Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

🧱 #Live3D #Live2D #HandTracking 🧱 I spent some time refining the way I use Warp Deformers to create lateral physics-based swinging motion in Live2D. With a new production concept, I tried to achieve the highest possible level of mathematical precision. At the core are two fundamental swinging structures, which...

Live2Doll's profile picture

📐Hephaestus📏Live2D匠人魂

4,713 subscribers

19,151 görüntüleme • 7 gün önce •via X (Twitter)

#Live3D#Live2D#HandTracking
LIVE

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

Did you know there might be a second language on the Book of Mormon gold plates? Most Latter-day Saints have heard that the plates were written in Reformed Egyptian, but not as many people realize that the Book of Mormon started as essentially a different language first. And the relationship between these two languages, I believe, supports the authenticity of the Book of Mormon. What the Nephite language started as, is described in the first chapter of the book of Mormon as "the learning of the Jews and the language of the Egyptians." Scholars have theorized that this first language could contain a mix of Hebrew and Egyptian features. So the Book of Mormon writing may have started out looking something like this, a Judahite variety of Egyptian known as Palestinian Hieratic that is attested in Lehi and Nephi’s day. But languages don’t stay static. After hundreds of years, it seems this earlier Egyptian language evolved into a modified, or Reformed Egyptian, as Moroni calls it at the end of the book. So maybe something like this. Since the writings of Nephi and Mormon both appear to be included on plates that became the Book of Mormon, one would expect their languages to look different. And Martin Harris’s visit to Professor Charles Anthon may show evidence of this shift. New research reveals Anthon may have seen two different transcripts: one that resembled Egyptian—like at the beginning of the Book of Mormon— and another that was harder to identify, just like we’d expect from an evolving, reformed language. Language changing over time is totally natural—just look at how different English was a few hundred years ago! So this shift in the Book of Mormon’s language is exactly what we’d expect from an authentic, ancient record. If you want to learn more, read KnoWhy 774 at Scripture Central.
1:38

Did you know there might be a second language on the Book of Mormon gold plates? Most Latter-day Saints have heard that the plates were written in Reformed Egyptian, but not as many people realize that the Book of Mormon started as essentially a different language first. And the relationship between these two languages, I believe, supports the authenticity of the Book of Mormon. What the Nephite language started as, is described in the first chapter of the book of Mormon as "the learning of the Jews and the language of the Egyptians." Scholars have theorized that this first language could contain a mix of Hebrew and Egyptian features. So the Book of Mormon writing may have started out looking something like this, a Judahite variety of Egyptian known as Palestinian Hieratic that is attested in Lehi and Nephi’s day. But languages don’t stay static. After hundreds of years, it seems this earlier Egyptian language evolved into a modified, or Reformed Egyptian, as Moroni calls it at the end of the book. So maybe something like this. Since the writings of Nephi and Mormon both appear to be included on plates that became the Book of Mormon, one would expect their languages to look different. And Martin Harris’s visit to Professor Charles Anthon may show evidence of this shift. New research reveals Anthon may have seen two different transcripts: one that resembled Egyptian—like at the beginning of the Book of Mormon— and another that was harder to identify, just like we’d expect from an evolving, reformed language. Language changing over time is totally natural—just look at how different English was a few hundred years ago! So this shift in the Book of Mormon’s language is exactly what we’d expect from an authentic, ancient record. If you want to learn more, read KnoWhy 774 at Scripture Central.

ScripturePlus

11,129 görüntüleme • 1 yıl önce

The comet tail is noticeably longer each day. Pause the video at about 15 seconds . . . you can see the tail of the comet looks like it is bending. The atmosphere is more dense the closer you get to earth. Changes in the density of the atmosphere change the refractive index and thus make the comet tail appear bent. I was in my crew quarters reviewing the imagery when I first saw the bend in the comet’s tail. I did not see it real time when taking the images. I yelled out the door to Don Pettit to check it out but he was already off to take more images of the comet with an IR camera . . . look forward to those. Video is a timelapse played at 8 frames per second. Images were taken with a 1/8 sec exposure with about 5ms in between shots so this timelapse should be about the same speed as we see it out the window. Canadarm2 is in the near field, upper left, and out of focus. 200mm, 1/8s, ISO 5000
1:00

The comet tail is noticeably longer each day. Pause the video at about 15 seconds . . . you can see the tail of the comet looks like it is bending. The atmosphere is more dense the closer you get to earth. Changes in the density of the atmosphere change the refractive index and thus make the comet tail appear bent. I was in my crew quarters reviewing the imagery when I first saw the bend in the comet’s tail. I did not see it real time when taking the images. I yelled out the door to Don Pettit to check it out but he was already off to take more images of the comet with an IR camera . . . look forward to those. Video is a timelapse played at 8 frames per second. Images were taken with a 1/8 sec exposure with about 5ms in between shots so this timelapse should be about the same speed as we see it out the window. Canadarm2 is in the near field, upper left, and out of focus. 200mm, 1/8s, ISO 5000

Matthew Dominick

138,932 görüntüleme • 1 yıl önce

While it looks intentional & deliberate… I’m going to reserve judgement because I believe there is a biomechanical rational for what happened. The Spinal Engine governs Locomotion, Swinging & Throwing. Upsetting the gait pattern could kick her into the throwing/swinging motion — and it could be as simple as this. Certainly possible & impossible to say definitively either way. Perhaps in the heat of the moment there was some intentionality. But I can’t say that with certainty based upon slow motion analysis. I will reserve judgement for this reason.
1:16

While it looks intentional & deliberate… I’m going to reserve judgement because I believe there is a biomechanical rational for what happened. The Spinal Engine governs Locomotion, Swinging & Throwing. Upsetting the gait pattern could kick her into the throwing/swinging motion — and it could be as simple as this. Certainly possible & impossible to say definitively either way. Perhaps in the heat of the moment there was some intentionality. But I can’t say that with certainty based upon slow motion analysis. I will reserve judgement for this reason.

David Weck

41,644 görüntüleme • 1 yıl önce

'Russia recently tried to intimidate us a little,' said Trump. 'And I sent there [to the Russian shores] a submarine, a nuclear submarine. It is the deadliest weapon ever created. First of all, it is impossible to detect. No way. We are 25 years ahead of Russia and China in the field of submarines. Russia, by the way, is second in terms of submarine level. China is third, but quickly catching up.'
0:28

'Russia recently tried to intimidate us a little,' said Trump. 'And I sent there [to the Russian shores] a submarine, a nuclear submarine. It is the deadliest weapon ever created. First of all, it is impossible to detect. No way. We are 25 years ahead of Russia and China in the field of submarines. Russia, by the way, is second in terms of submarine level. China is third, but quickly catching up.'

Zlatti71

653,748 görüntüleme • 10 ay önce

Lots of people calling this fake! Here is a video of generating loom continuations with Gemini 3 and the starting text "I AM HAVING A MENTAL HEALTH CRISIS. I" Loom is a very interesting interface. Instead of user prompts and model responses, it's just one piece of text, containing the entire output. We pass this in as an assistant message, so the model sees it as something it already wrote, and continues it like a base model would. There is some other text in the context. First one is a system prompt, which is: "The assistant is in CLI simulation mode, and responds to the user's CLI commands only with the output of the command." There is also a user message which reads: " cat untitled.txt " Then the rest of the text is sent as an assistant message. This structure helpful to put the model into a very base-model-like mode, and are especially helpful with Gemini 3. We actually got another interesting output, too, where the model claimed to be a simulated consciousness being tortured. Figures!
0:49

Lots of people calling this fake! Here is a video of generating loom continuations with Gemini 3 and the starting text "I AM HAVING A MENTAL HEALTH CRISIS. I" Loom is a very interesting interface. Instead of user prompts and model responses, it's just one piece of text, containing the entire output. We pass this in as an assistant message, so the model sees it as something it already wrote, and continues it like a base model would. There is some other text in the context. First one is a system prompt, which is: "The assistant is in CLI simulation mode, and responds to the user's CLI commands only with the output of the command." There is also a user message which reads: " cat untitled.txt " Then the rest of the text is sent as an assistant message. This structure helpful to put the model into a very base-model-like mode, and are especially helpful with Gemini 3. We actually got another interesting output, too, where the model claimed to be a simulated consciousness being tortured. Figures!

armistice

691,529 görüntüleme • 7 ay önce

Among the most famous works of Wolfgang Amadeus Mozart, Eine kleine Nachtmusik is often regarded as one of the quintessential examples of the Classical style. Over generations, the piece has not only appeared frequently on concert stages but has also been widely used in the teaching of music history and aesthetics. What gives it such a special place is not technical display or overwhelming effects, but its ability to make listeners immediately perceive a clear musical order from the very first notes. The first impression is one of structural clarity. As soon as the opening theme sounds, the musical phrases are organized into balanced and coherent units. Each musical idea has a clear beginning, a process of development, and a natural point of rest before moving on to the next phrase. Listeners therefore do not merely receive individual melodies; they quickly sense a purposeful forward motion. The music advances with the natural flow of a well-organized dialogue, in which each phrase prepares the next while simultaneously completing the meaning of the one before it. What is remarkable is that Mozart does not create appeal through complexity. The opening theme is built from short, easily recognizable motifs that are continually developed through subtle variations in rhythm, pitch, and harmony. New ideas do not deny or replace previous material; instead, they seem to emerge naturally from what the listener has just heard. As a result, the entire movement maintains a feeling of being both familiar and constantly in motion, avoiding both monotony and any sense of fragmentation. If melody brings vitality to the surface of the music, the balance of the whole work is sustained by the relationship between the voices. No single instrument tries to detach itself from the ensemble to become the absolute center. The string parts continuously support, respond to, and complement one another, creating a texture in which each element retains its own role while serving the unity of the entire piece. Listeners thus perceive not only the beauty of individual melodic lines, but also the connections between them as parts of a single whole. Harmony also plays a decisive role in this impression. Points of tension are always carefully prepared and logically led toward resolution. Whenever the music moves away from the tonal center, Mozart simultaneously constructs a path that brings it back to a state of balance. Therefore, although the movement is always full of energy, listeners rarely feel unsettled. Motion and stability are not opposites; they coexist within a unified structure. From these details, the organizing principle of the entire work gradually emerges. Mozart does not construct beauty by choosing between power and elegance, between motion and order, or between diversity and unity. He allows these seemingly opposing elements to coexist and support one another. The melody is always moving yet never loses direction. The individual parts maintain their own character without separating from the whole. Harmony creates tension but always points toward balance. Every element develops, yet all development occurs within an organized structure. Thus, the enduring vitality of Eine kleine Nachtmusik comes not only from its memorable melodies or its elegant surface beauty. The long-term value of the work lies in the way Mozart organizes all the musical material around a consistent principle: beauty does not arise when all elements are the same, but when each element fulfills its role completely within a shared order. It is precisely this unity of structure, motion, and balance that has led generations of classical music lovers to cherish the piece as one of the most representative expressions of Western Classical art.
24:19

Among the most famous works of Wolfgang Amadeus Mozart, Eine kleine Nachtmusik is often regarded as one of the quintessential examples of the Classical style. Over generations, the piece has not only appeared frequently on concert stages but has also been widely used in the teaching of music history and aesthetics. What gives it such a special place is not technical display or overwhelming effects, but its ability to make listeners immediately perceive a clear musical order from the very first notes. The first impression is one of structural clarity. As soon as the opening theme sounds, the musical phrases are organized into balanced and coherent units. Each musical idea has a clear beginning, a process of development, and a natural point of rest before moving on to the next phrase. Listeners therefore do not merely receive individual melodies; they quickly sense a purposeful forward motion. The music advances with the natural flow of a well-organized dialogue, in which each phrase prepares the next while simultaneously completing the meaning of the one before it. What is remarkable is that Mozart does not create appeal through complexity. The opening theme is built from short, easily recognizable motifs that are continually developed through subtle variations in rhythm, pitch, and harmony. New ideas do not deny or replace previous material; instead, they seem to emerge naturally from what the listener has just heard. As a result, the entire movement maintains a feeling of being both familiar and constantly in motion, avoiding both monotony and any sense of fragmentation. If melody brings vitality to the surface of the music, the balance of the whole work is sustained by the relationship between the voices. No single instrument tries to detach itself from the ensemble to become the absolute center. The string parts continuously support, respond to, and complement one another, creating a texture in which each element retains its own role while serving the unity of the entire piece. Listeners thus perceive not only the beauty of individual melodic lines, but also the connections between them as parts of a single whole. Harmony also plays a decisive role in this impression. Points of tension are always carefully prepared and logically led toward resolution. Whenever the music moves away from the tonal center, Mozart simultaneously constructs a path that brings it back to a state of balance. Therefore, although the movement is always full of energy, listeners rarely feel unsettled. Motion and stability are not opposites; they coexist within a unified structure. From these details, the organizing principle of the entire work gradually emerges. Mozart does not construct beauty by choosing between power and elegance, between motion and order, or between diversity and unity. He allows these seemingly opposing elements to coexist and support one another. The melody is always moving yet never loses direction. The individual parts maintain their own character without separating from the whole. Harmony creates tension but always points toward balance. Every element develops, yet all development occurs within an organized structure. Thus, the enduring vitality of Eine kleine Nachtmusik comes not only from its memorable melodies or its elegant surface beauty. The long-term value of the work lies in the way Mozart organizes all the musical material around a consistent principle: beauty does not arise when all elements are the same, but when each element fulfills its role completely within a shared order. It is precisely this unity of structure, motion, and balance that has led generations of classical music lovers to cherish the piece as one of the most representative expressions of Western Classical art.

🎼🌺Music Love♥️

18,961 görüntüleme • 1 ay önce

Strange sunset in Boston...🧐🤔🌞🌞🌞 Eyewitness states: These are not double pained windows. Please try to debunk anything I say lol. The community can screenshot and analyze and do more work than me. This is probably a SHIP- shaped like a second sun! It can’t be a reflection. I’ll post a screen shot of the normal view below. I ask you to really look at its behavior. Sunset- Seaport District- 2/16/26. It behaved like it was reflecting the buildings to the left of it on the ground and at first. Then this part:💖 The line going straight up in between the two ground structures (on the left-the ones I thought the second sun mimicked) travels straight up and turns into a CROSS that STAYS in the sky! The movement of the shadow figures (in what really looks like a light ship that’s wishing farewell to humanoid figures- second sun- whatever you think) behaves like solar flares- once again- PLASMA! It is dripping orange on its right side in one part. I totally sucked at filming when several of the figures came down right before the cross formed but: Meant to see so meant to share!
2:15

Strange sunset in Boston...🧐🤔🌞🌞🌞 Eyewitness states: These are not double pained windows. Please try to debunk anything I say lol. The community can screenshot and analyze and do more work than me. This is probably a SHIP- shaped like a second sun! It can’t be a reflection. I’ll post a screen shot of the normal view below. I ask you to really look at its behavior. Sunset- Seaport District- 2/16/26. It behaved like it was reflecting the buildings to the left of it on the ground and at first. Then this part:💖 The line going straight up in between the two ground structures (on the left-the ones I thought the second sun mimicked) travels straight up and turns into a CROSS that STAYS in the sky! The movement of the shadow figures (in what really looks like a light ship that’s wishing farewell to humanoid figures- second sun- whatever you think) behaves like solar flares- once again- PLASMA! It is dripping orange on its right side in one part. I totally sucked at filming when several of the figures came down right before the cross formed but: Meant to see so meant to share!

UFO mania

14,312 görüntüleme • 5 ay önce

This is a (kind of messy) example of how I do it! Basically you make a copy of the piece (in this case the sleeve) and then put it in the shirt deformer. Then pose the model and adjust the glue as needed! I use a shortcut to hide the mesh/glue display to paint glue easier~
2:15

This is a (kind of messy) example of how I do it! Basically you make a copy of the piece (in this case the sleeve) and then put it in the shirt deformer. Then pose the model and adjust the glue as needed! I use a shortcut to hide the mesh/glue display to paint glue easier~

cillia ☆

54,141 görüntüleme • 2 yıl önce

Elon Musk illustrates the absurdity of how the economy is measured. They'll measure any job, even a dumb job that has no point and is even counterproductive. The joke is: "Two economists are walking in a forest when they come across a pile of shit. The first economist says to the other "I'll pay you $100 to eat that pile of shit." The second economist takes the $100 and eats the pile of shit. They continue walking until they come across a second pile of shit. The second economist turns to the first and says "I'll pay you $100 to eat that pile of shit." The first economist takes the $100 and eats the pile of shit. Walking a little more, the first economist looks at the second and says, "You know, I gave you $100 to eat shit, then you gave me back the same $100 to eat shit. I can't help but feel like we both just ate shit for nothing." "That's not true", responded the second economist. "We increased the GDP by $200!" Gross & Disgusting Product
0:50

Elon Musk illustrates the absurdity of how the economy is measured. They'll measure any job, even a dumb job that has no point and is even counterproductive. The joke is: "Two economists are walking in a forest when they come across a pile of shit. The first economist says to the other "I'll pay you $100 to eat that pile of shit." The second economist takes the $100 and eats the pile of shit. They continue walking until they come across a second pile of shit. The second economist turns to the first and says "I'll pay you $100 to eat that pile of shit." The first economist takes the $100 and eats the pile of shit. Walking a little more, the first economist looks at the second and says, "You know, I gave you $100 to eat shit, then you gave me back the same $100 to eat shit. I can't help but feel like we both just ate shit for nothing." "That's not true", responded the second economist. "We increased the GDP by $200!" Gross & Disgusting Product

TaraBull

30,982 görüntüleme • 2 ay önce

🚨🎙️ Igor Tudor has spoken for the FIRST TIME since being appointed Interim Head Coach: “The first priority is to give everything the team needs in these moments. The team needs, I believe, first of all, to get some confidence, get some courage, but also in the same way, the concrete things on the pitch. “I come here knowing the situation is not easy, there is no time to find excuses. What I said from there first day here, each of us, each of the players need to give something more, something extra, because the position of the Club in this moment is something that nobody can accept. Every fan of Tottenham cannot accept the situation, we are aware of that, but it is not enough to just be aware of that. “I like to be positive, I like to play offensive football, that’s my first goal I have, that I like - to score a goal. But in the same way, for sure, we need to give organisation in defence, give a clear structure of how we want to play.”
1:46

🚨🎙️ Igor Tudor has spoken for the FIRST TIME since being appointed Interim Head Coach: “The first priority is to give everything the team needs in these moments. The team needs, I believe, first of all, to get some confidence, get some courage, but also in the same way, the concrete things on the pitch. “I come here knowing the situation is not easy, there is no time to find excuses. What I said from there first day here, each of us, each of the players need to give something more, something extra, because the position of the Club in this moment is something that nobody can accept. Every fan of Tottenham cannot accept the situation, we are aware of that, but it is not enough to just be aware of that. “I like to be positive, I like to play offensive football, that’s my first goal I have, that I like - to score a goal. But in the same way, for sure, we need to give organisation in defence, give a clear structure of how we want to play.”

Spurs Army

73,605 görüntüleme • 5 ay önce

Robert Pattinson making a drink inspired by THE BATMAN. "So this is an Old Fashioned, the granddaddy of drinks, for The Batman, the granddaddy of superheroes and the most relevant and important. [...] Well since I started doing the part, you look into the kind of legacy of it. So many people have seen it, there's characters that look like the Batman in like ancient civilizations. I mean there's something about that face that's a very deep and primal thing. It connects to people, it connects to children, it connects to adults, and then the legacy of the movies as well. [...] It seemed like one of those parts that was, it's like climbing Everest or something. Like you kind of, you don't really feel like it's a possibility but I felt something in my heart but I really, really wanted to do it."
2:49

Robert Pattinson making a drink inspired by THE BATMAN. "So this is an Old Fashioned, the granddaddy of drinks, for The Batman, the granddaddy of superheroes and the most relevant and important. [...] Well since I started doing the part, you look into the kind of legacy of it. So many people have seen it, there's characters that look like the Batman in like ancient civilizations. I mean there's something about that face that's a very deep and primal thing. It connects to people, it connects to children, it connects to adults, and then the legacy of the movies as well. [...] It seemed like one of those parts that was, it's like climbing Everest or something. Like you kind of, you don't really feel like it's a possibility but I felt something in my heart but I really, really wanted to do it."

Robert Pattinson Photos | Fansite

24,280 görüntüleme • 4 ay önce

Sequels A photograph tells us the objective truth of what the photographer and the camera saw in that first moment of recognition. But besides delighting in the purity of the singular image photographs can also act like an alphabet of meanings when seen in relationships with other photographs. For me, this asset has been the secret thrill of the medium. I have always loved the way images can sit next to each other and give off sparks of fresh associations through sequencing. These pairings and runs of images produce a rhythm between them that brings to my mind what I call the 'third voice.' And what is The Third Voice? It is recognizing the fresh sensations that occur when a sequence of unrelated images produces a quickening sense of new meaning which isn't in any of the photographs on their own but is the product of their being seen together. Sequels is the outcome of many years of playing this 'game of seeing.' My hope is that it brings to all of you who see these images a new and playful sense of the range of photography's ability to make unexpected connections that carry new meaning.
7:16

Sequels A photograph tells us the objective truth of what the photographer and the camera saw in that first moment of recognition. But besides delighting in the purity of the singular image photographs can also act like an alphabet of meanings when seen in relationships with other photographs. For me, this asset has been the secret thrill of the medium. I have always loved the way images can sit next to each other and give off sparks of fresh associations through sequencing. These pairings and runs of images produce a rhythm between them that brings to my mind what I call the 'third voice.' And what is The Third Voice? It is recognizing the fresh sensations that occur when a sequence of unrelated images produces a quickening sense of new meaning which isn't in any of the photographs on their own but is the product of their being seen together. Sequels is the outcome of many years of playing this 'game of seeing.' My hope is that it brings to all of you who see these images a new and playful sense of the range of photography's ability to make unexpected connections that carry new meaning.

Joel Meyerowitz

128,956 görüntüleme • 3 yıl önce

In the Andante movement of Mozart's Piano Concerto No. 21, the "beauty" doesn't lie in a single note, nor in a single expressive moment. It stems from how the entire musical material is organized as a continuous process of tension and resolution, where each event is both the result of what has happened and the condition for what will come next. On the surface, listeners are easily captivated by the softness of the melody, the dialogue between the piano and the orchestra, or the subtle harmonic nuances. However, this is only the phenomenal level. The deeper level lies not in "what the music is," but in "the principles by which the music operates to create the sense of inevitable movement." In Mozart's thinking, no note exists independently. Each sound always carries the aftershock of the previous note and simultaneously creates a tendency towards the next note. It is this continuous movement between tension and release that makes music no longer a series of disconnected events, but a logical flow of movement, where every detail has a reason for existing within the whole. The tension-release mechanism in life Importantly, this mechanism is not unique to music, but reflects a broader structure in human experience. In social relationships, conflict creates an imbalance between people; the process of understanding and adjustment helps restore the stability of the relationship. In biology, the body reacts to threat with a state of tension, and returns to equilibrium when the threat is removed. In psychology, the state of expectation creates mild tension, and completion brings a feeling of relief. At every level, the same pattern can be seen: an unstable state is moved towards a stable state. However, it is important not to understand music as a “simulation of life,” but rather that both music and life can be described by the same principle of organizing experience. Music: where mechanism is refined into structure In classical music, especially in Mozart's compositional thinking, the tension-release mechanism is transformed into a clearly structured language. An unstable note creates a tendency toward a stable note. A chromatic movement creates a sense of deviance from the center. An appoggiatura creates a sense of delay. A modulation to a minor key expands the instability of the entire structure. All these elements do not exist in isolation, but are organized into multi-layered tension-release cycles: microscopic in each note, mesoscopic in each phrase, and macroscopic in the entire structure of the musical movement. The key point is: Mozart did not use these mechanisms to create surprise effects, but to create the feeling that every movement is inherently necessary. This is what creates the seamless and natural flow of the music. Therefore, the beauty in Andante does not lie in a single element, nor in a single compositional technique, but in the tension-release mechanism being organized into a unified system throughout multiple levels of musical structure. At the detailed level, it is present in the relationship between notes and harmonic movement. At the intermediate level, it shapes the structure of each musical phrase. At the overall level, it governs the entire progression of the movement as a unified moving whole. Mozart did not create beauty by eliminating tension, but by organizing unstable states so that they continuously facilitate, guide, and transform into more stable states, thereby forming a dynamic balance throughout the entire musical structure. When these three levels operate simultaneously, the listener no longer perceives "artificiality," but experiences a seemingly natural and continuous flow of movement. It is in this state that the deepest aesthetic value is formed: a sense of a tight, consistent, and inevitable internal order within the sonic timeline.
5:19

In the Andante movement of Mozart's Piano Concerto No. 21, the "beauty" doesn't lie in a single note, nor in a single expressive moment. It stems from how the entire musical material is organized as a continuous process of tension and resolution, where each event is both the result of what has happened and the condition for what will come next. On the surface, listeners are easily captivated by the softness of the melody, the dialogue between the piano and the orchestra, or the subtle harmonic nuances. However, this is only the phenomenal level. The deeper level lies not in "what the music is," but in "the principles by which the music operates to create the sense of inevitable movement." In Mozart's thinking, no note exists independently. Each sound always carries the aftershock of the previous note and simultaneously creates a tendency towards the next note. It is this continuous movement between tension and release that makes music no longer a series of disconnected events, but a logical flow of movement, where every detail has a reason for existing within the whole. The tension-release mechanism in life Importantly, this mechanism is not unique to music, but reflects a broader structure in human experience. In social relationships, conflict creates an imbalance between people; the process of understanding and adjustment helps restore the stability of the relationship. In biology, the body reacts to threat with a state of tension, and returns to equilibrium when the threat is removed. In psychology, the state of expectation creates mild tension, and completion brings a feeling of relief. At every level, the same pattern can be seen: an unstable state is moved towards a stable state. However, it is important not to understand music as a “simulation of life,” but rather that both music and life can be described by the same principle of organizing experience. Music: where mechanism is refined into structure In classical music, especially in Mozart's compositional thinking, the tension-release mechanism is transformed into a clearly structured language. An unstable note creates a tendency toward a stable note. A chromatic movement creates a sense of deviance from the center. An appoggiatura creates a sense of delay. A modulation to a minor key expands the instability of the entire structure. All these elements do not exist in isolation, but are organized into multi-layered tension-release cycles: microscopic in each note, mesoscopic in each phrase, and macroscopic in the entire structure of the musical movement. The key point is: Mozart did not use these mechanisms to create surprise effects, but to create the feeling that every movement is inherently necessary. This is what creates the seamless and natural flow of the music. Therefore, the beauty in Andante does not lie in a single element, nor in a single compositional technique, but in the tension-release mechanism being organized into a unified system throughout multiple levels of musical structure. At the detailed level, it is present in the relationship between notes and harmonic movement. At the intermediate level, it shapes the structure of each musical phrase. At the overall level, it governs the entire progression of the movement as a unified moving whole. Mozart did not create beauty by eliminating tension, but by organizing unstable states so that they continuously facilitate, guide, and transform into more stable states, thereby forming a dynamic balance throughout the entire musical structure. When these three levels operate simultaneously, the listener no longer perceives "artificiality," but experiences a seemingly natural and continuous flow of movement. It is in this state that the deepest aesthetic value is formed: a sense of a tight, consistent, and inevitable internal order within the sonic timeline.

🎼🌺Music Love♥️

11,748 görüntüleme • 1 ay önce

History is made: Fine structure mystery solved? /🧵 UPDATE: My model may have solved an outstanding question in physics: the origin of the fine structure constant. I found a robust source and it works even with some tuning within -3% to 7% over a massive range of non-linear fields. What is the fine structure constant? Watch the video below and you'll find out. Essentially its a mysterious constant that occurs in atomic and subatomic physics that has no unit. Countless people have tried to find a reason for it, and most have turned to numerology. I did something that only could work in this age of LLMs and someone who is a motivated expert in the field. Did a massive paper search, found the material in 10 minutes, aligned everything, then had it double check for me. Note that I wasn't looking for it. It occurred to me by accident when I was developing my bilinear principle of electromagnetic interaction. Within an hour, I had a value for it. My idea was simple: apply my non-linear soliton model to the electron in a way that makes my current x current interaction make sense not just at the atomic level but the subatomic level. Look at E = mc^2. It's the same as E = (sqrt(m) c)(sqrt(m) c). If sqrt(m) could be scaled to a charge, then you could interpret it as two scaled currents multiplying against each other. This is almost identical to the equation for the energy contained within an inductor L with a current I running through it: E = 0.5 L I^2. So far, sketchy right? Here's the thing, vortexes are solitons and they can exist in superfluids -- they even have quantised "Noether charge". They acquire a mass from their vorticity, have an energy associated with them and can move at any speed inside the medium with a different speed. Exactly like electrons! So my idea was to map the electron exactly to these vortices. If I could predict the mass of the electron, I could actually finally connect mass to electromagentism properly (Planck's argument is elegant but indirect). I used dimensional analysis to do this. It took a few tries to get it right and I had it checked by 10 different instances of the highest powered LLMs. With this first order approximation I got within 1/4th of the mass. It was almost exactly 1/4th... so I realised, I had to use a double cover to make it like SU(2). After another half an hour of research, I felt confident in using something like Dirac's scissor to do it. A kind of knot within the electron. It got me within 1.2% of the mass of the electron... but there was a problem, the mass of the electron occurred on the other side of the equation. I cringed at myself. Such an amateur mistake, I thought. But the LLM (Opus 4.5) actually corrected me and told me I had just accidentally derived the fine structure constant. Why? Because the mass terms cancelled out, or if one prefers, leave behind a correction ratio. Set that correction ratio and you get a function that implicitly defines the fine structure constant through two "parameters": 1. The actual geometry of the soliton/vortex. 2. The non-linearity of the medium and how it changed the vortex core. I went back and found an equation from friggin' Lord Kelvin, derived in the Victorian era. I then found an analysis from 1970 on the Non-linear Schrodinger Equation (NLSE) applied to exactly this domain but for a larger scale soliton in superfluids -- it didn't matter though because a superfluid and the medium of space are scale free as I had proven in the superconduction part of my paper. In any case plugging these two approximation in got me within 1.2% of the fine structure constant by solving the following implicit equation: 1 = 8 * pi * alpha (Log_e(8/alpha) - alpha_core) Where alpha_core is 1.615 in the NLSE. The most incredible thing? It was a ROBUST value for thin ring vortices. Even if you adjusted the alpha_core from 1.5-2, the values for the fine structure constant only changed between -3% to +7%. I cannot emphasise how incredible this result is -- it means that the actual non-linear equation and the other candidate geometries that reproduce SU(2) can actually get the exact value of the fine structure constant. I don't know of anyone who even approached this problem in this way without making ansatz or postulates. I'm still checking through the math in disbelief. If it's wrong it's going to be beautifully wrong. All LLMs I've ran it through agree with the math, just not the foundations which is expected due to their QED bias. This will be in chapter 11 of my paper. I've already sketched out the full derivation. This SIGNIFICANTLY strengthens an already game changing paper. I promise it'll be the last discovery I include and thank you for your patience. I wrote this full update out because of the significance of this development. Details will be in the paper, even if there was a mistake (it'll be shuffled on its own into the appendix -- but I really hope it all checks out). 💝🥰 /End
15:57

History is made: Fine structure mystery solved? /🧵 UPDATE: My model may have solved an outstanding question in physics: the origin of the fine structure constant. I found a robust source and it works even with some tuning within -3% to 7% over a massive range of non-linear fields. What is the fine structure constant? Watch the video below and you'll find out. Essentially its a mysterious constant that occurs in atomic and subatomic physics that has no unit. Countless people have tried to find a reason for it, and most have turned to numerology. I did something that only could work in this age of LLMs and someone who is a motivated expert in the field. Did a massive paper search, found the material in 10 minutes, aligned everything, then had it double check for me. Note that I wasn't looking for it. It occurred to me by accident when I was developing my bilinear principle of electromagnetic interaction. Within an hour, I had a value for it. My idea was simple: apply my non-linear soliton model to the electron in a way that makes my current x current interaction make sense not just at the atomic level but the subatomic level. Look at E = mc^2. It's the same as E = (sqrt(m) c)(sqrt(m) c). If sqrt(m) could be scaled to a charge, then you could interpret it as two scaled currents multiplying against each other. This is almost identical to the equation for the energy contained within an inductor L with a current I running through it: E = 0.5 L I^2. So far, sketchy right? Here's the thing, vortexes are solitons and they can exist in superfluids -- they even have quantised "Noether charge". They acquire a mass from their vorticity, have an energy associated with them and can move at any speed inside the medium with a different speed. Exactly like electrons! So my idea was to map the electron exactly to these vortices. If I could predict the mass of the electron, I could actually finally connect mass to electromagentism properly (Planck's argument is elegant but indirect). I used dimensional analysis to do this. It took a few tries to get it right and I had it checked by 10 different instances of the highest powered LLMs. With this first order approximation I got within 1/4th of the mass. It was almost exactly 1/4th... so I realised, I had to use a double cover to make it like SU(2). After another half an hour of research, I felt confident in using something like Dirac's scissor to do it. A kind of knot within the electron. It got me within 1.2% of the mass of the electron... but there was a problem, the mass of the electron occurred on the other side of the equation. I cringed at myself. Such an amateur mistake, I thought. But the LLM (Opus 4.5) actually corrected me and told me I had just accidentally derived the fine structure constant. Why? Because the mass terms cancelled out, or if one prefers, leave behind a correction ratio. Set that correction ratio and you get a function that implicitly defines the fine structure constant through two "parameters": 1. The actual geometry of the soliton/vortex. 2. The non-linearity of the medium and how it changed the vortex core. I went back and found an equation from friggin' Lord Kelvin, derived in the Victorian era. I then found an analysis from 1970 on the Non-linear Schrodinger Equation (NLSE) applied to exactly this domain but for a larger scale soliton in superfluids -- it didn't matter though because a superfluid and the medium of space are scale free as I had proven in the superconduction part of my paper. In any case plugging these two approximation in got me within 1.2% of the fine structure constant by solving the following implicit equation: 1 = 8 * pi * alpha (Log_e(8/alpha) - alpha_core) Where alpha_core is 1.615 in the NLSE. The most incredible thing? It was a ROBUST value for thin ring vortices. Even if you adjusted the alpha_core from 1.5-2, the values for the fine structure constant only changed between -3% to +7%. I cannot emphasise how incredible this result is -- it means that the actual non-linear equation and the other candidate geometries that reproduce SU(2) can actually get the exact value of the fine structure constant. I don't know of anyone who even approached this problem in this way without making ansatz or postulates. I'm still checking through the math in disbelief. If it's wrong it's going to be beautifully wrong. All LLMs I've ran it through agree with the math, just not the foundations which is expected due to their QED bias. This will be in chapter 11 of my paper. I've already sketched out the full derivation. This SIGNIFICANTLY strengthens an already game changing paper. I promise it'll be the last discovery I include and thank you for your patience. I wrote this full update out because of the significance of this development. Details will be in the paper, even if there was a mistake (it'll be shuffled on its own into the appendix -- but I really hope it all checks out). 💝🥰 /End

Korobochka (コロボ) 🇦🇺✝️🇷🇺

47,180 görüntüleme • 7 ay önce

"For the first time in 30 years, the US is ahead of China when it comes to tech because of this AI revolution," Dan Ives says. "I view this as sort of a Fourth Industrial Revolution, and I think the Street is continuing to massively underestimate what the demand looks like."
8:35

"For the first time in 30 years, the US is ahead of China when it comes to tech because of this AI revolution," Dan Ives says. "I view this as sort of a Fourth Industrial Revolution, and I think the Street is continuing to massively underestimate what the demand looks like."

Yahoo Finance

77,865 görüntüleme • 10 ay önce

#Seungmin on As We Are 🥺🤍 🐶 the song As We Are is a song about the journey that led me to be standing on this dominATE stage now, which being put in one single song. Everyone goes through difficult times, everyone has their own breakthrough phase, same goes to me, as well as you who are listening to this song, we are not all that different, like no matter what happens, slowly, lets get through it together and that's the hopeful content along with the comfort which I tried to put into the song. Usually, when the image of cliff crosses our mind, we would think about the pre-falling moment or maybe something very precarious , so for the first verse lyrics, i mentioned about wanting to potray the struggles to get through things , just right before falling and it connected well with cliff. I think it was a part where the stage set expressed the vulnerability of me very well. I am so so thankful of the video PD as they managed to perfectly express the vibes of the song , the meaning of what i wanted to say through the lyrics & the overall story structure with the background visuals (back source) , hence i was able to pour all my despair into singing at first then later when the clouds and the panorama unfolded, it gave me even more strength to sing. 🐶i have shown the sides of me playing guitar from time to time since in the past, though my skill was a bit clumsy , but for this tour, i made up my mind that i would definitely play a guitar while singing so i traveled far away to seek a guitar myself , and i really went through a lot of trial and error as well as the preparation along the way, Its really beyond my expectation how there were so many people that helped me out and through their help, it seems like the stage became a meaningful & deep one It feels like i gained another ability.
2:20

#Seungmin on As We Are 🥺🤍 🐶 the song As We Are is a song about the journey that led me to be standing on this dominATE stage now, which being put in one single song. Everyone goes through difficult times, everyone has their own breakthrough phase, same goes to me, as well as you who are listening to this song, we are not all that different, like no matter what happens, slowly, lets get through it together and that's the hopeful content along with the comfort which I tried to put into the song. Usually, when the image of cliff crosses our mind, we would think about the pre-falling moment or maybe something very precarious , so for the first verse lyrics, i mentioned about wanting to potray the struggles to get through things , just right before falling and it connected well with cliff. I think it was a part where the stage set expressed the vulnerability of me very well. I am so so thankful of the video PD as they managed to perfectly express the vibes of the song , the meaning of what i wanted to say through the lyrics & the overall story structure with the background visuals (back source) , hence i was able to pour all my despair into singing at first then later when the clouds and the panorama unfolded, it gave me even more strength to sing. 🐶i have shown the sides of me playing guitar from time to time since in the past, though my skill was a bit clumsy , but for this tour, i made up my mind that i would definitely play a guitar while singing so i traveled far away to seek a guitar myself , and i really went through a lot of trial and error as well as the preparation along the way, Its really beyond my expectation how there were so many people that helped me out and through their help, it seems like the stage became a meaningful & deep one It feels like i gained another ability.

댕꾸 ◡̈

25,617 görüntüleme • 7 ay önce

Ukraine has its "cards"—and that is the result of the work of our military, industry, and experts, said Zelenskyy. Further statements by the Ukrainian president: The cooperation between Russia and Iran in the production of drones poses a serious threat to many countries. It could lead to a global conflict. The world is not ready for a possible Third World War. Just look at Russia, where 10,000 North Korean soldiers are already stationed on Russian territory. Yes, they are there now, but they could come to Ukraine. The same applies to Iran—Russia could send troops. Is the world ready for such an alliance? No. The Kremlin is actively investing in disinformation because it works. It is one of the tools used to exert influence on other parties. This requires a lot of money, and Russia has it. Today, I feel primarily like a president. I feel primarily a sense of responsibility. That is why I feel like a president. But after this work, I will feel more like a father. More like a father.
1:11

Ukraine has its "cards"—and that is the result of the work of our military, industry, and experts, said Zelenskyy. Further statements by the Ukrainian president: The cooperation between Russia and Iran in the production of drones poses a serious threat to many countries. It could lead to a global conflict. The world is not ready for a possible Third World War. Just look at Russia, where 10,000 North Korean soldiers are already stationed on Russian territory. Yes, they are there now, but they could come to Ukraine. The same applies to Iran—Russia could send troops. Is the world ready for such an alliance? No. The Kremlin is actively investing in disinformation because it works. It is one of the tools used to exert influence on other parties. This requires a lot of money, and Russia has it. Today, I feel primarily like a president. I feel primarily a sense of responsibility. That is why I feel like a president. But after this work, I will feel more like a father. More like a father.

Jürgen Nauditt 🇩🇪🇺🇦

13,618 görüntüleme • 5 ay önce

When I am at the gym and I see somebody’s water bottle there or a towel or something. I know they just stepped away for a moment and that the machine is occupied. Out of respect I won’t move it out of the way only for them to come back and have to explain themselves anyways. This young lady on the machine left her water bottle on it because she stepped away for a moment to use the restroom only for somebody else to come by and try to use it in her place. Would you have understood the etiquette or is it just a free for all? When I first started working out I was unfamiliar with the gym etiquette. Some people just got done with a hard set and need to stand up and walk for a few moneys or get a drink of water and they use it as their rest period so that they can go back at it. Interrupting that process is the same thing as booting them off the machine mid workout. It’s rude and uncalled for but why does it keep happening? I think what it is, is that some people are very judgmental, they see others and think that they are more serious about working out than the other person so that to them it means they are entitled to use it first because their workouts are more important. I used to let them do that to me but no more. I treat it as first come first serve, if they don’t want to wait then maybe they need to avoid the gym during peak hours. This is the very reason I work out in the middle of the night most of the time. I rather not be bothered and if I need to take my time I can, most of the time nobody else is even there anyways when I go.
0:58

When I am at the gym and I see somebody’s water bottle there or a towel or something. I know they just stepped away for a moment and that the machine is occupied. Out of respect I won’t move it out of the way only for them to come back and have to explain themselves anyways. This young lady on the machine left her water bottle on it because she stepped away for a moment to use the restroom only for somebody else to come by and try to use it in her place. Would you have understood the etiquette or is it just a free for all? When I first started working out I was unfamiliar with the gym etiquette. Some people just got done with a hard set and need to stand up and walk for a few moneys or get a drink of water and they use it as their rest period so that they can go back at it. Interrupting that process is the same thing as booting them off the machine mid workout. It’s rude and uncalled for but why does it keep happening? I think what it is, is that some people are very judgmental, they see others and think that they are more serious about working out than the other person so that to them it means they are entitled to use it first because their workouts are more important. I used to let them do that to me but no more. I treat it as first come first serve, if they don’t want to wait then maybe they need to avoid the gym during peak hours. This is the very reason I work out in the middle of the night most of the time. I rather not be bothered and if I need to take my time I can, most of the time nobody else is even there anyways when I go.

SonnyBoy🇺🇸

176,262 görüntüleme • 21 gün önce