister of Justice, Legal and Parliamentary Affairs & 6 Ors (CCZ 7/21, 2021) [see: which includes section 95(2) among examples of term-limit provisions. That misconception overlooks a fundamental constitutional imperative: a presidential term-limit provision is, by definition, a disqualifier for election as President. Term limits on presidents are necessarily about elections. They limit qualification for election. Where there is no presidential term limit, re-election is unlimited. In a recent discussion with D. Tinashé Hofisi on 23 April 2026 [ on the Constitution of Zimbabwe (Amendment No. 3) Bill hosted by The Southern African Times, I explained the relationship between the two sections. Below is the verbatim text of the attached clip extracted from the discussion addressing the import of section 91(2) and its relationship with section 95(2): ME: “It’s a clear term limit provision; is similar to term limit provisions in other jurisdictions that are comparable to Zimbabwe. And when you say it doesn’t have time, it doesn’t make reference to time, I’m at a loss as to what that means, and where that is coming from, with respect to Dr Hofisi, because it says a person is disqualified for election as President or appointment as Vice President if he or she has already held office as President under this constitution for two terms. This is the only section which tells us how many terms a President is limited to. Section 95 doesn’t even tell us that he’s limited to one term. There’s no limit. This one limits the President to two terms. And the two terms, the last time I checked, was a reference to time. And in this case, the section doesn’t leave us doubting or not knowing what a term is or what sort of time a term is. Because it continues to say these two terms are counted whether they follow each other or not. But most significantly, for the purpose of the limit on the President, the term limit on the President, which is provided in this section: three or more years. That’s time. You said there’s no time here. Three years is time. The length of time is three years minimum, and the maximum is more. It’s not defined here. It’s three or more years. It’s more because that is subject to what the relevant law about electoral cycles says is the electoral cycle of the institution that the President occupies”. [verbatim text of clip from The 500 km Highway Metaphor: Distinguishing Sections 91(2) and 95(2) of the Constitution To clearly understand the relationship between sections 91(2) and 95(2), imagine the Presidency as a magnificent 500-kilometre highway built and maintained by section 95(2) of the Constitution. This provision creates the presidential highway itself: it defines the office of the President as a permanent public institution and sets the exact length of each single term — currently five years, now proposed under the Bill to be seven years. It establishes a structured, recurring electoral cycle that belongs to the people of Zimbabwe, ensuring regular, orderly renewal of leadership. Without section 95(2), there would be no defined road — only an open plain of indefinite power. Section 91(2) governs the individual truck driver on that highway. It imposes an absolute lifetime limit: no person may complete more than two full trips along this 500 km highway, whether those trips are taken back-to-back or years apart. Any segment of 300 kilometres or more — that is, three or more years in office — counts as one complete trip. There are no partial credits or exceptions. After two full trips, the driver is permanently disqualified from driving on that highway, again. The distinction is sharp and deliberate: Section 95(2) builds the highway and determines the length of each journey. Section 91(2) limits how many times any single individual is permitted to travel it. One structures the office; the other limits the person who occupies it. Together, they form the Constitution’s twin safeguards — working in perfect harmony to keep power temporary, accountable, and subordinate to the will of the people. To conflate their distinct roles is to weaken these vital safeguards and to invite the very tyranny the Constitution was written to prevent. The Profound and Protective Meaning of “Three or More Years” in Section 91(2) of the Constitution At the heart of section 91(2) lies one of the Constitution’s most brilliant safeguards: “for the purpose of this subsection, three or more years’ service is deemed to be a full term.” The word “more” is no mere drafting flourish—it is deliberate constitutional genius. It declares that section 91(2), as the personal lifetime term-limit provision, imposes no rigid numerical ceiling. Subject to what is reasonable and justifiable in a constitutional democracy under section 95(2), service of four years, five years, six years, seven years, or even longer—once it exceeds the three-year threshold—is unequivocally deemed a complete term for the purpose of lifetime disqualification. This flexibility is not a loophole; it is a wise design that refuses to let the term-limit clause under section 91(2) become brittle or easily evaded. This open-ended “more” is anchored in section 91(2)’s harmonious relationship with section 95(2)(b), which defines the official electoral cycle of the Presidency as a permanent public institution whose five-year lifespan is inextricably intertwined with that of Parliament. Section 91(2) places an iron-clad personal disqualification on the individual; section 95(2) defines the dimensions of the highway itself. Crucially, section 95(2) is not a term-limit provision under subsections (1) and (7) of section 328. Unlike the referendum-protected personal term limit in section 91(2), it may be amended by Parliament under section 328(5) without a national referendum. This distinction is no accident; it is constitutional wisdom. It allows the institutional framework of the Presidency to evolve with the nation’s needs while the unbreakable personal lifetime bar on any single individual remains forever sacrosanct. All told, sections 91(2) and 95(2) differ in character and purpose—one limits the President, the other structures the public office or institution of the Presidency—yet they stand together as the Constitution’s twin guardians. This elegant complementarity keeps presidential power temporary, accountable, and forever subordinate to the sovereign will of the people through the institution or office of the Presidency. To respect and defend this relationship is to honour the very soul of the Constitution: ensuring that no individual can ever turn the highway into their driveway—turning the public office into a personal fiefdom—and that the highway of governance remains open, regularly renewed, and eternally in faithful service to the people of Zimbabwe. This is the promise the Constitution makes!
2:09

QUESTION: What is the relationship between section 91(2)—the term limit provision—and section 95(2)—the term length provision in the Constitution of Zimbabwe (2013)? ANSWER: Section 91(2) is the term-limit provision. It regulates the President’s tenure by limiting the length of time that he or she may hold or occupy the Presidency as a public officer to a maximum of two terms—whether consecutive or not—where three or more years’ service is deemed a full term. By contrast, section 95(2) is the term-length provision. It regulates the electoral cycle of the Presidency as an office or institution by defining a single term as five years (now proposed to be seven years under Clause 4 of the Constitution of Zimbabwe (Amendment No. 3) H.B. 1 Bill, 2026). The relationship between sections 91(2) and 95(2) is therefore as clear and straightforward as that between a truck driver and a 500 km highway: section 91(2) limits the driver, while section 95(2) defines the length of the highway. Section 91(2) caps the time any individual may occupy the Presidency; section 95(2) sets the institutional length or duration of each presidential term or electoral cycle. This distinction matters because a persistent misconception claims that section 91(2) is not the presidential term-limit provision but merely a qualification rule for election as President, asserts that section 95(2) is the actual term-limit clause. Many who advance this incorrect view rely on one sentence in the obiter dictum by Patel JCC at paragraph 50 of the precedent-setting judgment in Marx Mupungu v Minister of Justice, Legal and Parliamentary Affairs & 6 Ors (CCZ 7/21, 2021) [see: which includes section 95(2) among examples of term-limit provisions. That misconception overlooks a fundamental constitutional imperative: a presidential term-limit provision is, by definition, a disqualifier for election as President. Term limits on presidents are necessarily about elections. They limit qualification for election. Where there is no presidential term limit, re-election is unlimited. In a recent discussion with D. Tinashé Hofisi on 23 April 2026 [ on the Constitution of Zimbabwe (Amendment No. 3) Bill hosted by The Southern African Times, I explained the relationship between the two sections. Below is the verbatim text of the attached clip extracted from the discussion addressing the import of section 91(2) and its relationship with section 95(2): ME: “It’s a clear term limit provision; is similar to term limit provisions in other jurisdictions that are comparable to Zimbabwe. And when you say it doesn’t have time, it doesn’t make reference to time, I’m at a loss as to what that means, and where that is coming from, with respect to Dr Hofisi, because it says a person is disqualified for election as President or appointment as Vice President if he or she has already held office as President under this constitution for two terms. This is the only section which tells us how many terms a President is limited to. Section 95 doesn’t even tell us that he’s limited to one term. There’s no limit. This one limits the President to two terms. And the two terms, the last time I checked, was a reference to time. And in this case, the section doesn’t leave us doubting or not knowing what a term is or what sort of time a term is. Because it continues to say these two terms are counted whether they follow each other or not. But most significantly, for the purpose of the limit on the President, the term limit on the President, which is provided in this section: three or more years. That’s time. You said there’s no time here. Three years is time. The length of time is three years minimum, and the maximum is more. It’s not defined here. It’s three or more years. It’s more because that is subject to what the relevant law about electoral cycles says is the electoral cycle of the institution that the President occupies”. [verbatim text of clip from The 500 km Highway Metaphor: Distinguishing Sections 91(2) and 95(2) of the Constitution To clearly understand the relationship between sections 91(2) and 95(2), imagine the Presidency as a magnificent 500-kilometre highway built and maintained by section 95(2) of the Constitution. This provision creates the presidential highway itself: it defines the office of the President as a permanent public institution and sets the exact length of each single term — currently five years, now proposed under the Bill to be seven years. It establishes a structured, recurring electoral cycle that belongs to the people of Zimbabwe, ensuring regular, orderly renewal of leadership. Without section 95(2), there would be no defined road — only an open plain of indefinite power. Section 91(2) governs the individual truck driver on that highway. It imposes an absolute lifetime limit: no person may complete more than two full trips along this 500 km highway, whether those trips are taken back-to-back or years apart. Any segment of 300 kilometres or more — that is, three or more years in office — counts as one complete trip. There are no partial credits or exceptions. After two full trips, the driver is permanently disqualified from driving on that highway, again. The distinction is sharp and deliberate: Section 95(2) builds the highway and determines the length of each journey. Section 91(2) limits how many times any single individual is permitted to travel it. One structures the office; the other limits the person who occupies it. Together, they form the Constitution’s twin safeguards — working in perfect harmony to keep power temporary, accountable, and subordinate to the will of the people. To conflate their distinct roles is to weaken these vital safeguards and to invite the very tyranny the Constitution was written to prevent. The Profound and Protective Meaning of “Three or More Years” in Section 91(2) of the Constitution At the heart of section 91(2) lies one of the Constitution’s most brilliant safeguards: “for the purpose of this subsection, three or more years’ service is deemed to be a full term.” The word “more” is no mere drafting flourish—it is deliberate constitutional genius. It declares that section 91(2), as the personal lifetime term-limit provision, imposes no rigid numerical ceiling. Subject to what is reasonable and justifiable in a constitutional democracy under section 95(2), service of four years, five years, six years, seven years, or even longer—once it exceeds the three-year threshold—is unequivocally deemed a complete term for the purpose of lifetime disqualification. This flexibility is not a loophole; it is a wise design that refuses to let the term-limit clause under section 91(2) become brittle or easily evaded. This open-ended “more” is anchored in section 91(2)’s harmonious relationship with section 95(2)(b), which defines the official electoral cycle of the Presidency as a permanent public institution whose five-year lifespan is inextricably intertwined with that of Parliament. Section 91(2) places an iron-clad personal disqualification on the individual; section 95(2) defines the dimensions of the highway itself. Crucially, section 95(2) is not a term-limit provision under subsections (1) and (7) of section 328. Unlike the referendum-protected personal term limit in section 91(2), it may be amended by Parliament under section 328(5) without a national referendum. This distinction is no accident; it is constitutional wisdom. It allows the institutional framework of the Presidency to evolve with the nation’s needs while the unbreakable personal lifetime bar on any single individual remains forever sacrosanct. All told, sections 91(2) and 95(2) differ in character and purpose—one limits the President, the other structures the public office or institution of the Presidency—yet they stand together as the Constitution’s twin guardians. This elegant complementarity keeps presidential power temporary, accountable, and forever subordinate to the sovereign will of the people through the institution or office of the Presidency. To respect and defend this relationship is to honour the very soul of the Constitution: ensuring that no individual can ever turn the highway into their driveway—turning the public office into a personal fiefdom—and that the highway of governance remains open, regularly renewed, and eternally in faithful service to the people of Zimbabwe. This is the promise the Constitution makes!

Prof Jonathan Moyo

12,825 次观看 • 3 个月前

5 Years in Crypto & 4 Years in Content Creation, Here’s How I’ve Grown In 2019, I was just a clueless college kid trying to change the AR/VR industry. I skipped college placements and grinded hackathons to find support for my idea. (Clip from those college days below!) Why AR/VR? After joining engineering college, one thing became clear: India is a rat race, best case scenario: life will force you into a stable growth trajectory, if you want asymmetrical growth, think outside the box. Pursue areas where there is no crowd maybe you’ll fail, or maybe you’ll change an industry. In 2020, we hit the jackpot. With Covid there was No more college to waste our time, we grew our startup, built a prototype, and sharpened our skills by freelancing AR/VR projects. By the end of 2020, we were so skilled that companies across India were flying us out to help with their projects. We were earning ₹2L/month each in our final semester of college. Our startup, Hovar, had 8 employees. Every single one went on to land 20+ LPA jobs after college. Most were just in their 2nd year when we hired them. In 2020, we got paid in Crypto for the first time. That’s when my crypto journey began, passive at first, since the startup kept me busy. In 2021, I had to move to Bangalore for a compulsory college internship. Hovar was paying me ₹2L/month for just 3 hours of work daily, but I saw no future in AR/VR. Apple’s headset was delayed, and interest in the industry was dying. It was time to say goodbye to the comfy ₹2L/month and find a new industry. Coincidentally, the crypto bull market had just begun. I searched YouTube and realized there was hardly any reliable, to the point source of up to date crypto education. That was the gap I needed. I started winding down Hovar and focused on content creation, while still working 9–6 at the office and grinding on personal projects till 2 AM every day. In April 2021, the second wave of COVID hit. I got lucky Youtube took off. Crypto was looking like a legit career. Hovar was gone, but now I had a full time job in Bangalore and a growing youtube channel. By October 2021, I took another leap. I quit my job to focus fully on content with daily lives, this was with less than 45K subs. Another BIG RISK! My only backup was 6 months of emergency fund. After November 2021, the crypto markets crashed. Money dried up, trading became impossible, and I had to take big losses just to save my portfolio. That phase taught me a lot about risk management and how it is easy to make profits in crypto but how hard it is to keep those profits. 2022 was a nightmare. Nobody was watching my videos. Crypto markets were a dumpster fire. I decided to double down, went deep into the space, made a plan to rebuild my portfolio, and invested everything I had. In 2023, the markets started to recover. My portfolio turned green. 2022, Bear markets had taught me lessons that many 2024 batch students are only learning now. I was consistently making profits with a locked in trade setup system (still use it today). My channel crossed 100K subs. It was time for the next step. I never got comfortable neither with Hovar, nor with my job, nor as a content creator. Building distribution had one goal: Build your own product. I began searching for what to build. Tried smaller services for crypto investors, but they couldn’t scale. Indians weren’t keen on crypto beyond niche group chats. Indian exchanges sucked. Billion-dollar giants existed, yet the experience was awful. I thought regulations were the reason but no. They had just grown too fast in 2021, and their tech wasn’t built to scale. That’s why Indian exchanges stutter compared to Bybit or Binance. But was this a problem worth solving? Not really, with heavily funded players and a tight knit ecosystem of people. I floated the idea of building my own exchange. Everyone said it was a terrible idea: bad regulations, no banking support, zero chance of funding, and most importantly why would an influencer, who could easily make 50–70% profits from exchange referrals, work this hard to build an exchange? It was indeed a huge risk. I would lose referral income (the main way influencers make money), burn through my savings, and go against giants. I passed. Risk seemed too high. But the audience changed my mind. Hundreds of comments daily complained about Indian exchanges withdrawal issues, trading engines failing during high volume, no real education beyond half-baked YouTube videos, and more. These problems were tough but solvable. Now I just needed the right people to build with people who wouldn’t second-guess the mission. In 2024, WazirX got hacked. Everyone realized Indian exchanges were not safe. The government wouldn’t help. A gap was forming. I had moved to Dubai, to meet passionate builder to help me build an exchange or at least show me a path and finally, after 6 months felt confident enough to start Fedhabit. Moved back to Banglore after 6 months, Announced the exchange to public in Jan 2025, now we’ve come a long way. It took a lot of effort: finding scalable tech, hiring people crazy enough to go against Goliaths with me, securing FIU registration, and finding a bank bold enough to take a chance on us. What a ride. With FedHabit Alpha successfully concluded, just a few steps remain before launch. And I’m told that’s when the real struggle begins. Let’s keep grinding. There is no gain without pain.
0:22

5 Years in Crypto & 4 Years in Content Creation, Here’s How I’ve Grown In 2019, I was just a clueless college kid trying to change the AR/VR industry. I skipped college placements and grinded hackathons to find support for my idea. (Clip from those college days below!) Why AR/VR? After joining engineering college, one thing became clear: India is a rat race, best case scenario: life will force you into a stable growth trajectory, if you want asymmetrical growth, think outside the box. Pursue areas where there is no crowd maybe you’ll fail, or maybe you’ll change an industry. In 2020, we hit the jackpot. With Covid there was No more college to waste our time, we grew our startup, built a prototype, and sharpened our skills by freelancing AR/VR projects. By the end of 2020, we were so skilled that companies across India were flying us out to help with their projects. We were earning ₹2L/month each in our final semester of college. Our startup, Hovar, had 8 employees. Every single one went on to land 20+ LPA jobs after college. Most were just in their 2nd year when we hired them. In 2020, we got paid in Crypto for the first time. That’s when my crypto journey began, passive at first, since the startup kept me busy. In 2021, I had to move to Bangalore for a compulsory college internship. Hovar was paying me ₹2L/month for just 3 hours of work daily, but I saw no future in AR/VR. Apple’s headset was delayed, and interest in the industry was dying. It was time to say goodbye to the comfy ₹2L/month and find a new industry. Coincidentally, the crypto bull market had just begun. I searched YouTube and realized there was hardly any reliable, to the point source of up to date crypto education. That was the gap I needed. I started winding down Hovar and focused on content creation, while still working 9–6 at the office and grinding on personal projects till 2 AM every day. In April 2021, the second wave of COVID hit. I got lucky Youtube took off. Crypto was looking like a legit career. Hovar was gone, but now I had a full time job in Bangalore and a growing youtube channel. By October 2021, I took another leap. I quit my job to focus fully on content with daily lives, this was with less than 45K subs. Another BIG RISK! My only backup was 6 months of emergency fund. After November 2021, the crypto markets crashed. Money dried up, trading became impossible, and I had to take big losses just to save my portfolio. That phase taught me a lot about risk management and how it is easy to make profits in crypto but how hard it is to keep those profits. 2022 was a nightmare. Nobody was watching my videos. Crypto markets were a dumpster fire. I decided to double down, went deep into the space, made a plan to rebuild my portfolio, and invested everything I had. In 2023, the markets started to recover. My portfolio turned green. 2022, Bear markets had taught me lessons that many 2024 batch students are only learning now. I was consistently making profits with a locked in trade setup system (still use it today). My channel crossed 100K subs. It was time for the next step. I never got comfortable neither with Hovar, nor with my job, nor as a content creator. Building distribution had one goal: Build your own product. I began searching for what to build. Tried smaller services for crypto investors, but they couldn’t scale. Indians weren’t keen on crypto beyond niche group chats. Indian exchanges sucked. Billion-dollar giants existed, yet the experience was awful. I thought regulations were the reason but no. They had just grown too fast in 2021, and their tech wasn’t built to scale. That’s why Indian exchanges stutter compared to Bybit or Binance. But was this a problem worth solving? Not really, with heavily funded players and a tight knit ecosystem of people. I floated the idea of building my own exchange. Everyone said it was a terrible idea: bad regulations, no banking support, zero chance of funding, and most importantly why would an influencer, who could easily make 50–70% profits from exchange referrals, work this hard to build an exchange? It was indeed a huge risk. I would lose referral income (the main way influencers make money), burn through my savings, and go against giants. I passed. Risk seemed too high. But the audience changed my mind. Hundreds of comments daily complained about Indian exchanges withdrawal issues, trading engines failing during high volume, no real education beyond half-baked YouTube videos, and more. These problems were tough but solvable. Now I just needed the right people to build with people who wouldn’t second-guess the mission. In 2024, WazirX got hacked. Everyone realized Indian exchanges were not safe. The government wouldn’t help. A gap was forming. I had moved to Dubai, to meet passionate builder to help me build an exchange or at least show me a path and finally, after 6 months felt confident enough to start Fedhabit. Moved back to Banglore after 6 months, Announced the exchange to public in Jan 2025, now we’ve come a long way. It took a lot of effort: finding scalable tech, hiring people crazy enough to go against Goliaths with me, securing FIU registration, and finding a bank bold enough to take a chance on us. What a ride. With FedHabit Alpha successfully concluded, just a few steps remain before launch. And I’m told that’s when the real struggle begins. Let’s keep grinding. There is no gain without pain.

Neel Kukreti

26,303 次观看 • 10 个月前