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Last Friday I joined World Labs' first hackathon around Marble. In three hours, I built a rough prototype called Directed. Generate a world. Create characters. Move through it with your phone like you’re on a real set. Frame shots. Capture images. Use them as seeds for video generation. This...

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Greg Madisᯅn

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54,826 views • 4 months ago •via X (Twitter)

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World Labs CEO Dr. Fei-Fei Li explains says "world model" has become an overloaded term & explains what each kind of world model does: "Right now there are three ways of calling world models when it comes to spatial intelligence." "One is what I call a renderer, when the model puts beautiful pixels on the screen." "Another kind of world model is what we call a planner. That is more for machines, more for robots." "The third kind, which I think is the linchpin of the three, is a simulator." "A simulator could become a renderer. The simulator could become a planner. But this layer is a huge critical path to unlock spatial intelligence. And that's what World Labs is working on." Fei-Fei Li at Bloomberg Tech live with Emily Chang
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World Labs CEO Dr. Fei-Fei Li explains says "world model" has become an overloaded term & explains what each kind of world model does: "Right now there are three ways of calling world models when it comes to spatial intelligence." "One is what I call a renderer, when the model puts beautiful pixels on the screen." "Another kind of world model is what we call a planner. That is more for machines, more for robots." "The third kind, which I think is the linchpin of the three, is a simulator." "A simulator could become a renderer. The simulator could become a planner. But this layer is a huge critical path to unlock spatial intelligence. And that's what World Labs is working on." Fei-Fei Li at Bloomberg Tech live with Emily Chang

a16z

111,918 views • 1 month ago

I got to "play" a world model in real life. The Google DeepMind folks set up a crazy demo for Genie. You select glowing orbs to represent your scene and character. It loads the world in the model, and you navigate with joysticks like a video game 🕹️
0:32

I got to "play" a world model in real life. The Google DeepMind folks set up a crazy demo for Genie. You select glowing orbs to represent your scene and character. It loads the world in the model, and you navigate with joysticks like a video game 🕹️

Justine Moore

59,940 views • 1 month ago

Added an AR Display to my phone joystick. It smoothly follows your hand's position. You can also switch to a big screen view. It will move along your sight direction and stay static. In future iterations, I will add a dedicated section in the phone app to control it (distance, size, surface snapping, anchoring, etc.). Another thing to try is to replace a video stream with a portal of the game itself. Originally, I started developing this prototype for the Quest platform, but now I realize that it makes more sense in Apple's ecosystem since they already have cross-device mirroring functionality, and what I showed would be a logical extension of their approach. I probably need to rewrite it for Vision Pro 😊
1:11

Added an AR Display to my phone joystick. It smoothly follows your hand's position. You can also switch to a big screen view. It will move along your sight direction and stay static. In future iterations, I will add a dedicated section in the phone app to control it (distance, size, surface snapping, anchoring, etc.). Another thing to try is to replace a video stream with a portal of the game itself. Originally, I started developing this prototype for the Quest platform, but now I realize that it makes more sense in Apple's ecosystem since they already have cross-device mirroring functionality, and what I showed would be a logical extension of their approach. I probably need to rewrite it for Vision Pro 😊

Oleg Frolov

35,795 views • 1 year ago

I've said one of the best features I like in the new GitHub Copilot desktop app is /spar It spins up two agents that tear through your task or question and rip you a new one If you read through the demo vid carefully one of them even grilled me on the too generic question I asked it for the spar but hey it was just a demo :-) Are you using it already? what's your fav feat?
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I've said one of the best features I like in the new GitHub Copilot desktop app is /spar It spins up two agents that tear through your task or question and rip you a new one If you read through the demo vid carefully one of them even grilled me on the too generic question I asked it for the spar but hey it was just a demo :-) Are you using it already? what's your fav feat?

Oren Melamed

11,285 views • 1 month ago

fromis_9’s Hayoung and Nagyung give a spoiler about the July comeback Hayoung: For this comeback, I personally think it’s “fromis_9’s first unveiling?” it feels like us showing something new for the first time. Nagyung: It has a slightly sexy touch, when I first heard the demo of this song, I think it was more like huh? This song is really sexy in some way. Of course it’s a bright song, and really summery though there’s about one spoon of sexiness in the song, it felt like a burn. But once we started recording, it felt like that feeling had been watered down a bit Hayoung: Right, but I like it a bit better. When put in Korean (the demo was in English before) it felt like it became more refreshing.
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fromis_9’s Hayoung and Nagyung give a spoiler about the July comeback Hayoung: For this comeback, I personally think it’s “fromis_9’s first unveiling?” it feels like us showing something new for the first time. Nagyung: It has a slightly sexy touch, when I first heard the demo of this song, I think it was more like huh? This song is really sexy in some way. Of course it’s a bright song, and really summery though there’s about one spoon of sexiness in the song, it felt like a burn. But once we started recording, it felt like that feeling had been watered down a bit Hayoung: Right, but I like it a bit better. When put in Korean (the demo was in English before) it felt like it became more refreshing.

FROMIS_9 BASE

18,961 views • 17 days ago

I drove a real car while wearing a VR headset 🤯 This might be one of the wildest driving experiences I’ve ever had with BMW M in Germany. They put me behind the wheel, but instead of the real world, I saw a fully digital racing track through the headset. I was driving on an open airport field, but visually I was fully inside a race. I could still see my real hands, the steering wheel, and the dashboard, but through the windows I saw a virtual world and track. And it’s multiplayer. I was racing against another driver on a different field, and our cars and the map were synchronized between us in real time. Insane tech. It felt surreal. Hard to wrap my head around. I know I’m in a real car, actually driving, but visually I’m in a video game. Crazy. Thanks BMW BMWMotorsport for the demo!
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I drove a real car while wearing a VR headset 🤯 This might be one of the wildest driving experiences I’ve ever had with BMW M in Germany. They put me behind the wheel, but instead of the real world, I saw a fully digital racing track through the headset. I was driving on an open airport field, but visually I was fully inside a race. I could still see my real hands, the steering wheel, and the dashboard, but through the windows I saw a virtual world and track. And it’s multiplayer. I was racing against another driver on a different field, and our cars and the map were synchronized between us in real time. Insane tech. It felt surreal. Hard to wrap my head around. I know I’m in a real car, actually driving, but visually I’m in a video game. Crazy. Thanks BMW BMWMotorsport for the demo!

Ben Geskin

99,680 views • 3 months ago

Here is how you turn a #GaussianSplatting into a walkable world with 2 clicks. First of all, do yourself a favour and try out PostShot. The splat you see was created from a 3-minute video taken with my phone. It ran for around 12 hours on a laptop with a 3060, and the output was beyond my expectations! That being said, whatever tool or app you use to create your Splat, you can import it directly into arrival.space from there you can: - Clean it up and compress it thanks to the direct integration with Supersplat Editor - Generate a rough mesh (that you can export with a paid plan and adjust in Blender ) - Explore it freely on the #web or in #VR Make sure to drop your Space in the comments. Would love to see it!
1:29

Here is how you turn a #GaussianSplatting into a walkable world with 2 clicks. First of all, do yourself a favour and try out PostShot. The splat you see was created from a 3-minute video taken with my phone. It ran for around 12 hours on a laptop with a 3060, and the output was beyond my expectations! That being said, whatever tool or app you use to create your Splat, you can import it directly into arrival.space from there you can: - Clean it up and compress it thanks to the direct integration with Supersplat Editor - Generate a rough mesh (that you can export with a paid plan and adjust in Blender ) - Explore it freely on the #web or in #VR Make sure to drop your Space in the comments. Would love to see it!

Gabriele Romagnoli

12,086 views • 1 year ago

IN 1994 SUN MICROSYSTEMS FILMED A WOMAN SWIPING THROUGH A TOUCHSCREEN TABLET AND VIDEO CALLING A COLLEAGUE MID TASK. THE iPAD SHIPPED 16 YEARS LATER shot on 35mm film, more than a hundred engineers and designers on it, set in the year 2004, and here's the thing almost nobody mentions it wasn't allowed to be science fiction, the team had one hard rule, only show things they actually believed could be built, so this wasn't a fantasy reel, it was a spec sheet pretending to be a movie she drags documents with her fingers, talks to the machine, pulls a file from the other side of the world, drops into a live video call without thinking about it, this is a boring afternoon for you now, it was an impossible budget in 1994 the strange part is they weren't dreaming, they were trying to build it, then the company that filmed the future quietly moved on and a different company shipped it a decade and a half later and got called visionary for it nobody stole it, they just forgot it was already designed, down to the gestures your thumbs make every morning you think the touchscreen era started when you first held a phone that felt alive, it was fully storyboarded before some of you were born watch it once and you can't unsee how little we actually invented ↓
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IN 1994 SUN MICROSYSTEMS FILMED A WOMAN SWIPING THROUGH A TOUCHSCREEN TABLET AND VIDEO CALLING A COLLEAGUE MID TASK. THE iPAD SHIPPED 16 YEARS LATER shot on 35mm film, more than a hundred engineers and designers on it, set in the year 2004, and here's the thing almost nobody mentions it wasn't allowed to be science fiction, the team had one hard rule, only show things they actually believed could be built, so this wasn't a fantasy reel, it was a spec sheet pretending to be a movie she drags documents with her fingers, talks to the machine, pulls a file from the other side of the world, drops into a live video call without thinking about it, this is a boring afternoon for you now, it was an impossible budget in 1994 the strange part is they weren't dreaming, they were trying to build it, then the company that filmed the future quietly moved on and a different company shipped it a decade and a half later and got called visionary for it nobody stole it, they just forgot it was already designed, down to the gestures your thumbs make every morning you think the touchscreen era started when you first held a phone that felt alive, it was fully storyboarded before some of you were born watch it once and you can't unsee how little we actually invented ↓

0xbobaa

921,847 views • 6 days ago

🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)
1:29

🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)

World Tomlinson

35,330 views • 3 months ago

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.
1:04

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

61,494 views • 24 days ago

The first LingOrm photo that you keep in your phone Ling: It wasnt taken on my phone, it was taken during fitting of TSOU. I like this one in particular, so I ask them to airdrop me right on the spot! 👤: What come to your mind when you saw it? Ling: I wonder why this pic popped up as our very first ones taken together. I thought the first photo should be a selfie pic but when i look through the screen, i like it very much ITS FAHLADA AND EARN 🥺 PRAEW MAGAZINE X LINGORM #DearMySelfxLingOrm
1:49

The first LingOrm photo that you keep in your phone Ling: It wasnt taken on my phone, it was taken during fitting of TSOU. I like this one in particular, so I ask them to airdrop me right on the spot! 👤: What come to your mind when you saw it? Ling: I wonder why this pic popped up as our very first ones taken together. I thought the first photo should be a selfie pic but when i look through the screen, i like it very much ITS FAHLADA AND EARN 🥺 PRAEW MAGAZINE X LINGORM #DearMySelfxLingOrm

jamie kwong

53,359 views • 20 days ago

Tyler, The Creator almost gave up on making the ‘SORRY NOT SORRY’ music video the day before filming: “And then some happened to and finally it was like: “Yo we can't finally it was like yo we can't not do this video”, I do not want to be 43 with a seventy old running around like: “I should have did the video”, so we got it done. And literally the day before we shot it, I almost canned it, I almost can it literally because I was like: “It's a hair away from being creative and corny”, is like sometimes right here and I was like: “It's a hair away from being a little cornball”, but I changed something last minute it ended up being like one of my best videos.”
1:27

Tyler, The Creator almost gave up on making the ‘SORRY NOT SORRY’ music video the day before filming: “And then some happened to and finally it was like: “Yo we can't finally it was like yo we can't not do this video”, I do not want to be 43 with a seventy old running around like: “I should have did the video”, so we got it done. And literally the day before we shot it, I almost canned it, I almost can it literally because I was like: “It's a hair away from being creative and corny”, is like sometimes right here and I was like: “It's a hair away from being a little cornball”, but I changed something last minute it ended up being like one of my best videos.”

Archive Tyler, The Creator

36,049 views • 3 months ago

my new song “BREAKDOWN.” is out on the 21st of June!!! 🖤🖤🖤 I wrote this poem because it’s been the hardest year for my mental health. In my life I’ve always never felt good enough, it’s just the thing that’s eaten me up. For as long as I can remember i have felt constantly afraid of how quickly my head can turn dark. It’s always been so hard to fight the darkness that i inevitably have. A lot of people will say it’s a phase and it will go away. But it doesn’t and the reality of the situation is I have to find strategies to deal with it. To put it plainly the things I don’t like about myself will probably never change, people tell me one day I’ll come-to terms with them one day but I want that day to be FUCKING NOW. This song is a message to myself to try and exist alongside my insecurities and my darkness by grounding myself and remembering what is real in life and the world is so much bigger than me. Try and get out of your head and notice the world around you, notice the things and people around you. Connect with them, the chances are they probably feel the same. Don’t let the bullshit inside your head consume you. It just wastes precious time. Remember what is real. Help people, be kind, help the world, help yourself. If you think you can’t do it, you can. You can get through this, trust me. Use this poem in a mornin to get u out of bed, use it when youre about to back out of something last minute, use it when you’re at your darkest. It’s got a little bit of light in it. Don’t forget to put your feet in the grass … Mind
0:55

my new song “BREAKDOWN.” is out on the 21st of June!!! 🖤🖤🖤 I wrote this poem because it’s been the hardest year for my mental health. In my life I’ve always never felt good enough, it’s just the thing that’s eaten me up. For as long as I can remember i have felt constantly afraid of how quickly my head can turn dark. It’s always been so hard to fight the darkness that i inevitably have. A lot of people will say it’s a phase and it will go away. But it doesn’t and the reality of the situation is I have to find strategies to deal with it. To put it plainly the things I don’t like about myself will probably never change, people tell me one day I’ll come-to terms with them one day but I want that day to be FUCKING NOW. This song is a message to myself to try and exist alongside my insecurities and my darkness by grounding myself and remembering what is real in life and the world is so much bigger than me. Try and get out of your head and notice the world around you, notice the things and people around you. Connect with them, the chances are they probably feel the same. Don’t let the bullshit inside your head consume you. It just wastes precious time. Remember what is real. Help people, be kind, help the world, help yourself. If you think you can’t do it, you can. You can get through this, trust me. Use this poem in a mornin to get u out of bed, use it when youre about to back out of something last minute, use it when you’re at your darkest. It’s got a little bit of light in it. Don’t forget to put your feet in the grass … Mind

YUNGBLUD

66,420 views • 2 years ago

Anish Acharya: We're going to see a "YouTube moment for software": "If you think about YouTube 20 years ago—we had lots of video and lots of television, and it was high production quality, and it wasn't clear that we needed more and 20 years later, YouTube's a $550 billion enterprise that would be one of the biggest companies in the world if it was independent." "I think the same thing is going to happen for software. People want to make software, and for the first time they can—and they can distribute it and they can consume it." "Sometimes it's going to be important software. Sometimes it's going to be totally trivial. It's going to be software for a bachelor party weekend, software for a joke, software for a prompt. We have this sort of seriousness about software that we had about video and television 20 years ago." "Now it's like—I just took a video on my phone. It's going to be like—I just made an app on my phone. Same energy." Anish Acharya on BILLIONS with Guillaume Moubeche
1:30

Anish Acharya: We're going to see a "YouTube moment for software": "If you think about YouTube 20 years ago—we had lots of video and lots of television, and it was high production quality, and it wasn't clear that we needed more and 20 years later, YouTube's a $550 billion enterprise that would be one of the biggest companies in the world if it was independent." "I think the same thing is going to happen for software. People want to make software, and for the first time they can—and they can distribute it and they can consume it." "Sometimes it's going to be important software. Sometimes it's going to be totally trivial. It's going to be software for a bachelor party weekend, software for a joke, software for a prompt. We have this sort of seriousness about software that we had about video and television 20 years ago." "Now it's like—I just took a video on my phone. It's going to be like—I just made an app on my phone. Same energy." Anish Acharya on BILLIONS with Guillaume Moubeche

a16z

102,724 views • 4 months ago

Remote Viewer Warns of a Terrifying Coordinated Attack on a Major US City?! Remote Viewer, Daz Smith, looked at April world events and what he got back is potentially concerning... "...So it was large structures, weirdly higher than any of containership. I shouldn't have looked at that a bit more detail, but I didn't. Maybe I just thought it was appropriate, moved it to one side, but definitely large structures." "And it felt like the structures were on fire. So I, you know, asked the question why here? And I felt like there was a ground based attack, that was going to happen in, in, in this city location. And it felt like it was like a bomb attack. And I had, like, this very strong visual of a, white truck or van that might be involved, which I tried to draw here. So the, you know, they had these kind of, modern looking van in front of a, multi-level structure, almost like this, like the entranceway or something of the structure." "So it felt like it was a kinetic event, of lots of explosive energy. It was very loud. There was wide dispersal. Definitely had a terror attack feel. It feels like it was a driven vehicle parts and then detonated, as an act of retaliation. The vehicle fills, larger than a car. Felt very van like, possibly white, possibly have branding on it as well." "...It was strategically positioned, in front of an important structure. The whole thing felt very US based. Just not that weird kind of U.S filled me, getting targets. And I also have a dang tang feel to this as well, so it felt like it was in a large U.S urban city, which gave me the idea of New York. Because maybe because I've been to New York and, you know, just had that, but definitely had an East Coast feel to this..." "...it was definitely driven, implanted..." "...it felt like it was in planning. So they were planning or rehearsing for a future event, which is, you know, what we're looking for, a month ahead. And I had a weird I had a well here, weirdly, of Holy Cross... it starts with fear and panic, and it's like they're just implanting a message.... Trying to timeline this site here. You know, again, this is all very experimental..."
2:09

Remote Viewer Warns of a Terrifying Coordinated Attack on a Major US City?! Remote Viewer, Daz Smith, looked at April world events and what he got back is potentially concerning... "...So it was large structures, weirdly higher than any of containership. I shouldn't have looked at that a bit more detail, but I didn't. Maybe I just thought it was appropriate, moved it to one side, but definitely large structures." "And it felt like the structures were on fire. So I, you know, asked the question why here? And I felt like there was a ground based attack, that was going to happen in, in, in this city location. And it felt like it was like a bomb attack. And I had, like, this very strong visual of a, white truck or van that might be involved, which I tried to draw here. So the, you know, they had these kind of, modern looking van in front of a, multi-level structure, almost like this, like the entranceway or something of the structure." "So it felt like it was a kinetic event, of lots of explosive energy. It was very loud. There was wide dispersal. Definitely had a terror attack feel. It feels like it was a driven vehicle parts and then detonated, as an act of retaliation. The vehicle fills, larger than a car. Felt very van like, possibly white, possibly have branding on it as well." "...It was strategically positioned, in front of an important structure. The whole thing felt very US based. Just not that weird kind of U.S filled me, getting targets. And I also have a dang tang feel to this as well, so it felt like it was in a large U.S urban city, which gave me the idea of New York. Because maybe because I've been to New York and, you know, just had that, but definitely had an East Coast feel to this..." "...it was definitely driven, implanted..." "...it felt like it was in planning. So they were planning or rehearsing for a future event, which is, you know, what we're looking for, a month ahead. And I had a weird I had a well here, weirdly, of Holy Cross... it starts with fear and panic, and it's like they're just implanting a message.... Trying to timeline this site here. You know, again, this is all very experimental..."

Future Forecasting Group

14,822 views • 3 months ago

I forgot I had a startup. Bought a domain. Wrote a landing page. Ghosted it. Then my phone buzzed...*Ding!* You have a customer Love, Stripe Someone — by accident — found Slot Maps and paid for it. So I said screw it. Cranked up the AI tools. Built the MVP. Loaded in real slot machine strategies. Now it’s real. A slot strategy chat bot. Not perfect. But real. And it’s live. If you want to help, check it out. Share it. Use it. The support means everything.
0:55

I forgot I had a startup. Bought a domain. Wrote a landing page. Ghosted it. Then my phone buzzed...*Ding!* You have a customer Love, Stripe Someone — by accident — found Slot Maps and paid for it. So I said screw it. Cranked up the AI tools. Built the MVP. Loaded in real slot machine strategies. Now it’s real. A slot strategy chat bot. Not perfect. But real. And it’s live. If you want to help, check it out. Share it. Use it. The support means everything.

Art Parmann

109,309 views • 1 year ago

Marble from World Labs is so close to magic. You can imagine a space, generate it and then walk around it in your VR Headset. This was recorded with my Quest 3 and the potential is mind-blowing.
0:48

Marble from World Labs is so close to magic. You can imagine a space, generate it and then walk around it in your VR Headset. This was recorded with my Quest 3 and the potential is mind-blowing.

TomLikesRobots🤖

17,460 views • 9 months ago

I am stocked to announce that I won the OpenAI Developers Codex x Mollie Hacka Worldwide Hackathon in Paris. 60+ builders, every one of us working solo, one day to ship. I built mine around a single question: who gets to own intelligence? The default answer is scary. You hand your data to a handful of labs, they train the model, they own it, and you rent back a thin slice of what your own data made possible. That is the bargain on the table today. I do not accept it. So I built Lensemble: a Tapestry like distributed training platform for JEPA based World Models. What does it enable: World Models that a community improves together, keeps sovereign, and co-owns. Two bets sit underneath it. First, the paradigm. Language models predict the next token. Powerful for text, a dead end for the physical world. A robot does not need to autocomplete sentences, it needs to predict what happens next in the world. That is what JEPA does: it learns by predicting representations instead of pixels or tokens. I am convinced world models are the most underrated paradigm in AI right now, and the closest thing we have to a ChatGPT moment for robotics. Second, the politics. Your raw trajectories never leave your machine. Each participant trains locally against a shared protocol and ships only an update, never the data. A federated round folds those updates into one shared world model, a LeWorldModel based model, and the gain is measured, not claimed: a 12k-parameter adapter on a frozen backbone, held-out prediction error down about 12 percent, the model measurably less surprised by the world. Then the upside is split by contribution weight, so the people who improved the model own a share of what it earns. This is the thesis behind Project Tapestry, the AI Alliance and Yann LeCun's push for federated, sovereign frontier AI, carried into world models and robotics. Call it Tapestry for the physical world. All of it built solo, in a single day, with Codex as my pair the whole way. Thank you to OpenAI Codex and Mollie for backing builders who ship real things, and to Boris and the organizing crew for the room and the standard you set. Intelligence the world improves, and the world owns. That is the future I want for my kids, and the one I will keep building.
1:13

I am stocked to announce that I won the OpenAI Developers Codex x Mollie Hacka Worldwide Hackathon in Paris. 60+ builders, every one of us working solo, one day to ship. I built mine around a single question: who gets to own intelligence? The default answer is scary. You hand your data to a handful of labs, they train the model, they own it, and you rent back a thin slice of what your own data made possible. That is the bargain on the table today. I do not accept it. So I built Lensemble: a Tapestry like distributed training platform for JEPA based World Models. What does it enable: World Models that a community improves together, keeps sovereign, and co-owns. Two bets sit underneath it. First, the paradigm. Language models predict the next token. Powerful for text, a dead end for the physical world. A robot does not need to autocomplete sentences, it needs to predict what happens next in the world. That is what JEPA does: it learns by predicting representations instead of pixels or tokens. I am convinced world models are the most underrated paradigm in AI right now, and the closest thing we have to a ChatGPT moment for robotics. Second, the politics. Your raw trajectories never leave your machine. Each participant trains locally against a shared protocol and ships only an update, never the data. A federated round folds those updates into one shared world model, a LeWorldModel based model, and the gain is measured, not claimed: a 12k-parameter adapter on a frozen backbone, held-out prediction error down about 12 percent, the model measurably less surprised by the world. Then the upside is split by contribution weight, so the people who improved the model own a share of what it earns. This is the thesis behind Project Tapestry, the AI Alliance and Yann LeCun's push for federated, sovereign frontier AI, carried into world models and robotics. Call it Tapestry for the physical world. All of it built solo, in a single day, with Codex as my pair the whole way. Thank you to OpenAI Codex and Mollie for backing builders who ship real things, and to Boris and the organizing crew for the room and the standard you set. Intelligence the world improves, and the world owns. That is the future I want for my kids, and the one I will keep building.

abdel

17,134 views • 20 days ago

💪🏆Ilia Topuria speaking on beating Alexander Volkanovski and becoming a UFC champion: “When you have a dream, you visualize it in a completely different way than how it actually feels when you live it. On the day I fought for the world title, I woke up in the morning I looked out the window and saw people driving to work, doing their own things, and I thought, “This is just a normal day in my life.” But at the same time, it wasn’t normal at all, because that night I was going to become a world champion. It’s weird because when you have a dream, you think that once you achieve it, that’s it you’ve done everything you wanted in life. I remember winning the world title, waking up the next morning, and the first thing I asked myself was, ‘What now? What do I do now?’ I had already achieved the dream I thought would complete everything.” (via YT / SW)
1:20

💪🏆Ilia Topuria speaking on beating Alexander Volkanovski and becoming a UFC champion: “When you have a dream, you visualize it in a completely different way than how it actually feels when you live it. On the day I fought for the world title, I woke up in the morning I looked out the window and saw people driving to work, doing their own things, and I thought, “This is just a normal day in my life.” But at the same time, it wasn’t normal at all, because that night I was going to become a world champion. It’s weird because when you have a dream, you think that once you achieve it, that’s it you’ve done everything you wanted in life. I remember winning the world title, waking up the next morning, and the first thing I asked myself was, ‘What now? What do I do now?’ I had already achieved the dream I thought would complete everything.” (via YT / SW)

Home of Fight

144,761 views • 1 month ago

I ran a quick test of Gemini Robotics ER 1.5 controlling my LeKiwi using the MCP I developed before. No extra code required - just specified a new model. Unfortunately, it doesn't work well, even though I had expected it to be the best, as it is the first major VLM model trained specifically for robotics applications. The video below is a relatively good attempt. It does understand what is going on and generates a reasonable action plan, but it is not doing well with the low-level control. I guess it was not trained for this and was used together with the VLA, so it is trained to generate more high-level commands like "grab this object and put it there" rather than doing low-level control specifying every robot movement step by step. Did anybody try to use it in a similar setup? What is your experience?
1:11

I ran a quick test of Gemini Robotics ER 1.5 controlling my LeKiwi using the MCP I developed before. No extra code required - just specified a new model. Unfortunately, it doesn't work well, even though I had expected it to be the best, as it is the first major VLM model trained specifically for robotics applications. The video below is a relatively good attempt. It does understand what is going on and generates a reasonable action plan, but it is not doing well with the low-level control. I guess it was not trained for this and was used together with the VLA, so it is trained to generate more high-level commands like "grab this object and put it there" rather than doing low-level control specifying every robot movement step by step. Did anybody try to use it in a similar setup? What is your experience?

Ilia

15,601 views • 9 months ago