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Imagine you have a point dancing in space, following three simple rules. You’d think it would eventually settle down or repeat itself, right? Nature isn't always that predictable. This is the Rössler Attractor. It’s a beautiful piece of "organized chaos." By just tweaking a few non-linear equations, we get... this marvelous fractal shape, a curve that weaves and loops, forever exploring new ground without ever retracing its exact same path. Most people try to solve this with standard linear tools, but that's like trying to understand a symphony by looking at a single note. To see the real "magic" the bifurcations and the patterns, you have to embrace the non-linearity. It shows us how the smallest nudge at the start can lead to a completely different, stunningly complex world. It’s a simple set of rules, yet it generates infinite complexity. Isn't that just the kick in the head? (📹Credit; equationsinmotion / IG)show more

Philosophy Of Physics

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my two favorite people saying the same thing “just give it a try” 🥹 🦌: the most important thing is to just give it a try. i think the idea of taking that first step is one of the most important things in life 🦮: moments when we have to make big decisions can be scary, and i think that's completely normal. but the fact that something feels scary also means it’s a very important opportunity. that’s why i think it’s important to really think about what you want and then just give it a try. because if you don’t try, you’ll definitely regret it later on

my two favorite people saying the same thing “just give it a try” 🥹 🦌: the most important thing is to just give it a try. i think the idea of taking that first step is one of the most important things in life 🦮: moments when we have to make big decisions can be scary, and i think that's completely normal. but the fact that something feels scary also means it’s a very important opportunity. that’s why i think it’s important to really think about what you want and then just give it a try. because if you don’t try, you’ll definitely regret it later on

ev.

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even so, I trust that any new watcher will be able to pick up what's going on. The people who made the OVAs shown from time and time again that they have faith in their viewers that they'll be able to understand the world building that culminated to this point. You can start the other shows prior to this, either before or after this OVA and it will still feel like a proper climax leading up to this. The story beats in this show are pretty good in the sense that anyone can understand it, it's not universally profound but it does a good job in highlighting perspectives of every side and have a glimpse at what happened that lead up to it.

even so, I trust that any new watcher will be able to pick up what's going on. The people who made the OVAs shown from time and time again that they have faith in their viewers that they'll be able to understand the world building that culminated to this point. You can start the other shows prior to this, either before or after this OVA and it will still feel like a proper climax leading up to this. The story beats in this show are pretty good in the sense that anyone can understand it, it's not universally profound but it does a good job in highlighting perspectives of every side and have a glimpse at what happened that lead up to it.

delty

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This isn't a criticism of Kevin Durant, but of the Suns as a whole. If Jaylen Wells is going to faceguard Durant like this off-ball, you have to get your main guy freed up with a screen. Phoenix just sort of let it happen, and the result was a not-great shot as the clock wound down. This was just one example of a few times that this happened late in the game.

This isn't a criticism of Kevin Durant, but of the Suns as a whole. If Jaylen Wells is going to faceguard Durant like this off-ball, you have to get your main guy freed up with a screen. Phoenix just sort of let it happen, and the result was a not-great shot as the clock wound down. This was just one example of a few times that this happened late in the game.

Keith Smith

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🚨 SCIENTISTS SAY “MAGIC” MAY BE WHAT GIVES SPACE-TIME ITS GRAVITY. For years, physicists have understood how entanglement can build the structure of space-time in holographic models. But something was missing: why does space-time curve in response to matter the essence of gravity? A team including Charles Cao and John Preskill now proposes the missing ingredient is a quantum property called “magic” a measure of how complex and non-classical a quantum state is (the kind that makes quantum computers hard to simulate classically). In their theoretical framework, adding this magic turns rigid space into something that can bend. Matter can now tell space how to curve. Why this matters: • It offers a new way to think about how gravity emerges from quantum information • It connects ideas from quantum computing (error correction, magic states) directly to fundamental physics • It suggests space-time itself may be one of the most quantum objects in existence The deeper implication: Gravity may not be a fundamental force at all. It may be what happens when quantum information becomes sufficiently complex and “magical.” This is still early theoretical work in specific holographic models. But it hints that the pliability of the universe might have quantum roots we are only beginning to understand. What do you think is gravity ultimately just extremely complicated quantum information, or do you think we’re still missing something much deeper? Follow for more frontier quantum gravity and quantum information research.

🚨 SCIENTISTS SAY “MAGIC” MAY BE WHAT GIVES SPACE-TIME ITS GRAVITY. For years, physicists have understood how entanglement can build the structure of space-time in holographic models. But something was missing: why does space-time curve in response to matter the essence of gravity? A team including Charles Cao and John Preskill now proposes the missing ingredient is a quantum property called “magic” a measure of how complex and non-classical a quantum state is (the kind that makes quantum computers hard to simulate classically). In their theoretical framework, adding this magic turns rigid space into something that can bend. Matter can now tell space how to curve. Why this matters: • It offers a new way to think about how gravity emerges from quantum information • It connects ideas from quantum computing (error correction, magic states) directly to fundamental physics • It suggests space-time itself may be one of the most quantum objects in existence The deeper implication: Gravity may not be a fundamental force at all. It may be what happens when quantum information becomes sufficiently complex and “magical.” This is still early theoretical work in specific holographic models. But it hints that the pliability of the universe might have quantum roots we are only beginning to understand. What do you think is gravity ultimately just extremely complicated quantum information, or do you think we’re still missing something much deeper? Follow for more frontier quantum gravity and quantum information research.

TheNewPhysics

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When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis

When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis

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This is Russiagate summed up in 17 seconds. It’s a complex story with 1000s of moving parts, but at its core it’s very simple. It’s not just that it was all fabricated out of thin air, it’s that the people doing the investigating, charging, and imprisoning knew it was fabricated.

This is Russiagate summed up in 17 seconds. It’s a complex story with 1000s of moving parts, but at its core it’s very simple. It’s not just that it was all fabricated out of thin air, it’s that the people doing the investigating, charging, and imprisoning knew it was fabricated.

Hans Mahncke

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For a Western observer, it is extremely difficult to understand what is happening in Iran. How is it possible that just a few weeks after the massacre of tens of thousands, young people risk their lives and begin a new wave of protests? The answer to this question is simple: These people do not want to live under the rule of a theocratic dictatorship because they have learned that they have no future. They can never find a job, have a family, or live a normal life. It is difficult to understand, but being alive or dead is not much different for them. Thousands commit suicide every year. After realizing that they share the same goal, they have now gathered together to bring about change. They will either change their future or embrace death. It is sad but true.

For a Western observer, it is extremely difficult to understand what is happening in Iran. How is it possible that just a few weeks after the massacre of tens of thousands, young people risk their lives and begin a new wave of protests? The answer to this question is simple: These people do not want to live under the rule of a theocratic dictatorship because they have learned that they have no future. They can never find a job, have a family, or live a normal life. It is difficult to understand, but being alive or dead is not much different for them. Thousands commit suicide every year. After realizing that they share the same goal, they have now gathered together to bring about change. They will either change their future or embrace death. It is sad but true.

Cina Foroutan-Nejad 🇮🇷 🇵🇱

319,778 Aufrufe • vor 5 Monaten

[Q]: Can you tell us how this free economic zone would work in the Donbas, in land that the Russians took by force? President Trump: I don't want to do that now. It's a very complex situation, but it would work. And a lot of people want to see it work.

[Q]: Can you tell us how this free economic zone would work in the Donbas, in land that the Russians took by force? President Trump: I don't want to do that now. It's a very complex situation, but it would work. And a lot of people want to see it work.

Anton Gerashchenko

220,357 Aufrufe • vor 7 Monaten

Dear UEFA, UEFA Champions League I am just trying to understand the rules at this point… Same foul, different outcomes… are we missing a page in the rulebook or are we just wearing the wrong badge? Because it’s becoming a pattern at this point. When it’s against us, it’s waved off instantly; no second look, no VAR check, nothing. But in other games, similar incidents are reviewed and given without hesitation. So we have to ask what exactly is the standard here? And more importantly, does that standard apply equally to everyone? At this point, it’s only fair to wonder… is there something we’re not being told? Is there an agenda against Barça, or is there a reason these decisions consistently go the same way? We’re not even asking for favors, just transparency, consistency, and the same level of scrutiny every other team seems to get. Are we asking for too much???💔

Dear UEFA, UEFA Champions League I am just trying to understand the rules at this point… Same foul, different outcomes… are we missing a page in the rulebook or are we just wearing the wrong badge? Because it’s becoming a pattern at this point. When it’s against us, it’s waved off instantly; no second look, no VAR check, nothing. But in other games, similar incidents are reviewed and given without hesitation. So we have to ask what exactly is the standard here? And more importantly, does that standard apply equally to everyone? At this point, it’s only fair to wonder… is there something we’re not being told? Is there an agenda against Barça, or is there a reason these decisions consistently go the same way? We’re not even asking for favors, just transparency, consistency, and the same level of scrutiny every other team seems to get. Are we asking for too much???💔

Morenikeji

39,477 Aufrufe • vor 3 Monaten

During training, you visit many of the facilities that will eventually play a role in your mission. Kennedy Space Center’s Launch Complex 39A was one of them. This visit felt different. Standing at the base of the tower and looking up, I was reminded that this is the very place from which Neil Armstrong and his crewmates began their journey to the Moon. The facility has evolved over the decades and has been modernized for a new era of spaceflight, but it still carries the weight of its history. You can feel it. Then there is the elevator. Inside, there are only two buttons: Earth and Space. A simple design choice, perhaps, but one that feels remarkably profound when launch day finally arrives. What you see here is me at the top of the launch pad, with the Falcon 9 yet to make its way out. The rocket is transported to the pad horizontally and then raised to a vertical position before launch. Standing there, it was impossible not to imagine the events that would soon unfold. At this very time last year, all of this was happening in real time. Looking back now, it feels both distant and incredibly close. #shux #space #shubhanshushukla #india #axiom4

During training, you visit many of the facilities that will eventually play a role in your mission. Kennedy Space Center’s Launch Complex 39A was one of them. This visit felt different. Standing at the base of the tower and looking up, I was reminded that this is the very place from which Neil Armstrong and his crewmates began their journey to the Moon. The facility has evolved over the decades and has been modernized for a new era of spaceflight, but it still carries the weight of its history. You can feel it. Then there is the elevator. Inside, there are only two buttons: Earth and Space. A simple design choice, perhaps, but one that feels remarkably profound when launch day finally arrives. What you see here is me at the top of the launch pad, with the Falcon 9 yet to make its way out. The rocket is transported to the pad horizontally and then raised to a vertical position before launch. Standing there, it was impossible not to imagine the events that would soon unfold. At this very time last year, all of this was happening in real time. Looking back now, it feels both distant and incredibly close. #shux #space #shubhanshushukla #india #axiom4

Shubhanshu Shukla

13,428 Aufrufe • vor 1 Monat

Just one little mistake blew his cover, This Scene was intense 🔥🎞️🎬🍿* In a room full of laughter, drinks, and forced normalcy, one small gesture quietly shifts the entire atmosphere. When Lt. Hicox orders three glasses, he does it the way a British officer would-subtly, instinctively. But in that moment, he forgets where he is. In Germany, even something as simple as showing the number three has its own identity, its own cultural fingerprint. And that tiny difference? It's loude than a gunshot to someone like Major Hellstrom. What makes this scene unforgettable isn't the violence that follows, but the silence before it-the way suspicion creeps in, the way eyes start to observe more than they listen. Hellstrom doesn't react immediately. He studies, processes, and then calmly pulls the thread that unravels everything. No raised voice, no dramatic reveal-just intelligence meeting instinct. It's a reminder that in war, survival isn't just about strength or strategy-it's about details. The smallest slip, the slightest inconsistency, can expose you completely. And in Tarantino's world, danger doesn't always announce itself with chaos... sometimes, it arrives with a smile, a question, and three fingers held the wrong way. A masterclass in suspense, where a single gesture becomes a death sentence.* #ingloriousbastards

Just one little mistake blew his cover, This Scene was intense 🔥🎞️🎬🍿* In a room full of laughter, drinks, and forced normalcy, one small gesture quietly shifts the entire atmosphere. When Lt. Hicox orders three glasses, he does it the way a British officer would-subtly, instinctively. But in that moment, he forgets where he is. In Germany, even something as simple as showing the number three has its own identity, its own cultural fingerprint. And that tiny difference? It's loude than a gunshot to someone like Major Hellstrom. What makes this scene unforgettable isn't the violence that follows, but the silence before it-the way suspicion creeps in, the way eyes start to observe more than they listen. Hellstrom doesn't react immediately. He studies, processes, and then calmly pulls the thread that unravels everything. No raised voice, no dramatic reveal-just intelligence meeting instinct. It's a reminder that in war, survival isn't just about strength or strategy-it's about details. The smallest slip, the slightest inconsistency, can expose you completely. And in Tarantino's world, danger doesn't always announce itself with chaos... sometimes, it arrives with a smile, a question, and three fingers held the wrong way. A masterclass in suspense, where a single gesture becomes a death sentence.* #ingloriousbastards

DailyFacts 🕸️

12,715 Aufrufe • vor 2 Monaten

According to this Hamas supporter, what happened in Gaza was a genocide of horrific proportions that will forever scar the people and the land they live on. But, at the same time, Israel completely failed to fight Hamas and was decimated by the brave "freedom fighters" to an embarrassing degree. How can these two statements be true at the same time? It's simple. You just have to completely disassociate from reality.

According to this Hamas supporter, what happened in Gaza was a genocide of horrific proportions that will forever scar the people and the land they live on. But, at the same time, Israel completely failed to fight Hamas and was decimated by the brave "freedom fighters" to an embarrassing degree. How can these two statements be true at the same time? It's simple. You just have to completely disassociate from reality.

Hen Mazzig

24,513 Aufrufe • vor 5 Monaten

World Models are the path for some AI Models in the future. But how can we efficiently train these models to not only see the world the way humans do but to see the world in a new and unique way. By visualizing, what is normally sequenced audio patterns, we can derive much more insights. Here we see Paganini in a visual form that can than be described and transcribed into a World Model. We can observe connections in a manner that may not have been clear prior to the digitalization of music and sound in this way. The company with the most valuable potential in building a World Model is Tesla. Not that this type of visualization is being used, but that the mechanisms are in place, and the technology is in place for the company to thrive in this new form of AI.

World Models are the path for some AI Models in the future. But how can we efficiently train these models to not only see the world the way humans do but to see the world in a new and unique way. By visualizing, what is normally sequenced audio patterns, we can derive much more insights. Here we see Paganini in a visual form that can than be described and transcribed into a World Model. We can observe connections in a manner that may not have been clear prior to the digitalization of music and sound in this way. The company with the most valuable potential in building a World Model is Tesla. Not that this type of visualization is being used, but that the mechanisms are in place, and the technology is in place for the company to thrive in this new form of AI.

Brian Roemmele

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Starlink is one of those rare technologies that feels like a cheat code for life. Plug it in, point it at the sky, and high-speed internet is literally beamed down to me from space. Technology is the closest thing we have to magic in the real world.

Starlink is one of those rare technologies that feels like a cheat code for life. Plug it in, point it at the sky, and high-speed internet is literally beamed down to me from space. Technology is the closest thing we have to magic in the real world.

Teslaconomics

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Australia. The Best F1 Season Opener. "It's amazing to see everyone here. And the energy is always awesome in Melbourne. I think this is definitely by far the best opener of a season. I mean, we had it in a few different places in the past, but this one, being that it's so far to get to, the weather's always great and the city's fantastic and the people are great."

Australia. The Best F1 Season Opener. "It's amazing to see everyone here. And the energy is always awesome in Melbourne. I think this is definitely by far the best opener of a season. I mean, we had it in a few different places in the past, but this one, being that it's so far to get to, the weather's always great and the city's fantastic and the people are great."

sim

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Okay so I have come to the conclusion that you can enjoy the Savannah Bananas but it’s important to not think of it as baseball. It’s just a show to be enjoyed. Kind of like how stripping isn’t about dancing. It’s baseball adjacent enjoy it for what it is, just keep it out of real baseball.

Okay so I have come to the conclusion that you can enjoy the Savannah Bananas but it’s important to not think of it as baseball. It’s just a show to be enjoyed. Kind of like how stripping isn’t about dancing. It’s baseball adjacent enjoy it for what it is, just keep it out of real baseball.

Seth McClung

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The Sabotaging Practice of Over Supply and Sameness in the NFT Space. The current zeitgeist of the NFT space is that the same artists are doing the same kind of work five times a year, with project after project leaving a trail of disappointment and discontent among collectors and all of us watching in disbelief as huge resources are extracted from the space over work that feels like it could be left as an "artist study." I understand that you can do what you want with your money as collectors, but we are killing the whole space with this incestuous practice. No artist is that prolific to be able to do 5 collections of 100+ pieces each every year and actually deliver innovation and some kind of creative evolution. Of course, they can pretend play that the work has something new, but there is no precedent nor proof that that has ever happened in the speed that it happens in the NFT space. Again, people are free to through away their resources on whatever they want but with this way of doing things, we more and more are going to start seeing the consequences. Oh! There are consequences? Yes. Maybe unintended, but there are. Let's see. Let's start with the loss of belief in the NFT space as somewhere where emerging artists can come and find support for their experiments. Why even bother to bring experiments, innovation, and new ways to think of art on the blockchain if the same people have all the collectors hypnotized with their magical flutes? Why even try to come to a space where taking risks and challenging the status quo (the mission of art!!!) is overlooked? This makes the NFT space a social club and not a space for art. I guess it is fine, but IMO it is a recipe for disaster. New collectors stay away because the art will slowly but surely become stale and un-challenging. Why even bother to come and see what is happening here if you can't, as a collector, see new weird and up-and-coming artists? The amount of noise emitted by the same artists doing the same art over and over, drowns out any new voices. Again. A recipe for disaster. The NFT space is becoming a space of disappointment and doubt. We think that collections going to zero one after the other, over and over, is not damaging? I feel we are kidding ourselves. Disappointment piles up, and again, the people who will hurt are the emerging artists, the new blood, the ones who are willing to risk the most and, in return, put fire in this cold space of sameness. I love this space—don't get me wrong—it has changed my life, and I believe it has a ton of potential, but things need to change for it to become a beacon of light in art. But we need to support new voices. We need to support new ideas. The challenge is huge. I hope to contribute all I can to this change. I hope more and more see how exciting it is to go out and try to discover what else is out there and move this space forward. But again, I understand the leaps of faith needed, but if there is a space that is based on that, it's the NFT space...so there is hope. We will see. 📺by Boldtron

The Sabotaging Practice of Over Supply and Sameness in the NFT Space. The current zeitgeist of the NFT space is that the same artists are doing the same kind of work five times a year, with project after project leaving a trail of disappointment and discontent among collectors and all of us watching in disbelief as huge resources are extracted from the space over work that feels like it could be left as an "artist study." I understand that you can do what you want with your money as collectors, but we are killing the whole space with this incestuous practice. No artist is that prolific to be able to do 5 collections of 100+ pieces each every year and actually deliver innovation and some kind of creative evolution. Of course, they can pretend play that the work has something new, but there is no precedent nor proof that that has ever happened in the speed that it happens in the NFT space. Again, people are free to through away their resources on whatever they want but with this way of doing things, we more and more are going to start seeing the consequences. Oh! There are consequences? Yes. Maybe unintended, but there are. Let's see. Let's start with the loss of belief in the NFT space as somewhere where emerging artists can come and find support for their experiments. Why even bother to bring experiments, innovation, and new ways to think of art on the blockchain if the same people have all the collectors hypnotized with their magical flutes? Why even try to come to a space where taking risks and challenging the status quo (the mission of art!!!) is overlooked? This makes the NFT space a social club and not a space for art. I guess it is fine, but IMO it is a recipe for disaster. New collectors stay away because the art will slowly but surely become stale and un-challenging. Why even bother to come and see what is happening here if you can't, as a collector, see new weird and up-and-coming artists? The amount of noise emitted by the same artists doing the same art over and over, drowns out any new voices. Again. A recipe for disaster. The NFT space is becoming a space of disappointment and doubt. We think that collections going to zero one after the other, over and over, is not damaging? I feel we are kidding ourselves. Disappointment piles up, and again, the people who will hurt are the emerging artists, the new blood, the ones who are willing to risk the most and, in return, put fire in this cold space of sameness. I love this space—don't get me wrong—it has changed my life, and I believe it has a ton of potential, but things need to change for it to become a beacon of light in art. But we need to support new voices. We need to support new ideas. The challenge is huge. I hope to contribute all I can to this change. I hope more and more see how exciting it is to go out and try to discover what else is out there and move this space forward. But again, I understand the leaps of faith needed, but if there is a space that is based on that, it's the NFT space...so there is hope. We will see. 📺by Boldtron

alejandro cartagena

98,261 Aufrufe • vor 2 Jahren

Please help us do more of this 👇🏼👇🏼, if you can 🔴⚪ We completely appreciate that spare change isn't something which is in everyone's pockets at present, however if you can afford and would like to contribute to what we are trying to continue doing, we have set up a crowdfunding page ☝🏼 You can also contribute through the purchase of stickers/merchandise, which we sell through our website (link in bio) and on a matchday, either in El Rincon - The Spanish Bar, or in the ground 'by the drum'. Thank you, as ever, for your support. 🔴⚪👊🏼

Please help us do more of this 👇🏼👇🏼, if you can 🔴⚪ We completely appreciate that spare change isn't something which is in everyone's pockets at present, however if you can afford and would like to contribute to what we are trying to continue doing, we have set up a crowdfunding page ☝🏼 You can also contribute through the purchase of stickers/merchandise, which we sell through our website (link in bio) and on a matchday, either in El Rincon - The Spanish Bar, or in the ground 'by the drum'. Thank you, as ever, for your support. 🔴⚪👊🏼

Section 82

36,502 Aufrufe • vor 2 Jahren

ANNOUNCEMENT TIME. . TOM A SMITH X SWIM SCHOOL I DONT WANT YOU TO HAVE TO REMEMBER ME FOR LONGER THAN YOU EVER KNEW ME Can I start by saying that this is the best song I’ve ever written. When we play it live it’s had the best reaction I’ve ever had and it’s been requested almost daily since we first played it. It’s also the longest title ever! . I wrote it with a female co-harmony in mind and after a chance meeting at Isle of Wight Festival the amazing Swim School agreed to collaborate. Can I just say that Alice is one of the most creative, innovative performers I have ever met. We ended up with layer upon layer of her incredible vocals that completely dominate the song and take it to another level. What a band man. . . I can’t wait for you to hear it but you’ll need to wait until 30/8.

ANNOUNCEMENT TIME. . TOM A SMITH X SWIM SCHOOL I DONT WANT YOU TO HAVE TO REMEMBER ME FOR LONGER THAN YOU EVER KNEW ME Can I start by saying that this is the best song I’ve ever written. When we play it live it’s had the best reaction I’ve ever had and it’s been requested almost daily since we first played it. It’s also the longest title ever! . I wrote it with a female co-harmony in mind and after a chance meeting at Isle of Wight Festival the amazing Swim School agreed to collaborate. Can I just say that Alice is one of the most creative, innovative performers I have ever met. We ended up with layer upon layer of her incredible vocals that completely dominate the song and take it to another level. What a band man. . . I can’t wait for you to hear it but you’ll need to wait until 30/8.

TOM A SMITH

18,992 Aufrufe • vor 1 Jahr