Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

Jun porcelain from #Henan, #China — a protected geographical indication (GI) product. Hands shape clay. Clay takes form. Each exquisite vase, plate, and bowl begins here, with centuries of masterful hand‑throwing skill.

SpoxCHN_LinJian's profile picture

Lin Jian 林剑

108,412 subscribers

12,834 Aufrufe • vor 5 Monaten •via X (Twitter)

#Henan#China
LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

GPT image+Seedance 2.0 Video Prompt — 15 Seconds | 8 Scenes | 9:16 Create a cute, hyper-detailed claymation stop-motion video showing the step-by-step creation of a miniature traditional Phinisi sailing ship from colorful modeling clay. Keep the visual style consistent with the reference image: handcrafted clay texture, miniature diorama, bright tropical ocean, soft cinematic lighting, colorful and satisfying visuals. Scene 1 — 0:00–0:02 Top-down close-up of colorful clay pieces, wooden-style clay tools, tiny ropes and miniature ship accessories arranged neatly on a crafting table. A pair of small clay hands begins preparing the materials. Slow camera push-in. Scene 2 — 0:02–0:04 Close-up of hands shaping the brown clay into the curved wooden hull of the miniature Phinisi ship. Show fingerprints and realistic clay texture. Smooth stop-motion movements. Scene 3 — 0:04–0:06 The hull becomes more detailed as tiny windows, railings, decorative patterns and wooden planks are carefully added. Camera slowly rotates around the model. Scene 4 — 0:06–0:08 Two tall masts are placed precisely onto the ship. Tiny ropes and rigging appear piece by piece. Close-up macro shot emphasizing the craftsmanship. Scene 5 — 0:08–0:10 Cream-colored clay sails unfold and attach to the masts. The complete miniature ship begins to take shape. Camera changes to a low cinematic angle. Scene 6 — 0:10–0:12 Tiny cabin, deck details, windows, ropes and accessories are added. The camera moves smoothly along the side of the ship, revealing the intricate handcrafted details. Scene 7 — 0:12–0:14 The finished Phinisi ship is placed on a miniature turquoise ocean made from textured clay. Small waves move around the hull while the ship gently rocks. Scene 8 — 0:14–0:15 Wide cinematic final shot: the completed miniature Phinisi sailing peacefully across the bright blue clay ocean under a sunny tropical sky, with small clouds, palm trees and colorful scenery in the background. The ship gently moves with the waves. Style: premium clay animation, stop-motion, handcrafted miniature, pastel clay texture, ultra-detailed, colorful, cinematic lighting, macro photography, shallow depth of field, smooth camera movement, satisfying transformations, realistic miniature scale. Audio: soft clay-working sounds, gentle tapping and sculpting sounds, subtle ocean waves, light tropical ambience and soft cheerful background music. Negative Prompt: blurry details, distorted ship, extra masts, deformed hands, flickering, inconsistent objects, realistic human proportions, text overlays, watermark, logo, sudden camera movement, low-quality textures. Seedance 2.0
0:15

GPT image+Seedance 2.0 Video Prompt — 15 Seconds | 8 Scenes | 9:16 Create a cute, hyper-detailed claymation stop-motion video showing the step-by-step creation of a miniature traditional Phinisi sailing ship from colorful modeling clay. Keep the visual style consistent with the reference image: handcrafted clay texture, miniature diorama, bright tropical ocean, soft cinematic lighting, colorful and satisfying visuals. Scene 1 — 0:00–0:02 Top-down close-up of colorful clay pieces, wooden-style clay tools, tiny ropes and miniature ship accessories arranged neatly on a crafting table. A pair of small clay hands begins preparing the materials. Slow camera push-in. Scene 2 — 0:02–0:04 Close-up of hands shaping the brown clay into the curved wooden hull of the miniature Phinisi ship. Show fingerprints and realistic clay texture. Smooth stop-motion movements. Scene 3 — 0:04–0:06 The hull becomes more detailed as tiny windows, railings, decorative patterns and wooden planks are carefully added. Camera slowly rotates around the model. Scene 4 — 0:06–0:08 Two tall masts are placed precisely onto the ship. Tiny ropes and rigging appear piece by piece. Close-up macro shot emphasizing the craftsmanship. Scene 5 — 0:08–0:10 Cream-colored clay sails unfold and attach to the masts. The complete miniature ship begins to take shape. Camera changes to a low cinematic angle. Scene 6 — 0:10–0:12 Tiny cabin, deck details, windows, ropes and accessories are added. The camera moves smoothly along the side of the ship, revealing the intricate handcrafted details. Scene 7 — 0:12–0:14 The finished Phinisi ship is placed on a miniature turquoise ocean made from textured clay. Small waves move around the hull while the ship gently rocks. Scene 8 — 0:14–0:15 Wide cinematic final shot: the completed miniature Phinisi sailing peacefully across the bright blue clay ocean under a sunny tropical sky, with small clouds, palm trees and colorful scenery in the background. The ship gently moves with the waves. Style: premium clay animation, stop-motion, handcrafted miniature, pastel clay texture, ultra-detailed, colorful, cinematic lighting, macro photography, shallow depth of field, smooth camera movement, satisfying transformations, realistic miniature scale. Audio: soft clay-working sounds, gentle tapping and sculpting sounds, subtle ocean waves, light tropical ambience and soft cheerful background music. Negative Prompt: blurry details, distorted ship, extra masts, deformed hands, flickering, inconsistent objects, realistic human proportions, text overlays, watermark, logo, sudden camera movement, low-quality textures. Seedance 2.0

Soaima

13,089 Aufrufe • vor 1 Monat

MiniMax H3 - Prompt Share This prompt turns any reference image into a video showing how the subject could be made by hand from scratch. I tried it with my profile picture. It should work with any subject. Prompt: A cinematic creation film follows one maker reconstructing the main subject shown in the referenced image completely from scratch. The referenced image defines the finished subject’s complete visible appearance, proportions, structure, materials, colors, clothing or surface details, and distinctive features; ignore its background, framing, lighting, and unrelated elements. Begin directly on an empty, clean virtual workbench. Use a stable front three-quarter overhead view that keeps the developing subject readable. There is one maker throughout, represented by the same consistent left and right hands and forearms. Show no more than two hands at once. From 0 to 14 seconds, the entire creation unfolds as a clearly accelerated timelapse with rapid, purposeful hand movement and restrained motion blur. Short jump cuts compress repetitive manual work only after each action has visibly completed. Every cut inherits the exact form and progress left by the previous action. 0-2 seconds: One hand enters already holding the first foundation material, armature, or base element appropriate to the referenced subject and places it at the center. The second hand steadies it as the maker establishes the initial supporting form. 2-8 seconds: The maker rapidly develops the subject’s major structure and volumes using one coherent creation method appropriate to what the referenced image depicts. A living subject is sculpted as one continuous, non-gory digital form from armature to anatomy; a vehicle or machine is built from chassis to functional structure; an object is formed or assembled from its supporting body outward. Each additional material or component enters from outside the frame while firmly held by one of the maker’s hands, is carried to its destination, and remains under hand control until attached or shaped. 8-12 seconds: The same hands develop the recognizable outer form and reference-specific features. The maker sculpts, fits, wraps, stitches, fastens, carves, or polishes only where appropriate to the subject. Facial features, hair, clothing, body panels, wheels, glass, surfaces, accessories, or equivalent defining elements emerge through visible hand and tool contact, never through spontaneous transformation. 12-14 seconds: The maker refines proportions, edges, joints, surface transitions, textures, colors, and distinctive details until the developing subject closely matches the referenced image. One hand stabilizes the form while the other performs each final adjustment with a hand-held tool. 14-15 seconds: The maker removes the last tool by hand and withdraws both hands. The timelapse returns to normal speed as the camera makes a restrained push toward the completed subject and holds on a clean final view. Materials and components do not need to be visible before use, but anything newly introduced must enter the frame already held by one of the maker’s hands. Nothing moves, assembles, appears, disappears, or changes material independently. Maintain one maker, one continuous subject, one creation position, and one category-appropriate construction method. No assistants, extra hands, detached anatomy, duplicated elements, magical morphing, drawing phase, software interface, cursor, menus, annotations, or text overlays.
0:15

MiniMax H3 - Prompt Share This prompt turns any reference image into a video showing how the subject could be made by hand from scratch. I tried it with my profile picture. It should work with any subject. Prompt: A cinematic creation film follows one maker reconstructing the main subject shown in the referenced image completely from scratch. The referenced image defines the finished subject’s complete visible appearance, proportions, structure, materials, colors, clothing or surface details, and distinctive features; ignore its background, framing, lighting, and unrelated elements. Begin directly on an empty, clean virtual workbench. Use a stable front three-quarter overhead view that keeps the developing subject readable. There is one maker throughout, represented by the same consistent left and right hands and forearms. Show no more than two hands at once. From 0 to 14 seconds, the entire creation unfolds as a clearly accelerated timelapse with rapid, purposeful hand movement and restrained motion blur. Short jump cuts compress repetitive manual work only after each action has visibly completed. Every cut inherits the exact form and progress left by the previous action. 0-2 seconds: One hand enters already holding the first foundation material, armature, or base element appropriate to the referenced subject and places it at the center. The second hand steadies it as the maker establishes the initial supporting form. 2-8 seconds: The maker rapidly develops the subject’s major structure and volumes using one coherent creation method appropriate to what the referenced image depicts. A living subject is sculpted as one continuous, non-gory digital form from armature to anatomy; a vehicle or machine is built from chassis to functional structure; an object is formed or assembled from its supporting body outward. Each additional material or component enters from outside the frame while firmly held by one of the maker’s hands, is carried to its destination, and remains under hand control until attached or shaped. 8-12 seconds: The same hands develop the recognizable outer form and reference-specific features. The maker sculpts, fits, wraps, stitches, fastens, carves, or polishes only where appropriate to the subject. Facial features, hair, clothing, body panels, wheels, glass, surfaces, accessories, or equivalent defining elements emerge through visible hand and tool contact, never through spontaneous transformation. 12-14 seconds: The maker refines proportions, edges, joints, surface transitions, textures, colors, and distinctive details until the developing subject closely matches the referenced image. One hand stabilizes the form while the other performs each final adjustment with a hand-held tool. 14-15 seconds: The maker removes the last tool by hand and withdraws both hands. The timelapse returns to normal speed as the camera makes a restrained push toward the completed subject and holds on a clean final view. Materials and components do not need to be visible before use, but anything newly introduced must enter the frame already held by one of the maker’s hands. Nothing moves, assembles, appears, disappears, or changes material independently. Maintain one maker, one continuous subject, one creation position, and one category-appropriate construction method. No assistants, extra hands, detached anatomy, duplicated elements, magical morphing, drawing phase, software interface, cursor, menus, annotations, or text overlays.

Kōda

129,380 Aufrufe • vor 28 Tagen

One more secret before the pharaoh’s curse erases my brain later today. This is my legacy for you to continue. Goodbye! Remember that year when I desperately tried to cast the ancient Egyptian “impossible ashtray” using countless tips and tricks and failed badly every single time? The problem back then? I was unable to come up with a mix that hardens without cracking using a few millimeters thickness only. I tried to pour the geopolymer mix onto a wax shape 🕯️ , a balloon 🎈, then onto the outer side of a bowl etc. But no matter how hard I tried, my “impossible ashtray” fell apart into coin sized pieces because of cracking. I have wasted gazillions of hours, and enormous amounts of metakaolin and waterglass just to learn how NOT to cast this object. But the impossible ashtray must be a casting, no matter what. Right? I admired ancient Chinese porcelain’s precision for a long time but it took me more than a year to connect the two. This is how slow my brain 🧠 is. Because who cares? There was certainly no connection between ancient China and Egypt, right? Except… History Investigation by Vee showed us that ancient Chinese people used the very same tools for jade works than Egyptians for… khm 🫣 Is that a connection or a coincidence? God knows. But even if it’s a coincidence, it was worth checking whether porcelain making techniques could have been anything to do with geopolymers. What makes porcelain different from everything else is that they pour the porcelain mix INSIDE a hard mold (made from gypsum), let it dry for 2-4 minutes and then pour the rest of the mixture out of the mold. So they are creating a few mm thin layer INSIDE, on the inner wall of the mold. And then, as the porcelain mix is shrinking (lightbulb moment!💡) while drying, it will release the mold and you end up with a precision mug or other object ready to go into the oven. Now have a good look at my very first, not cracked, beautiful geopolymer “precision vase” created using the porcelain method in a plastic container. Yes, it is red. I swear I’ll redo it with white metakaolin. Yes, it’s not an ashtray. Yes, it inherited its precision from a 21st century object. Yes, yes, yes. But! It’s a few millimeter thick cast stone in a shape of a bowl! A STONE!!!!! 🪨🪨🪨🪨 How cool is that? Do you think it’s still impossible to create the “impossible ashtray” via casting? Fun fact: the impossible ashtray is “carved” from “anortoistic gneiss” officially, which is a fancy made up word for WE DON’T KNOW.
0:14

One more secret before the pharaoh’s curse erases my brain later today. This is my legacy for you to continue. Goodbye! Remember that year when I desperately tried to cast the ancient Egyptian “impossible ashtray” using countless tips and tricks and failed badly every single time? The problem back then? I was unable to come up with a mix that hardens without cracking using a few millimeters thickness only. I tried to pour the geopolymer mix onto a wax shape 🕯️ , a balloon 🎈, then onto the outer side of a bowl etc. But no matter how hard I tried, my “impossible ashtray” fell apart into coin sized pieces because of cracking. I have wasted gazillions of hours, and enormous amounts of metakaolin and waterglass just to learn how NOT to cast this object. But the impossible ashtray must be a casting, no matter what. Right? I admired ancient Chinese porcelain’s precision for a long time but it took me more than a year to connect the two. This is how slow my brain 🧠 is. Because who cares? There was certainly no connection between ancient China and Egypt, right? Except… History Investigation by Vee showed us that ancient Chinese people used the very same tools for jade works than Egyptians for… khm 🫣 Is that a connection or a coincidence? God knows. But even if it’s a coincidence, it was worth checking whether porcelain making techniques could have been anything to do with geopolymers. What makes porcelain different from everything else is that they pour the porcelain mix INSIDE a hard mold (made from gypsum), let it dry for 2-4 minutes and then pour the rest of the mixture out of the mold. So they are creating a few mm thin layer INSIDE, on the inner wall of the mold. And then, as the porcelain mix is shrinking (lightbulb moment!💡) while drying, it will release the mold and you end up with a precision mug or other object ready to go into the oven. Now have a good look at my very first, not cracked, beautiful geopolymer “precision vase” created using the porcelain method in a plastic container. Yes, it is red. I swear I’ll redo it with white metakaolin. Yes, it’s not an ashtray. Yes, it inherited its precision from a 21st century object. Yes, yes, yes. But! It’s a few millimeter thick cast stone in a shape of a bowl! A STONE!!!!! 🪨🪨🪨🪨 How cool is that? Do you think it’s still impossible to create the “impossible ashtray” via casting? Fun fact: the impossible ashtray is “carved” from “anortoistic gneiss” officially, which is a fancy made up word for WE DON’T KNOW.

Marcell Fóti 🪨

21,798 Aufrufe • vor 1 Jahr

19-year-old from china makes $9,000/month designing product sites and ships each one in an afternoon. here's his exact setup the whole thing runs on two tools that each do one job: > brief written by hand: 5 min > Moonchild builds the design system, then every screen from it: 20 min > MCP hands the design to Claude as real structure, not a screenshot: instant > Claude Code reads those exact tokens and builds the live app: 20 min > second Claude session reviews the build for drift: 10 min total: about an hour. screen five still matches screen one. no agency, no dev, no design team the trick is MCP. the design tool passes Claude the actual colors, components and layout, so it builds from the source instead of guessing from a picture. full pipeline, every prompt, in the article above.
0:12

19-year-old from china makes $9,000/month designing product sites and ships each one in an afternoon. here's his exact setup the whole thing runs on two tools that each do one job: > brief written by hand: 5 min > Moonchild builds the design system, then every screen from it: 20 min > MCP hands the design to Claude as real structure, not a screenshot: instant > Claude Code reads those exact tokens and builds the live app: 20 min > second Claude session reviews the build for drift: 10 min total: about an hour. screen five still matches screen one. no agency, no dev, no design team the trick is MCP. the design tool passes Claude the actual colors, components and layout, so it builds from the source instead of guessing from a picture. full pipeline, every prompt, in the article above.

Ridark

19,477 Aufrufe • vor 3 Monaten

Facial reconstruction of a 2,200-year-old Xiongnu from Ilmovaya Pad', Buryatia Ilmovaya Pad' is one of the most well-known sites of the Xiongnu period. Around 320 burial structures are represented as stone constructions, roughly square in shape, with a dromos on the southern side. The burial rite confirms accounts from Han chronicles stating that the Xiongnu buried their dead in double wooden coffins. Alongside the graves of commoners, monumental burials of elite individuals have also been excavated. The remains of silk fabrics, mirrors, and other Chinese artifacts found here testify to the connections between the Xiongnu and ancient China. According to Alekseev and Gokhman (1984), paleoanthropological materials from such burials dating to the last two centuries BC and the first three centuries AD show dolichocephalic and mesocranial skulls with broad and medium-high faces, and flat, sometimes mesognathic facial structures of the Mongolid type. A slight Europoid admixture is clearly present. A minor admixture of Far Eastern elements is also possible, consistent with information found in Chinese written sources. These populations were not direct descendants of the preceding Scythian populations, although some elements of those groups may have been absorbed. The slight Europoid component among the Huns may have appeared either through contact with earlier Scythian/Saka populations, or as a legacy inherited from the Neolithic inhabitants of the Cis-Baikal region.
0:10

Facial reconstruction of a 2,200-year-old Xiongnu from Ilmovaya Pad', Buryatia Ilmovaya Pad' is one of the most well-known sites of the Xiongnu period. Around 320 burial structures are represented as stone constructions, roughly square in shape, with a dromos on the southern side. The burial rite confirms accounts from Han chronicles stating that the Xiongnu buried their dead in double wooden coffins. Alongside the graves of commoners, monumental burials of elite individuals have also been excavated. The remains of silk fabrics, mirrors, and other Chinese artifacts found here testify to the connections between the Xiongnu and ancient China. According to Alekseev and Gokhman (1984), paleoanthropological materials from such burials dating to the last two centuries BC and the first three centuries AD show dolichocephalic and mesocranial skulls with broad and medium-high faces, and flat, sometimes mesognathic facial structures of the Mongolid type. A slight Europoid admixture is clearly present. A minor admixture of Far Eastern elements is also possible, consistent with information found in Chinese written sources. These populations were not direct descendants of the preceding Scythian populations, although some elements of those groups may have been absorbed. The slight Europoid component among the Huns may have appeared either through contact with earlier Scythian/Saka populations, or as a legacy inherited from the Neolithic inhabitants of the Cis-Baikal region.

Ancestral Whispers

38,103 Aufrufe • vor 6 Monaten

you can legally steal any viral ugc, rewrite it for your product, and generate it with AI UGC. people are generating photorealistic AI actors that hold real products in their hands and reading scripts that convert like real UGC. Vodafone already ran a full TikTok campaign with AI influencers. same engagement, same conversions, fraction of the cost here's the ugc system anyone can run today: - find a product that hits an emotional pain point (aging skin, insecurity, frustration). one retinol serum video has 8M views and 300k likes with comments begging for the link - download the viral video, transcribe it with Gemini, then feed the transcript + your product + your audience into Claude. it spits out 3 scripts that sound like a friend talking, not an ad - build your actor in any ai ugc platform: filter by age, location, accessories, or generate one from a prompt. nano banana places your exact product in her hand with real lighting and shadows - create two versions of the same actor. no product for the problem hook, product in hand for the solution. that switch is what makes it feel like a real story - use the scenes feature to generate actual application footage: fingertips dabbing serum, circular motions, natural hand movement. not just a talking head - a UGC creator charges $200 to $600 for this exact video. it takes 2 minutes and you can make 10 variations tomorrow the brands winning right now aren't the ones with the biggest budgets. they're the ones testing fastest. reply "ugc" + RT and i'll send you the full video so you can build this too.
0:18

you can legally steal any viral ugc, rewrite it for your product, and generate it with AI UGC. people are generating photorealistic AI actors that hold real products in their hands and reading scripts that convert like real UGC. Vodafone already ran a full TikTok campaign with AI influencers. same engagement, same conversions, fraction of the cost here's the ugc system anyone can run today: - find a product that hits an emotional pain point (aging skin, insecurity, frustration). one retinol serum video has 8M views and 300k likes with comments begging for the link - download the viral video, transcribe it with Gemini, then feed the transcript + your product + your audience into Claude. it spits out 3 scripts that sound like a friend talking, not an ad - build your actor in any ai ugc platform: filter by age, location, accessories, or generate one from a prompt. nano banana places your exact product in her hand with real lighting and shadows - create two versions of the same actor. no product for the problem hook, product in hand for the solution. that switch is what makes it feel like a real story - use the scenes feature to generate actual application footage: fingertips dabbing serum, circular motions, natural hand movement. not just a talking head - a UGC creator charges $200 to $600 for this exact video. it takes 2 minutes and you can make 10 variations tomorrow the brands winning right now aren't the ones with the biggest budgets. they're the ones testing fastest. reply "ugc" + RT and i'll send you the full video so you can build this too.

Sulfur

17,656 Aufrufe • vor 2 Monaten

BREAKING: Israeli forces gather large numbers of children and women into a hole and surround them with gunfire before allowing them to flee from the northern Gaza Strip. According to a testimony from one of the women in Jabalia: “They took all the children from their mothers and put them in something resembling a pit or a hole. The tank came and circled around them several times until they were covered in dirt and sand, amidst the screams of children and the wailing of mothers. After that, the soldiers came and started throwing the children in the direction of the mothers. If a mother picked up a child, she had to carry them and move quickly without confirming that the child was indeed hers. Many of the mothers picked up children that weren't theirs, forced to leave with other women's children. Here, a new chapter of suffering begins, as a mother searches for her child in the hands of another woman, calming a child in her arms until she finds her own.”
0:14

BREAKING: Israeli forces gather large numbers of children and women into a hole and surround them with gunfire before allowing them to flee from the northern Gaza Strip. According to a testimony from one of the women in Jabalia: “They took all the children from their mothers and put them in something resembling a pit or a hole. The tank came and circled around them several times until they were covered in dirt and sand, amidst the screams of children and the wailing of mothers. After that, the soldiers came and started throwing the children in the direction of the mothers. If a mother picked up a child, she had to carry them and move quickly without confirming that the child was indeed hers. Many of the mothers picked up children that weren't theirs, forced to leave with other women's children. Here, a new chapter of suffering begins, as a mother searches for her child in the hands of another woman, calming a child in her arms until she finds her own.”

Sulaiman Ahmed

1,122,250 Aufrufe • vor 1 Jahr

⚡️JUST IN: The Israeli occupation gathers large numbers of children and women into a hole and surrounds them with gunfire before allowing them to flee from the northern Gaza Strip. According to a testimony from one of the women in Jabalia: “They took all the children from their mothers and put them in something resembling a pit or a hole. The tank came and circled around them several times until they were covered in dirt and sand, amidst the screams of children and the wailing of mothers. After that, the soldiers came and started throwing the children in the direction of the mothers. If a mother picked up a child, she had to carry them and move quickly without confirming that the child was indeed hers. Many of the mothers picked up children that weren't theirs, forced to leave with other women's children. Here, a new chapter of suffering begins, as a mother searches for her child in the hands of another woman, calming a child in her arms until she finds her own.”
0:14

⚡️JUST IN: The Israeli occupation gathers large numbers of children and women into a hole and surrounds them with gunfire before allowing them to flee from the northern Gaza Strip. According to a testimony from one of the women in Jabalia: “They took all the children from their mothers and put them in something resembling a pit or a hole. The tank came and circled around them several times until they were covered in dirt and sand, amidst the screams of children and the wailing of mothers. After that, the soldiers came and started throwing the children in the direction of the mothers. If a mother picked up a child, she had to carry them and move quickly without confirming that the child was indeed hers. Many of the mothers picked up children that weren't theirs, forced to leave with other women's children. Here, a new chapter of suffering begins, as a mother searches for her child in the hands of another woman, calming a child in her arms until she finds her own.”

Suppressed News.

129,318 Aufrufe • vor 1 Jahr

I just built a Claude skill that writes 20 Meta ad hooks in 60 seconds 🤯 Give it your product, your audience, and your best-performing angles → it writes hooks across 10 proven frameworks, each one targeted at a specific customer pain point. All inside Claude Cowork. Perfect for DTC brands and agencies who are still writing hooks from scratch every time they need new creative — staring at a blank doc, scrolling competitors for inspiration, and recycling the same 3 angles because you ran out of ideas two weeks ago. If you're launching Meta Ads and your hook writing process looks like this — open a Google Doc, try to remember what worked last time, write 5 hooks that all sound the same, run them, 4 flop, go back to the doc, repeat ... This skill replaces the entire process: → You give it your product name, key benefits, and target customer → It writes hooks across 10 frameworks: problem-solution, curiosity gap, bold claim, social proof, before/after, us vs them, question, contrarian, urgency, and storytelling → Each hook targets a specific pain point — not generic "Shop now" copy → Generates 2 variations per framework so you have options to test → Outputs everything organized by framework with notes on when to use each one → Takes about 60 seconds No blank page. No recycling the same 3 angles. No writing 5 hooks that all sound like the same ad. What you get: → 20 hooks across 10 proven frameworks, ready to drop into your ads → Each hook written for a specific customer pain point, not a generic audience → Framework labels so you know which hook type you're testing → A reusable skill — run it for every new product, every new campaign, every new angle sprint → Works from a product brief — no API connection, no CSV export, no setup beyond installing the skill One product brief. 20 hooks. 60 seconds. I put together the full skill file plus a playbook showing how to install it, customize the frameworks, and run your first hook sprint. Want it for free? > Like this post > Comment "HOOKS" And I'll send it over (must be following so I can DM)
0:16

I just built a Claude skill that writes 20 Meta ad hooks in 60 seconds 🤯 Give it your product, your audience, and your best-performing angles → it writes hooks across 10 proven frameworks, each one targeted at a specific customer pain point. All inside Claude Cowork. Perfect for DTC brands and agencies who are still writing hooks from scratch every time they need new creative — staring at a blank doc, scrolling competitors for inspiration, and recycling the same 3 angles because you ran out of ideas two weeks ago. If you're launching Meta Ads and your hook writing process looks like this — open a Google Doc, try to remember what worked last time, write 5 hooks that all sound the same, run them, 4 flop, go back to the doc, repeat ... This skill replaces the entire process: → You give it your product name, key benefits, and target customer → It writes hooks across 10 frameworks: problem-solution, curiosity gap, bold claim, social proof, before/after, us vs them, question, contrarian, urgency, and storytelling → Each hook targets a specific pain point — not generic "Shop now" copy → Generates 2 variations per framework so you have options to test → Outputs everything organized by framework with notes on when to use each one → Takes about 60 seconds No blank page. No recycling the same 3 angles. No writing 5 hooks that all sound like the same ad. What you get: → 20 hooks across 10 proven frameworks, ready to drop into your ads → Each hook written for a specific customer pain point, not a generic audience → Framework labels so you know which hook type you're testing → A reusable skill — run it for every new product, every new campaign, every new angle sprint → Works from a product brief — no API connection, no CSV export, no setup beyond installing the skill One product brief. 20 hooks. 60 seconds. I put together the full skill file plus a playbook showing how to install it, customize the frameworks, and run your first hook sprint. Want it for free? > Like this post > Comment "HOOKS" And I'll send it over (must be following so I can DM)

Mike Futia

17,027 Aufrufe • vor 6 Monaten

Tanay is building e-trolleys in India. Instead of spending heavily upfront, he imported components from China in small quantities, tested the market and proved there was demand. Once the product started working, he began the next phase: Indianising the product. The exterior, steel work and as many components as possible are now being sourced/manufactured in India. But there was a problem. He still needed to communicate very specific product changes to his Chinese suppliers. And this is where Toplingo came in. Instead of sending instructions through a translator, Tanay communicates directly with the Chinese manufacturers boss in their native language. The supplier even responded saying they appreciated the effort because it made the requirements much easier to understand. When you're manufacturing across countries, small communication gaps can become expensive mistakes. - something gets lost in translation - a specification gets misunderstood - change takes longer than it should And suddenly, you're dealing with delays, rework and unnecessary costs. Direct communication removes one more layer between the person building the product and the person making it. That's the real opportunity with AI translation. Making cross-border business feel more direct. From a founder in India to a factory owner in China - without language becoming the bottleneck. Isn't it cool? Tanay Bassi 🇮🇳 Use Toplingo for FREE here:
0:15

Tanay is building e-trolleys in India. Instead of spending heavily upfront, he imported components from China in small quantities, tested the market and proved there was demand. Once the product started working, he began the next phase: Indianising the product. The exterior, steel work and as many components as possible are now being sourced/manufactured in India. But there was a problem. He still needed to communicate very specific product changes to his Chinese suppliers. And this is where Toplingo came in. Instead of sending instructions through a translator, Tanay communicates directly with the Chinese manufacturers boss in their native language. The supplier even responded saying they appreciated the effort because it made the requirements much easier to understand. When you're manufacturing across countries, small communication gaps can become expensive mistakes. - something gets lost in translation - a specification gets misunderstood - change takes longer than it should And suddenly, you're dealing with delays, rework and unnecessary costs. Direct communication removes one more layer between the person building the product and the person making it. That's the real opportunity with AI translation. Making cross-border business feel more direct. From a founder in India to a factory owner in China - without language becoming the bottleneck. Isn't it cool? Tanay Bassi 🇮🇳 Use Toplingo for FREE here:

Prakash Dadlani

19,747 Aufrufe • vor 29 Tagen

PROMPT: Create a premium 10-second vertical 9:16 Kahf Face Wash Brightening commercial, ultra-photorealistic 8K, clean modern skincare advertising, fresh masculine bathroom aesthetic, soft natural daylight, high-end FMCG cinematography, smooth camera movements and crisp macro product details. PRODUCT LOCK: Use the exact Kahf Face Wash product from the reference video. Preserve the original dark navy-blue tube, Kahf logo, packaging shape, proportions, cap, label design, typography, colors and product identity. Do not redesign, distort, duplicate, misspell or change the packaging. Keep the product clearly visible and consistent throughout. CONCEPT: DIRTY/SULLEN → KAHF REVEAL → MINT FRESHNESS → FOAM → BRIGHT SKIN → HERO 01 | 0–1.5s — PROBLEM HOOK Close-up of the Kahf Face Wash tube held naturally in a bright modern bathroom. Subtle moody atmosphere with playful illustrated rain clouds/lightning around the product, visually representing dull, tired skin. Camera gently pushes toward the product. Clean cinematic composition. 02 | 1.5–3s — PRODUCT REVEAL Hero close-up of the exact Kahf Face Wash tube. A hand squeezes a small amount of face wash onto the palm. Capture the creamy gel texture in detailed macro slow motion. Soft reflections on the packaging, premium skincare lighting. 03 | 3–4.5s — MINT BURST Fresh green mint leaves appear dynamically around the cleanser as the product is dispensed. A refreshing cool-air effect and tiny water droplets create a crisp sensation. Vibrant natural mint green against the clean white bathroom environment. 04 | 4.5–6s — FOAM TRANSFORMATION Macro shot of both hands rubbing the cleanser together. The product transforms into rich, silky white foam. Beautiful foam texture, realistic bubbles, subtle sparkling highlights and smooth hand movement. Extremely detailed skincare macro photography. 05 | 6–7.5s — FRESHNESS / BRIGHTNESS Transition from the foamy cleanser to a fresh, clean skin visual. Soft luminous lighting surrounds the hands/face area, creating a subtle “freshly cleansed” feeling. Keep the scene natural and realistic—no artificial plastic skin. 06 | 7.5–9s — PRODUCT HERO Place the exact Kahf Face Wash upright on a clean bathroom counter beside a minimal sink. Soft daylight streams through the background. Subtle water droplets and realistic condensation add freshness. Slow elegant camera movement toward the tube while keeping the label sharp and readable. 07 | 9–10s — FINAL HERO / CTA Final centered product hero shot. Kahf Face Wash remains perfectly upright and fully visible against a bright premium bathroom background. Add a subtle fresh mint accent and soft glow. ON-SCREEN TEXT: “MUKA KUSAM? BYE!” “SEGER NYA MINT” “AUTO CERAH” “SIKAT DI SINI!” VISUAL STYLE: Premium skincare TVC, photorealistic, ultra-clean bathroom, soft white and cool mint palette, realistic skin and hands, natural daylight, high-speed macro details, subtle slow motion, cinematic depth of field, realistic reflections, premium commercial lighting, sharp product texture, smooth transitions, elegant camera movement. NEGATIVE PROMPT: No packaging redesign, no incorrect logo, no misspelled text, no distorted tube, no duplicate product, no extra products, no floating hands, no deformed fingers, no unrealistic skin, no excessive CGI, no cartoon product, no warped typography, no watermark, no random brand logos, no cluttered background, no dark dirty bathroom, no camera shake.
0:10

PROMPT: Create a premium 10-second vertical 9:16 Kahf Face Wash Brightening commercial, ultra-photorealistic 8K, clean modern skincare advertising, fresh masculine bathroom aesthetic, soft natural daylight, high-end FMCG cinematography, smooth camera movements and crisp macro product details. PRODUCT LOCK: Use the exact Kahf Face Wash product from the reference video. Preserve the original dark navy-blue tube, Kahf logo, packaging shape, proportions, cap, label design, typography, colors and product identity. Do not redesign, distort, duplicate, misspell or change the packaging. Keep the product clearly visible and consistent throughout. CONCEPT: DIRTY/SULLEN → KAHF REVEAL → MINT FRESHNESS → FOAM → BRIGHT SKIN → HERO 01 | 0–1.5s — PROBLEM HOOK Close-up of the Kahf Face Wash tube held naturally in a bright modern bathroom. Subtle moody atmosphere with playful illustrated rain clouds/lightning around the product, visually representing dull, tired skin. Camera gently pushes toward the product. Clean cinematic composition. 02 | 1.5–3s — PRODUCT REVEAL Hero close-up of the exact Kahf Face Wash tube. A hand squeezes a small amount of face wash onto the palm. Capture the creamy gel texture in detailed macro slow motion. Soft reflections on the packaging, premium skincare lighting. 03 | 3–4.5s — MINT BURST Fresh green mint leaves appear dynamically around the cleanser as the product is dispensed. A refreshing cool-air effect and tiny water droplets create a crisp sensation. Vibrant natural mint green against the clean white bathroom environment. 04 | 4.5–6s — FOAM TRANSFORMATION Macro shot of both hands rubbing the cleanser together. The product transforms into rich, silky white foam. Beautiful foam texture, realistic bubbles, subtle sparkling highlights and smooth hand movement. Extremely detailed skincare macro photography. 05 | 6–7.5s — FRESHNESS / BRIGHTNESS Transition from the foamy cleanser to a fresh, clean skin visual. Soft luminous lighting surrounds the hands/face area, creating a subtle “freshly cleansed” feeling. Keep the scene natural and realistic—no artificial plastic skin. 06 | 7.5–9s — PRODUCT HERO Place the exact Kahf Face Wash upright on a clean bathroom counter beside a minimal sink. Soft daylight streams through the background. Subtle water droplets and realistic condensation add freshness. Slow elegant camera movement toward the tube while keeping the label sharp and readable. 07 | 9–10s — FINAL HERO / CTA Final centered product hero shot. Kahf Face Wash remains perfectly upright and fully visible against a bright premium bathroom background. Add a subtle fresh mint accent and soft glow. ON-SCREEN TEXT: “MUKA KUSAM? BYE!” “SEGER NYA MINT” “AUTO CERAH” “SIKAT DI SINI!” VISUAL STYLE: Premium skincare TVC, photorealistic, ultra-clean bathroom, soft white and cool mint palette, realistic skin and hands, natural daylight, high-speed macro details, subtle slow motion, cinematic depth of field, realistic reflections, premium commercial lighting, sharp product texture, smooth transitions, elegant camera movement. NEGATIVE PROMPT: No packaging redesign, no incorrect logo, no misspelled text, no distorted tube, no duplicate product, no extra products, no floating hands, no deformed fingers, no unrealistic skin, no excessive CGI, no cartoon product, no warped typography, no watermark, no random brand logos, no cluttered background, no dark dirty bathroom, no camera shake.

Lucia Ai

35,587 Aufrufe • vor 16 Tagen

A delicious anime-style burger journey, from fresh ingredients to a perfectly cheesy final bite. Every sizzling moment looks incredibly satisfying. Created on seedance 2.5 Prompt: Created, anime style video of this kind, about 15 seconds long. A warm cozy kitchen scene begins with a hand slicing a fresh onion on a wooden cutting board next to diced bacon pieces, then shifts to mixing raw ground meat with sliced onions and a cracked egg inside a clear glass bowl. Next a thick triangular slice of yellow Swiss cheese is carefully placed in the center of a large raw meat patty and the meat is folded and sealed tightly around the cheese to form a stuffed burger. The sealed meat is placed into a hot black cast-iron pan with sizzling oil on a gas stove, searing until the surface turns golden brown with bubbling juices. A wooden spoon then pours thick glossy dark brown sauce over the cooked patty. Finally the juicy sauced patty is stacked between sesame seed buns with melting yellow cheese, tomato and onion slices, a hand gently presses the top bun, and the finished oversized cheese-stuffed burger is shown plated on a white dish beside a tall glass of iced cola on a sunlit wooden table in a bright kitchen.
0:15

A delicious anime-style burger journey, from fresh ingredients to a perfectly cheesy final bite. Every sizzling moment looks incredibly satisfying. Created on seedance 2.5 Prompt: Created, anime style video of this kind, about 15 seconds long. A warm cozy kitchen scene begins with a hand slicing a fresh onion on a wooden cutting board next to diced bacon pieces, then shifts to mixing raw ground meat with sliced onions and a cracked egg inside a clear glass bowl. Next a thick triangular slice of yellow Swiss cheese is carefully placed in the center of a large raw meat patty and the meat is folded and sealed tightly around the cheese to form a stuffed burger. The sealed meat is placed into a hot black cast-iron pan with sizzling oil on a gas stove, searing until the surface turns golden brown with bubbling juices. A wooden spoon then pours thick glossy dark brown sauce over the cooked patty. Finally the juicy sauced patty is stacked between sesame seed buns with melting yellow cheese, tomato and onion slices, a hand gently presses the top bun, and the finished oversized cheese-stuffed burger is shown plated on a white dish beside a tall glass of iced cola on a sunlit wooden table in a bright kitchen.

ayzalnoor

11,828 Aufrufe • vor 23 Tagen

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.
0:10

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.

Blaze

38,242 Aufrufe • vor 4 Monaten

They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?
0:10

They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?

SiriusB

444,301 Aufrufe • vor 5 Monaten

🇬🇷 There is a distinct, poetic charm that sets the Ionian island of Corfu entirely apart from the rest of Greece. While the Cyclades are famous for their barren landscapes and stark white walls, Corfu is a lush, emerald paradise shaped by centuries of Venetian, French, and British rule. It is a destination wrapped in a romantic magic that somehow keeps calling you back year after year, offering the perfect intersection of sophisticated European elegance, raw nature, and authentic Greek hospitality. To truly unlock the soul of the island, you need to immerse yourself in its diverse landscapes. Begin your journey inside the UNESCO-protected Corfu Town. Walking through its labyrinth of tall, pastel-hued apartment blocks and narrow stone alleys, known locally as kantounia, feels exactly like stepping into a hidden neighborhood in Venice or Naples. Once you have taken in the history, make your way northwest to the legendary shores of Paleokastritsa. This dramatic coastline features deep, jagged bays where dense pine forests tumble directly into impossibly clear, translucent turquoise waters that are perfect for afternoon boat excursions. As the day draws to a close, you have two spectacular options to watch the landscape transform. You can travel to the sheer vertical clay cliffs of Loggas Beach to watch the sun sink directly beneath the horizon line of the Ionian Sea. Alternatively, make the winding drive up to the mountain village of Pelekas to stand at Kaiser's Throne. Built as a personal retreat for Kaiser Wilhelm II, this panoramic lookout offers breathtaking, unobstructed views of the island's rolling olive groves and distant coastlines. Finally, no journey here is complete without diving deep into Corfu's unique culinary heritage. Because of its history, the local tavernas swap out standard Greek fare for iconic island comfort foods. Be sure to order a steaming clay bowl of pastitsada, tender meat braised in a rich, deeply spiced red-wine sauce served over thick Bucatini pasta or sample sofrito, an incredibly aromatic dish of tender veal simmered in an intense garlic, parsley, and white wine reduction. It is a culinary and sensory legacy that encapsulates a timeless way of life. 🎥 travelstoriesbyalexandra | IG
0:15

🇬🇷 There is a distinct, poetic charm that sets the Ionian island of Corfu entirely apart from the rest of Greece. While the Cyclades are famous for their barren landscapes and stark white walls, Corfu is a lush, emerald paradise shaped by centuries of Venetian, French, and British rule. It is a destination wrapped in a romantic magic that somehow keeps calling you back year after year, offering the perfect intersection of sophisticated European elegance, raw nature, and authentic Greek hospitality. To truly unlock the soul of the island, you need to immerse yourself in its diverse landscapes. Begin your journey inside the UNESCO-protected Corfu Town. Walking through its labyrinth of tall, pastel-hued apartment blocks and narrow stone alleys, known locally as kantounia, feels exactly like stepping into a hidden neighborhood in Venice or Naples. Once you have taken in the history, make your way northwest to the legendary shores of Paleokastritsa. This dramatic coastline features deep, jagged bays where dense pine forests tumble directly into impossibly clear, translucent turquoise waters that are perfect for afternoon boat excursions. As the day draws to a close, you have two spectacular options to watch the landscape transform. You can travel to the sheer vertical clay cliffs of Loggas Beach to watch the sun sink directly beneath the horizon line of the Ionian Sea. Alternatively, make the winding drive up to the mountain village of Pelekas to stand at Kaiser's Throne. Built as a personal retreat for Kaiser Wilhelm II, this panoramic lookout offers breathtaking, unobstructed views of the island's rolling olive groves and distant coastlines. Finally, no journey here is complete without diving deep into Corfu's unique culinary heritage. Because of its history, the local tavernas swap out standard Greek fare for iconic island comfort foods. Be sure to order a steaming clay bowl of pastitsada, tender meat braised in a rich, deeply spiced red-wine sauce served over thick Bucatini pasta or sample sofrito, an incredibly aromatic dish of tender veal simmered in an intense garlic, parsley, and white wine reduction. It is a culinary and sensory legacy that encapsulates a timeless way of life. 🎥 travelstoriesbyalexandra | IG

𝕏 Travels, Hotels and Resorts

11,304 Aufrufe • vor 3 Monaten

If you think OpenAI Sora is a creative toy like DALLE, ... think again. Sora is a data-driven physics engine. It is a simulation of many worlds, real or fantastical. The simulator learns intricate rendering, "intuitive" physics, long-horizon reasoning, and semantic grounding, all by some denoising and gradient maths. I won't be surprised if Sora is trained on lots of synthetic data using Unreal Engine 5. It has to be! Let's breakdown the following video. Prompt: "Photorealistic closeup video of two pirate ships battling each other as they sail inside a cup of coffee." - The simulator instantiates two exquisite 3D assets: pirate ships with different decorations. Sora has to solve text-to-3D implicitly in its latent space. - The 3D objects are consistently animated as they sail and avoid each other's paths. - Fluid dynamics of the coffee, even the foams that form around the ships. Fluid simulation is an entire sub-field of computer graphics, which traditionally requires very complex algorithms and equations. - Photorealism, almost like rendering with raytracing. - The simulator takes into account the small size of the cup compared to oceans, and applies tilt-shift photography to give a "minuscule" vibe. - The semantics of the scene does not exist in the real world, but the engine still implements the correct physical rules that we expect. Next up: add more modalities and conditioning, then we have a full data-driven UE that will replace all the hand-engineered graphics pipelines.
0:15

If you think OpenAI Sora is a creative toy like DALLE, ... think again. Sora is a data-driven physics engine. It is a simulation of many worlds, real or fantastical. The simulator learns intricate rendering, "intuitive" physics, long-horizon reasoning, and semantic grounding, all by some denoising and gradient maths. I won't be surprised if Sora is trained on lots of synthetic data using Unreal Engine 5. It has to be! Let's breakdown the following video. Prompt: "Photorealistic closeup video of two pirate ships battling each other as they sail inside a cup of coffee." - The simulator instantiates two exquisite 3D assets: pirate ships with different decorations. Sora has to solve text-to-3D implicitly in its latent space. - The 3D objects are consistently animated as they sail and avoid each other's paths. - Fluid dynamics of the coffee, even the foams that form around the ships. Fluid simulation is an entire sub-field of computer graphics, which traditionally requires very complex algorithms and equations. - Photorealism, almost like rendering with raytracing. - The simulator takes into account the small size of the cup compared to oceans, and applies tilt-shift photography to give a "minuscule" vibe. - The semantics of the scene does not exist in the real world, but the engine still implements the correct physical rules that we expect. Next up: add more modalities and conditioning, then we have a full data-driven UE that will replace all the hand-engineered graphics pipelines.

Jim Fan

6,183,508 Aufrufe • vor 2 Jahren

✅Explanation of Meaning (by parts): 1. “Life consists of a sum of moments in the present” : The author begins by defining life as an accumulation of individual moments experienced in the present. This perspective emphasizes that existence is not a distant future or past but a continuous series of nows, each contributing to the whole of one’s life. It underscores the transient nature of time, suggesting that the present is the fundamental building block of human experience. 2. “Therefore, it’s crucial to always focus on the present” : Building on this, the author argues that prioritizing the present moment is essential. By concentrating on the here and now, individuals can fully engage with their immediate experiences, harnessing the potential of each moment to shape their lives meaningfully. This focus counters distractions from past regrets or future anxieties, grounding one’s attention in what is tangible and actionable. 3. “and live fully here and now” : The author advocates for an immersive approach to living, where one embraces each present moment with intensity and authenticity. Living fully implies investing emotional, intellectual, and physical energy into current experiences, whether they involve joy, work, or reflection, to maximize their value and impact. 4. “and the entire life will be productive and worthy” : The author concludes that consistently focusing on and fully living in the present leads to a life that is both productive and meaningful. A life built on intentional, present-focused moments accumulates into a legacy of purpose and worth, suggesting that mindfulness in the now shapes a fulfilling existence over time. 🗝️Main Idea (refined version): The author asserts that life is composed of present moments, making it essential to focus on and fully engage with the here and now to ensure a productive and worthy existence. By prioritizing mindfulness in each moment, individuals can avoid the pitfalls of dwelling on the past or worrying about the future, instead channeling their energy into meaningful actions and experiences. This approach fosters a life of intentionality, where each present moment contributes to a cumulative sense of purpose and fulfillment. Embracing the present not only enhances personal well-being but also cultivates a legacy of value, as the sum of these moments defines a life well-lived, rich with authenticity and achievement.
0:11

✅Explanation of Meaning (by parts): 1. “Life consists of a sum of moments in the present” : The author begins by defining life as an accumulation of individual moments experienced in the present. This perspective emphasizes that existence is not a distant future or past but a continuous series of nows, each contributing to the whole of one’s life. It underscores the transient nature of time, suggesting that the present is the fundamental building block of human experience. 2. “Therefore, it’s crucial to always focus on the present” : Building on this, the author argues that prioritizing the present moment is essential. By concentrating on the here and now, individuals can fully engage with their immediate experiences, harnessing the potential of each moment to shape their lives meaningfully. This focus counters distractions from past regrets or future anxieties, grounding one’s attention in what is tangible and actionable. 3. “and live fully here and now” : The author advocates for an immersive approach to living, where one embraces each present moment with intensity and authenticity. Living fully implies investing emotional, intellectual, and physical energy into current experiences, whether they involve joy, work, or reflection, to maximize their value and impact. 4. “and the entire life will be productive and worthy” : The author concludes that consistently focusing on and fully living in the present leads to a life that is both productive and meaningful. A life built on intentional, present-focused moments accumulates into a legacy of purpose and worth, suggesting that mindfulness in the now shapes a fulfilling existence over time. 🗝️Main Idea (refined version): The author asserts that life is composed of present moments, making it essential to focus on and fully engage with the here and now to ensure a productive and worthy existence. By prioritizing mindfulness in each moment, individuals can avoid the pitfalls of dwelling on the past or worrying about the future, instead channeling their energy into meaningful actions and experiences. This approach fosters a life of intentionality, where each present moment contributes to a cumulative sense of purpose and fulfillment. Embracing the present not only enhances personal well-being but also cultivates a legacy of value, as the sum of these moments defines a life well-lived, rich with authenticity and achievement.

Zafar Mirzo | Quotes

2,173,642 Aufrufe • vor 1 Jahr

🏔️In remote Nepali jungles and high valleys, when a clay chillum isn’t handy (or you want zero added taste), locals improvise with large, fresh cannabis fan leaves & other broad leaves to wrap a quick cone. Twist and roll the leaf into a conical shape, held together by a ring 💍 and packed tight with a mix of Nepalese 🌿 & high-grade mountain charas for the ultimate synergy. The leaf wrapper adds a subtle green, vegetal note while keeping everything natural and solvent-free — no paper, no filters, just plant-on-plant purity. Light it gently (often with hot coals or a direct flame), draw slow through the narrow end, and let the earthy, piney, spicy waves hit with that signature uplifting, meditative buzz tied to ancient Shiva rituals. 🕉️🙏 This setup captures the essence of jungle cannabis culture: resourceful, ritualistic, and deeply connected to the land. The wild “jungli” ganja brings raw vigor and complexity, while the hand-rubbed charas elevates it to sacred territory. Watch the full clip — from rolling the leaf to those smooth, cloudy pulls in the mountain air! Ever tried a leaf-wrapped setup or jungle mix like this? What’s your favorite way to honor these heirloom plants? Drop stories below! 🍃🏔️ #cannabiscommunity #DIYChillum #Charas #Ganja #Smoke #Rituals #Nepal #HandRubbedHash #Landrace #travel #explore
0:15

🏔️In remote Nepali jungles and high valleys, when a clay chillum isn’t handy (or you want zero added taste), locals improvise with large, fresh cannabis fan leaves & other broad leaves to wrap a quick cone. Twist and roll the leaf into a conical shape, held together by a ring 💍 and packed tight with a mix of Nepalese 🌿 & high-grade mountain charas for the ultimate synergy. The leaf wrapper adds a subtle green, vegetal note while keeping everything natural and solvent-free — no paper, no filters, just plant-on-plant purity. Light it gently (often with hot coals or a direct flame), draw slow through the narrow end, and let the earthy, piney, spicy waves hit with that signature uplifting, meditative buzz tied to ancient Shiva rituals. 🕉️🙏 This setup captures the essence of jungle cannabis culture: resourceful, ritualistic, and deeply connected to the land. The wild “jungli” ganja brings raw vigor and complexity, while the hand-rubbed charas elevates it to sacred territory. Watch the full clip — from rolling the leaf to those smooth, cloudy pulls in the mountain air! Ever tried a leaf-wrapped setup or jungle mix like this? What’s your favorite way to honor these heirloom plants? Drop stories below! 🍃🏔️ #cannabiscommunity #DIYChillum #Charas #Ganja #Smoke #Rituals #Nepal #HandRubbedHash #Landrace #travel #explore

Landrace Bureau

84,288 Aufrufe • vor 7 Monaten