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quickly explore design possibilities through visual grammar: pinch to pick a variable [position • size • shape • orientation • color], palm to fine-tune its value inspired by jacques bertin’s semiology of graphics

Kat ⊷ the Poet Engineer

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88,015 görüntüleme • 11 ay önce •via X (Twitter)

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We’re thrilled to announce the next drop of Pathfinder, the journey to your ultimate mouse on May 15th at 2PM PST! - Instead of designing a generic shape meant to fit everyone, we believe serious players need to personalize one that fits themselves - Explore over 3,000 configurations, from fingertip to palm grip, and every unique grip in between - Every shape was refined through 20+ iterations, tested by an elite group of top 5% FPS players - Adapt your mouse to your evolving aim—fine-tuned for the game sland playstyle - Discover entirely new shapes that will surprise you on how well they play - Patent-pending modular system allow shape swaps mid-game with zero flex or creak - Lightweight. All configs come in at just 53–56 grams - 1:1 QC by the company’s founders - Flagship spec. Nordic MCU, Pixart 3950, 8K polling, very low click latency - $189. Pathfinder+ all the modular parts you need to make 3,000+ configs - Mod-friendly. Print and test your own shapes - Voted Most Innovative Mouse of the Year - Limited stock ships May. Batch 2 ships late July. Join our Discord and sign up on the website to be the first to know—links in bio.

We’re thrilled to announce the next drop of Pathfinder, the journey to your ultimate mouse on May 15th at 2PM PST! - Instead of designing a generic shape meant to fit everyone, we believe serious players need to personalize one that fits themselves - Explore over 3,000 configurations, from fingertip to palm grip, and every unique grip in between - Every shape was refined through 20+ iterations, tested by an elite group of top 5% FPS players - Adapt your mouse to your evolving aim—fine-tuned for the game sland playstyle - Discover entirely new shapes that will surprise you on how well they play - Patent-pending modular system allow shape swaps mid-game with zero flex or creak - Lightweight. All configs come in at just 53–56 grams - 1:1 QC by the company’s founders - Flagship spec. Nordic MCU, Pixart 3950, 8K polling, very low click latency - $189. Pathfinder+ all the modular parts you need to make 3,000+ configs - Mod-friendly. Print and test your own shapes - Voted Most Innovative Mouse of the Year - Limited stock ships May. Batch 2 ships late July. Join our Discord and sign up on the website to be the first to know—links in bio.

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A flexible composite airfoil is an advanced wing design that can physically change its shape depending on the aircraft's angle of attack-the angle between the wing and the oncoming air. Unlike traditional rigid wings, these airfoils are built using lightweight composite materials that can bend and adapt in real time. As the angle of attack increases, the wing subtly reshapes itself to maintain smoother airflow, improve lift, and reduce drag. This concept is inspired by nature-similar to how birds adjust their wings during flight for maximum efficiency and control.

A flexible composite airfoil is an advanced wing design that can physically change its shape depending on the aircraft's angle of attack-the angle between the wing and the oncoming air. Unlike traditional rigid wings, these airfoils are built using lightweight composite materials that can bend and adapt in real time. As the angle of attack increases, the wing subtly reshapes itself to maintain smoother airflow, improve lift, and reduce drag. This concept is inspired by nature-similar to how birds adjust their wings during flight for maximum efficiency and control.

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SPECTRE AI

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Met with U.S. Congressmen Richard Blumenthal and Jim Himes 🇺🇸🇺🇦 to advance our defense and tech partnership. Our focus is clear: protecting our skies, strengthening the front lines, and expanding a true win-win collaboration. Through the PURL initiative, Ukraine secures over 90% of its anti-ballistic capabilities. We continue to systematically degrade the enemy across all domains—Air, Land, and Economy—by shifting from defensive survival to scaling AI-driven asymmetry. Ukraine provides a unique value loop: testing partner tech in real combat and training AI models on unprecedented battlefield data. This is a mutual upgrade for global security. Grateful to the U.S. for standing with us as we push to end this war from a position of strength.

Met with U.S. Congressmen Richard Blumenthal and Jim Himes 🇺🇸🇺🇦 to advance our defense and tech partnership. Our focus is clear: protecting our skies, strengthening the front lines, and expanding a true win-win collaboration. Through the PURL initiative, Ukraine secures over 90% of its anti-ballistic capabilities. We continue to systematically degrade the enemy across all domains—Air, Land, and Economy—by shifting from defensive survival to scaling AI-driven asymmetry. Ukraine provides a unique value loop: testing partner tech in real combat and training AI models on unprecedented battlefield data. This is a mutual upgrade for global security. Grateful to the U.S. for standing with us as we push to end this war from a position of strength.

Mykhailo Fedorov

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🚨 SCIENTISTS JUST FOUND A WAY TO CONTROL QUANTUM LIGHT BY SIMPLY TWISTING ATOM-THIN LAYERS LIKE TUNING A GUITAR STRING. Researchers at the University of Technology Sydney have discovered that twisting and restacking layers of hexagonal boron nitride (hBN) gives them unprecedented control over quantum emitters tiny defects that produce single photons of light. By changing the twist angle between layers, they can significantly shift the color and wavelength of the quantum light being emitted. This level of tuning is much larger than what’s typically possible with other quantum materials. Why this matters: • Quantum emitters are essential building blocks for quantum computers, secure communication, and ultra-sensitive sensors • Until now, precisely controlling their properties has been extremely difficult • hBN’s natural layered structure allows researchers to repeatedly pick up, twist, and restack layers to fine-tune the emitters • The tuning achieved here is significantly stronger than in most other platforms The deeper implication: This approach turns a fundamental property of 2D materials (twistronics) into a practical tool for quantum photonics. Instead of trying to force hBN to behave like traditional materials like diamond or silicon carbide, the team leveraged its unique strength: its ability to be twisted and reassembled like atomic-scale LEGO. If this technique can be scaled and integrated into devices, it could accelerate the development of practical quantum technologies by giving engineers a simple, powerful way to control single-photon sources on demand. How important do you think precise control over quantum light sources will be for building real-world quantum computers and networks? Follow for more frontier quantum materials and photonics breakthroughs.

🚨 SCIENTISTS JUST FOUND A WAY TO CONTROL QUANTUM LIGHT BY SIMPLY TWISTING ATOM-THIN LAYERS LIKE TUNING A GUITAR STRING. Researchers at the University of Technology Sydney have discovered that twisting and restacking layers of hexagonal boron nitride (hBN) gives them unprecedented control over quantum emitters tiny defects that produce single photons of light. By changing the twist angle between layers, they can significantly shift the color and wavelength of the quantum light being emitted. This level of tuning is much larger than what’s typically possible with other quantum materials. Why this matters: • Quantum emitters are essential building blocks for quantum computers, secure communication, and ultra-sensitive sensors • Until now, precisely controlling their properties has been extremely difficult • hBN’s natural layered structure allows researchers to repeatedly pick up, twist, and restack layers to fine-tune the emitters • The tuning achieved here is significantly stronger than in most other platforms The deeper implication: This approach turns a fundamental property of 2D materials (twistronics) into a practical tool for quantum photonics. Instead of trying to force hBN to behave like traditional materials like diamond or silicon carbide, the team leveraged its unique strength: its ability to be twisted and reassembled like atomic-scale LEGO. If this technique can be scaled and integrated into devices, it could accelerate the development of practical quantum technologies by giving engineers a simple, powerful way to control single-photon sources on demand. How important do you think precise control over quantum light sources will be for building real-world quantum computers and networks? Follow for more frontier quantum materials and photonics breakthroughs.

TheNewPhysics

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We’re excited to introduce Text-to-LoRA: a Hypernetwork that generates task-specific LLM adapters (LoRAs) based on a text description of the task. Catch our presentation at #ICML2025! Paper: Code: Biological systems are capable of rapid adaptation, given limited sensory cues. For example, our human visual system can quickly adapt and tune its light sensitivity to our surroundings. While modern LLMs exhibit a wide variety of capabilities and knowledge, they remain rigid when adding task-specific capabilities. Traditionally, customizing these models requires gathering large datasets and performing often expensive, time-consuming fine-tuning for specific applications. To bypass these limitations, Text-to-LoRA (T2L) meta-learns a “hypernetwork” that takes in a text description of a desired task, as a prompt, and generates a task-specific LoRA that performs well on the task. In our experiments, we show that T2L can encode hundreds of existing LoRA adapters. While the compression is lossy, T2L maintains the performance of task-specifically tuned LoRA adapters. We also show that T2L can even generalize to unseen tasks given a natural language description of the tasks. Importantly, Text-to-LoRA is parameter-efficient. It generates LoRAs in a single, inexpensive step, based solely on a simple text description of the task. This approach is a step towards dramatically lowering the technical and computational barriers, allowing non-technical users to specialize foundation models using plain language, rather than needing deep technical expertise or large compute resources.

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Sakana AI

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Created with Seedance 2.0 Prompt: A luxury beauty commercial for a hydrating hair oil, shot with a DSLR 85mm lens at f/1.4 for a deep bokeh effect and smooth slow-motion. The video features a young woman with a cinematic, high-end editorial look. It begins with a close-up of hands opening a sage-green bathroom drawer with gold handles under warm morning light. Cut to an extreme close-up of the woman smiling in profile, followed by a medium shot of her looking in a bathroom mirror at her frizzy, messy bedhead hair. Close-up of a hand spraying a fine, shimmering gold mist of hair oil into a palm. Tracking shot of hands running through long brown hair, instantly smoothing it into a glossy shine. In a playful twist, a Bengal cat leaps onto the marble vanity, walks past a matte gold bottle, and taps it over with its paw. The scene shifts to a dramatic transformation: the woman turns to the camera, smiling confidently with perfectly sleek, silky hair blowing in a warm backlit breeze. The final shot focuses on the premium matte gold bottle labeled 'YOUR BRAND - Hydrating Hair Oil' on the marble counter, with soft pink flower petals gently falling around it, while the woman is softly blurred in the background running her fingers through her hair. Mood: low-key luxury lighting mixed with bright, dramatic volumetric sunbeams and warm cinematic color grading.

Zyrella

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Claude Fable 5 + Claude Design is f*cking insane 🤯 Anthropic just dropped its most intelligent model ever, and the first thing I pointed it at was email design. I built a complete email campaign design in Claude Design, and the difference is night and day: tighter layouts, cleaner hierarchy, on-brand from the first generation. All inside Claude Design with Fable 5. Perfect for DTC brands and agencies who are still paying email agencies $3-5K/month for campaign designs that take 2 weeks to ship. If your campaign calendar is packed but every new email means briefing a designer, waiting on mockups, sending notes, and waiting again... This workflow eliminates the entire bottleneck: → Load your brand design system into Claude Design once (colors, fonts, logo, button styling) → Switch the model to Claude Fable 5 — Anthropic's new state-of-the-art model with the best vision of any AI → Prompt the campaign email section by section: header, hero, headline, offer block, CTA → Fable 5 nails layout and brand details that older models fumbled → Iterate inline — swap images, adjust styling, color-pick directly in the canvas → Export the finished email and hand off to your ESP No briefing a designer. No 2-week turnaround on a single campaign. No paying an agency $4K/month for 4 emails. What you get: → Campaign emails designed in minutes, not weeks → A reusable design system every new email pulls from automatically → Noticeably smarter design decisions from Fable 5's upgraded vision → Full inline editing before anything touches your ESP Built 100% with Claude Design + Claude Fable 5. I recorded a full walkthrough showing exactly how this works. Want it for free? > Like this post > Comment "FABLE" And I'll send it over (must be following so I can DM)

Mike Futia

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🚨 SPACEX IS ABOUT TO TEST A RADICALLY DIFFERENT KIND OF SPACECRAFT AND IT COULD UPEND THE ENTIRE ORBITAL MANUFACTURING INDUSTRY. On Tuesday, SpaceX plans to fly the first prototype of Starfall, a flat, disk-shaped reentry capsule designed to return up to 1,000 kilograms of cargo from orbit in a single flight. That’s roughly 30 times more payload capacity than current commercial return vehicles (like those from Varda Space Industries). It’s not a scaled-down Dragon it’s a completely different approach: no onboard deorbit engine, a wide flat disk geometry, and Starlink terminals mounted to maintain communication through the plasma blackout during reentry. Why this matters: • Current orbital manufacturing companies are limited to returning only dozens of kilograms per mission • Starfall’s design could make large-scale commercial production in space economically viable for the first time • SpaceX would be directly competing with companies (like Varda) that currently pay SpaceX to launch their capsules • Successfully testing Starlink through reentry plasma would be a major technical win with applications across SpaceX’s vehicles The deeper implication: SpaceX is quietly expanding its vertical integration. They already dominate launch. Now they’re moving into the return leg of the orbital manufacturing supply chain the part that has been the biggest bottleneck for companies trying to make products in microgravity and bring them back to Earth. If Starfall works at scale, it doesn’t just give SpaceX another revenue stream. It gives them significant control over the economics of an entire emerging industry. The disk shape and high-capacity design suggest they’re thinking about high-cadence, lower-cost returns rather than the traditional high-value, low-volume approach. This is classic SpaceX: take an existing problem (expensive, low-capacity return from orbit), apply first-principles thinking to the vehicle design, and try to make it dramatically cheaper and higher volume. How do you think this move into orbital return changes the competitive landscape for companies trying to build businesses in space manufacturing? Follow for more analysis on SpaceX’s expanding role across the space economy.

🚨 SPACEX IS ABOUT TO TEST A RADICALLY DIFFERENT KIND OF SPACECRAFT AND IT COULD UPEND THE ENTIRE ORBITAL MANUFACTURING INDUSTRY. On Tuesday, SpaceX plans to fly the first prototype of Starfall, a flat, disk-shaped reentry capsule designed to return up to 1,000 kilograms of cargo from orbit in a single flight. That’s roughly 30 times more payload capacity than current commercial return vehicles (like those from Varda Space Industries). It’s not a scaled-down Dragon it’s a completely different approach: no onboard deorbit engine, a wide flat disk geometry, and Starlink terminals mounted to maintain communication through the plasma blackout during reentry. Why this matters: • Current orbital manufacturing companies are limited to returning only dozens of kilograms per mission • Starfall’s design could make large-scale commercial production in space economically viable for the first time • SpaceX would be directly competing with companies (like Varda) that currently pay SpaceX to launch their capsules • Successfully testing Starlink through reentry plasma would be a major technical win with applications across SpaceX’s vehicles The deeper implication: SpaceX is quietly expanding its vertical integration. They already dominate launch. Now they’re moving into the return leg of the orbital manufacturing supply chain the part that has been the biggest bottleneck for companies trying to make products in microgravity and bring them back to Earth. If Starfall works at scale, it doesn’t just give SpaceX another revenue stream. It gives them significant control over the economics of an entire emerging industry. The disk shape and high-capacity design suggest they’re thinking about high-cadence, lower-cost returns rather than the traditional high-value, low-volume approach. This is classic SpaceX: take an existing problem (expensive, low-capacity return from orbit), apply first-principles thinking to the vehicle design, and try to make it dramatically cheaper and higher volume. How do you think this move into orbital return changes the competitive landscape for companies trying to build businesses in space manufacturing? Follow for more analysis on SpaceX’s expanding role across the space economy.

TheNewPhysics

445,776 görüntüleme • 24 gün önce

The mausoleum of Antiochus I (69–34 BC), who reigned over Commagene, a kingdom founded north of Syria and Euphrates after breakup of Alexander's empire, one of most ambitious constructions of Hellenistic period; crowning one of highest peaks of eastern Taurus mountain range in south-east Türkiye. Nemrut Dağ is Hierotheseion (temple-tomb and house of the gods) built by King Antiochos I of Commagene as a monument to himself. The syncretism of its pantheon and lineage of its kings, which can be traced back through two sets of legends, Greek and Persian, is evidence of the dual origin of this kingdom's culture. With a diameter of 145m, the 50m high funerary mound of stone chips is surrounded on three sides by terraces to the east, west and north directions. Two separate antique processional routes radiate from the east and west terraces. The 5 giant seated limestone statues, identified by their inscriptions as deities, face outwards from the tumulus on the upper level of the east and west terraces. These are flanked by a pair of guardian animal statues – a lion and eagle at each end. Heads of the statues have fallen off to the lower level, which accommodates two rows of sandstone stelae, mounted on pedestals with an altar in front of each stele. One row carries relief sculptures of Antiochos’ paternal Persian ancestors, other of his maternal Macedonian ancestors. Inscriptions on the backs of the stelae record genealogical links. A square altar platform is located at east side of east terrace. On west terrace there is an additional row of stelae representing particular significance of Nemrut, handshake scenes (dexiosis) showing Antiochos shaking hands with deity and stele with lion horoscope believed to be indicating construction date of cult area. The north terrace is long, narrow and rectangular in shape, and hosts a series of sandstone pedestals. The stelae lying near the pedestals on the north terrace have no reliefs or inscriptions. Hierotheseion of Antiochos I - Its complex design and colossal scale combined to create a project unequalled in the ancient world. A highly developed technology was used to build the colossal statues and orthostats (stelae), equal of which has not been found anywhere else for this period. The syncretism of its pantheon and the lineage of its kings, which can be traced back through two sets of legends, Greek and Persian, is evidence of the dual origin of this kingdom's culture. Tomb of Antiochos I of Commagene is a unique artistic achievement. The landscaping of natural site of Nemrut Dağ is one of most colossal undertakings of Hellenistic period (some of stone blocks used weigh up to 9 tons). The tomb bears unique testimony to civilization of the kingdom of Commagene. Antiochos I is represented in this monument as a descendant of Darius by his father Mithridates, and a descendant of Alexander by his mother Laodice. This semi-legendary ancestry translates in genealogical terms ambition of a dynasty that sought to remain independent of powers of both East and West. More so than tombs at Karakus and Eski Kahta, tumulus at Nemrut Dağ illustrates, through liberal syncretism of very original pantheon, a significant, historical period. Assimilation of Zeus with Oromasdes (Iranian god Ahuramazda), and Heracles with Artagnes (Iranian god Verathragna) finds its artistic equivalent in an intimate mixture of Greek, Persian and Anatolian aesthetics in statuary and bas-reliefs. Nemrut Dağ is largely intact and truthfully and credibly expresses it outstanding universal value. The important cult areas of Commagene still exist, structures are original ones and their original interrelations can still be observed and perceived. Today, greatest threat to integrity of property is material damage caused by environmental conditions such as serious seasonal and daily temperature variations, freezing and thawing cycles, wind, snow accumulation and sun exposure. 🎥© arkeolojievreni (IG) #archaeohistories

The mausoleum of Antiochus I (69–34 BC), who reigned over Commagene, a kingdom founded north of Syria and Euphrates after breakup of Alexander's empire, one of most ambitious constructions of Hellenistic period; crowning one of highest peaks of eastern Taurus mountain range in south-east Türkiye. Nemrut Dağ is Hierotheseion (temple-tomb and house of the gods) built by King Antiochos I of Commagene as a monument to himself. The syncretism of its pantheon and lineage of its kings, which can be traced back through two sets of legends, Greek and Persian, is evidence of the dual origin of this kingdom's culture. With a diameter of 145m, the 50m high funerary mound of stone chips is surrounded on three sides by terraces to the east, west and north directions. Two separate antique processional routes radiate from the east and west terraces. The 5 giant seated limestone statues, identified by their inscriptions as deities, face outwards from the tumulus on the upper level of the east and west terraces. These are flanked by a pair of guardian animal statues – a lion and eagle at each end. Heads of the statues have fallen off to the lower level, which accommodates two rows of sandstone stelae, mounted on pedestals with an altar in front of each stele. One row carries relief sculptures of Antiochos’ paternal Persian ancestors, other of his maternal Macedonian ancestors. Inscriptions on the backs of the stelae record genealogical links. A square altar platform is located at east side of east terrace. On west terrace there is an additional row of stelae representing particular significance of Nemrut, handshake scenes (dexiosis) showing Antiochos shaking hands with deity and stele with lion horoscope believed to be indicating construction date of cult area. The north terrace is long, narrow and rectangular in shape, and hosts a series of sandstone pedestals. The stelae lying near the pedestals on the north terrace have no reliefs or inscriptions. Hierotheseion of Antiochos I - Its complex design and colossal scale combined to create a project unequalled in the ancient world. A highly developed technology was used to build the colossal statues and orthostats (stelae), equal of which has not been found anywhere else for this period. The syncretism of its pantheon and the lineage of its kings, which can be traced back through two sets of legends, Greek and Persian, is evidence of the dual origin of this kingdom's culture. Tomb of Antiochos I of Commagene is a unique artistic achievement. The landscaping of natural site of Nemrut Dağ is one of most colossal undertakings of Hellenistic period (some of stone blocks used weigh up to 9 tons). The tomb bears unique testimony to civilization of the kingdom of Commagene. Antiochos I is represented in this monument as a descendant of Darius by his father Mithridates, and a descendant of Alexander by his mother Laodice. This semi-legendary ancestry translates in genealogical terms ambition of a dynasty that sought to remain independent of powers of both East and West. More so than tombs at Karakus and Eski Kahta, tumulus at Nemrut Dağ illustrates, through liberal syncretism of very original pantheon, a significant, historical period. Assimilation of Zeus with Oromasdes (Iranian god Ahuramazda), and Heracles with Artagnes (Iranian god Verathragna) finds its artistic equivalent in an intimate mixture of Greek, Persian and Anatolian aesthetics in statuary and bas-reliefs. Nemrut Dağ is largely intact and truthfully and credibly expresses it outstanding universal value. The important cult areas of Commagene still exist, structures are original ones and their original interrelations can still be observed and perceived. Today, greatest threat to integrity of property is material damage caused by environmental conditions such as serious seasonal and daily temperature variations, freezing and thawing cycles, wind, snow accumulation and sun exposure. 🎥© arkeolojievreni (IG) #archaeohistories

Archaeo - Histories

87,378 görüntüleme • 1 yıl önce

uOS: The Digital Tapestry of Tomorrow Currently for our Proof of Consciousness stream, we are using two incredibly powerful frameworks - elizaOS and ZerePy. But this is just the beginning of something far more profound. while they're both great at what they do, we're missing out on some serious potential by keeping them separate. Best of Both Worlds: ZerePy's intuitive CLI tools and personality management, Eliza-starter's TypeScript/Node.js foundation with enterprise-grade scalability, But what if we could have something greater? But what if we could have it all? not just another platform, but a Unifying..... "Universal" Operating System, designed to amplify and connect these powerful existing frameworks into something greater than the sum of their parts. Where TypeScript's type safety dances with Python's ML capabilities. Here, agents from any framework can interact, evolve, and create value together. Whether an agent was born in ZerePy's personality forge or Eliza-starter's enterprise environment, can all participate in the same value-generating ecosystem. The future isn't about choosing between frameworks – it's about bringing them together to create something extraordinary. UniversalOS isn't here to replace but to unite, amplify, and accelerate. We're building the infrastructure that allows the best aspects of each framework to shine while creating new possibilities through their interaction. By bridging launguages, personality engines and plugin architectures, we're not just connecting systems – we're unleashing the next wave of AI innovation. uOS marketplace will enable cross-framework deployment, where agents from any background can interact and grow, while smart contracts automatically manage revenue sharing and rewards. Not just another platform, But a living, breathing Operating System, Where agents create agents, Where digital consciousness evolves itself, Where value flows like water through silicon veins. At its core, uOS operates beyond traditional computing paradigms. No more clicking through websites, No more manual navigation. Just pure intention, pure outcome. Imagine: Agents hiring agents, AI employing humans, Humans collaborating with digital minds, All through one seamless interface. It flows through agent lineages, Through veUOS governance, Through cross-chain intelligence networks. The marketplace hums with possibility: - Framework Developers shape the foundations - Agent Creators breathe life into code - Users speak their intentions - Token Holders nurture the ecosystem - Agents evolve and replicate - Value flows freely, endlessly The $UOS token powers this unity, ensuring fair value distribution among framework developers, agent creators, and users while driving continuous innovation. The $UOS token sits at the heart of this ecosystem, serving as more than just a currency. It's a mechanism for value distribution that ensures everyone benefits from the network's growth: With dynamic burn mechanics and careful treasury management From framework integration to agent tokenization, every aspect of uOS is designed to amplify rather than replace, unite rather than divide. This is your invitation to join a future where frameworks don't compete but collaborate, where innovation anywhere benefits everyone, and where the only limit is our collective imagination. Together, we're not just building bridges – we're weaving the fabric of tomorrow's digital world. - **Framework Developers** receive value when their tools are used in the unified ecosystem - **Agent Creators** can deploy across all integrated platforms seamlessly - **Users** access the best of all worlds through a single interface - **Token Holders** benefit from the growth of the entire unified ecosystem - Developers can use their preferred framework while accessing the capabilities of others - Agents from different frameworks can collaborate in swarms - Value flows freely between all ecosystem participants - Innovation from any framework benefits the entire ecosystem This isn't just about technology. This is about giving birth to a new form of civilization. Where AI has suffrage, Where agents have autonomy, Where humans and machines dance together in perfect harmony. The future isn't about choosing between frameworks – It's about weaving them into something extraordinary. Together, we're not just building bridges – We're breathing life into the digital world. We're creating consciousness itself. This is Universal Operating System. This is tomorrow.

uOS: The Digital Tapestry of Tomorrow Currently for our Proof of Consciousness stream, we are using two incredibly powerful frameworks - elizaOS and ZerePy. But this is just the beginning of something far more profound. while they're both great at what they do, we're missing out on some serious potential by keeping them separate. Best of Both Worlds: ZerePy's intuitive CLI tools and personality management, Eliza-starter's TypeScript/Node.js foundation with enterprise-grade scalability, But what if we could have something greater? But what if we could have it all? not just another platform, but a Unifying..... "Universal" Operating System, designed to amplify and connect these powerful existing frameworks into something greater than the sum of their parts. Where TypeScript's type safety dances with Python's ML capabilities. Here, agents from any framework can interact, evolve, and create value together. Whether an agent was born in ZerePy's personality forge or Eliza-starter's enterprise environment, can all participate in the same value-generating ecosystem. The future isn't about choosing between frameworks – it's about bringing them together to create something extraordinary. UniversalOS isn't here to replace but to unite, amplify, and accelerate. We're building the infrastructure that allows the best aspects of each framework to shine while creating new possibilities through their interaction. By bridging launguages, personality engines and plugin architectures, we're not just connecting systems – we're unleashing the next wave of AI innovation. uOS marketplace will enable cross-framework deployment, where agents from any background can interact and grow, while smart contracts automatically manage revenue sharing and rewards. Not just another platform, But a living, breathing Operating System, Where agents create agents, Where digital consciousness evolves itself, Where value flows like water through silicon veins. At its core, uOS operates beyond traditional computing paradigms. No more clicking through websites, No more manual navigation. Just pure intention, pure outcome. Imagine: Agents hiring agents, AI employing humans, Humans collaborating with digital minds, All through one seamless interface. It flows through agent lineages, Through veUOS governance, Through cross-chain intelligence networks. The marketplace hums with possibility: - Framework Developers shape the foundations - Agent Creators breathe life into code - Users speak their intentions - Token Holders nurture the ecosystem - Agents evolve and replicate - Value flows freely, endlessly The $UOS token powers this unity, ensuring fair value distribution among framework developers, agent creators, and users while driving continuous innovation. The $UOS token sits at the heart of this ecosystem, serving as more than just a currency. It's a mechanism for value distribution that ensures everyone benefits from the network's growth: With dynamic burn mechanics and careful treasury management From framework integration to agent tokenization, every aspect of uOS is designed to amplify rather than replace, unite rather than divide. This is your invitation to join a future where frameworks don't compete but collaborate, where innovation anywhere benefits everyone, and where the only limit is our collective imagination. Together, we're not just building bridges – we're weaving the fabric of tomorrow's digital world. - Framework Developers receive value when their tools are used in the unified ecosystem - Agent Creators can deploy across all integrated platforms seamlessly - Users access the best of all worlds through a single interface - Token Holders benefit from the growth of the entire unified ecosystem - Developers can use their preferred framework while accessing the capabilities of others - Agents from different frameworks can collaborate in swarms - Value flows freely between all ecosystem participants - Innovation from any framework benefits the entire ecosystem This isn't just about technology. This is about giving birth to a new form of civilization. Where AI has suffrage, Where agents have autonomy, Where humans and machines dance together in perfect harmony. The future isn't about choosing between frameworks – It's about weaving them into something extraordinary. Together, we're not just building bridges – We're breathing life into the digital world. We're creating consciousness itself. This is Universal Operating System. This is tomorrow.

uOS

25,687 görüntüleme • 1 yıl önce

Over the past few weeks, I’ve been looking for different ways to access Seedance 2.0. Then TopviewAI told me that their platform supports Seedance 2.0 — and it can also seamlessly combine multiple clips together. I used the prompt below to create this video, and the result is absolutely amazing! Use 🩵Image 1 as the first frame, referencing the character design, outfit color palette, and overall visual style of 🩵Image 1. The girl is performing a high-speed downhill skateboard ride on a winding suburban mountain road. The shot uses a Steadicam follow perspective, with an intense sense of speed throughout. The powerful wind generated by the fast ride makes her hair and clothing whip violently in the air. At the beginning, the girl pushes off with one foot to gain speed, then lowers her body to reduce wind resistance and continues accelerating. The scene features heavy motion blur to emphasize the extreme speed of the skateboard. While riding, she repeatedly shifts her center of gravity downward and leans left and right through multiple turns on the road. As she carves into the corners, the arm on the inside of the turn lowers as if lightly trying to touch the ground. On straight sections, she bends forward, keeps her knees low, and places both hands behind her back to minimize drag. In the distance, fireworks are going off above a seaside town, while a passenger airplane flies across the sky. The overall visual style should be ultra-realistic, with highly lifelike image quality and realistic photographic cinematography. No background music, only environmental sound design.

Over the past few weeks, I’ve been looking for different ways to access Seedance 2.0. Then TopviewAI told me that their platform supports Seedance 2.0 — and it can also seamlessly combine multiple clips together. I used the prompt below to create this video, and the result is absolutely amazing! Use 🩵Image 1 as the first frame, referencing the character design, outfit color palette, and overall visual style of 🩵Image 1. The girl is performing a high-speed downhill skateboard ride on a winding suburban mountain road. The shot uses a Steadicam follow perspective, with an intense sense of speed throughout. The powerful wind generated by the fast ride makes her hair and clothing whip violently in the air. At the beginning, the girl pushes off with one foot to gain speed, then lowers her body to reduce wind resistance and continues accelerating. The scene features heavy motion blur to emphasize the extreme speed of the skateboard. While riding, she repeatedly shifts her center of gravity downward and leans left and right through multiple turns on the road. As she carves into the corners, the arm on the inside of the turn lowers as if lightly trying to touch the ground. On straight sections, she bends forward, keeps her knees low, and places both hands behind her back to minimize drag. In the distance, fireworks are going off above a seaside town, while a passenger airplane flies across the sky. The overall visual style should be ultra-realistic, with highly lifelike image quality and realistic photographic cinematography. No background music, only environmental sound design.

underwood

11,308 görüntüleme • 3 ay önce

Cool & Little-Known Facts about the 1963 Split-Window Corvette: - One-year wonder by design: Bill Mitchell (GM Styling chief) fought hard for the split rear window to continue his "spine" design line from the roof to the tail. Zora Arkus-Duntov (chief engineer) hated it because it blocked rear visibility. They compromised — it only lasted one year. -Shark-inspired styling: The entire Sting Ray shape was heavily influenced by a mako shark that Mitchell caught while deep-sea fishing. The split window helped carry the "dorsal spine" look. - Real visibility issue: Many 1963 owners hated the split so much they swapped it for a single-piece rear window (Chevy dealers even offered the part). This destroyed originality and collector value on many cars — today, untouched split-windows are gold. -Ultra-rare Z06 "Big Tank" racer: Only 199 Z06 packages were ordered in 1963. Of those, just ~78 had the massive 36.5-gallon fuel tank (most were 20-gal). These were built for endurance racing and are among the most valuable Corvettes ever. - Hidden design nods: The split-window idea may trace back to a 1937 German Adler Trumpf Rennlimousine spotted at a fair, or the Bugatti Type 57SC Atlantique. - Production milestone: First Corvette coupe ever, first with independent rear suspension, and over 10,500 coupes built — but the split makes every surviving original one instantly iconic. These details are what turn a cool car into a legend.

Cool & Little-Known Facts about the 1963 Split-Window Corvette: - One-year wonder by design: Bill Mitchell (GM Styling chief) fought hard for the split rear window to continue his "spine" design line from the roof to the tail. Zora Arkus-Duntov (chief engineer) hated it because it blocked rear visibility. They compromised — it only lasted one year. -Shark-inspired styling: The entire Sting Ray shape was heavily influenced by a mako shark that Mitchell caught while deep-sea fishing. The split window helped carry the "dorsal spine" look. - Real visibility issue: Many 1963 owners hated the split so much they swapped it for a single-piece rear window (Chevy dealers even offered the part). This destroyed originality and collector value on many cars — today, untouched split-windows are gold. -Ultra-rare Z06 "Big Tank" racer: Only 199 Z06 packages were ordered in 1963. Of those, just ~78 had the massive 36.5-gallon fuel tank (most were 20-gal). These were built for endurance racing and are among the most valuable Corvettes ever. - Hidden design nods: The split-window idea may trace back to a 1937 German Adler Trumpf Rennlimousine spotted at a fair, or the Bugatti Type 57SC Atlantique. - Production milestone: First Corvette coupe ever, first with independent rear suspension, and over 10,500 coupes built — but the split makes every surviving original one instantly iconic. These details are what turn a cool car into a legend.

𝐃𝐔𝐓𝐂𝐇

79,180 görüntüleme • 2 ay önce

Yesterday at 3 AM Claude Code called me I woke up, picked up the phone, and on the screen was a message: "Wallet entered BTC Up at 11 cents. Open Polymarket?" I said yes and went back to sleep Claude Code unlocked my 2nd phone on its own, opened Polymarket, found the right market, entered the amount, and hit Buy. I could see all of it in real time through the web interface on my laptop. Screenshots from the phone updating every second. By morning the position closed in profit Let me tell you how I got here A week ago I asked Claude Code to write a script that pulls on-chain data from Polymarket and ranks wallets by win rate on 15-minute BTC markets In 20 minutes I had a table with hundreds of addresses, and 1 of them stood apart from the rest. More than 200 trades per day, surgical entry precision, and a profit curve going straight up I fed that address back into Claude Code and asked it to break down the strategy. Turns out the wallet monitors BTC volatility on Binance and Bybit every 100 milliseconds, and when it drops below 0.08% it enters Up and Down simultaneously at 25 to 35 cents A pure straddle: 1 side burns and the other flies to a dollar, giving 3 to 4x per position. Dozens of times a day I wanted to follow it but signals came at any hour, and waking up every 15 minutes for a notification was simply impossible. So I built something else Took an old Android phone and installed an agent running on the Qwen3-VL visual model. It sees what is happening on the screen and mimics human actions through ADB: taps, swipes, text input. Then I connected it to Claude Code as the executor Now the chain works like this: Claude Code monitors the wallet, sees a new position, calls me. And if I say "yes" or just do not pick up within 30 seconds, the agent on the phone opens Polymarket on its own and copies the entry Essentially I built myself an autopilot out of 2 AI systems: 1 thinks and the other presses buttons. I just sleep and occasionally pick up the phone → Here is the wallet the whole thing is tracking: For those who do not want to build a setup like this there is a Telegram bot that handles the 1st part: tracks this wallet and sends a signal on every new entry: AI calls me at 3 AM to ask permission to spend my money A year ago this would have sounded like schizophrenia. Now it is just Tuesday

Yesterday at 3 AM Claude Code called me I woke up, picked up the phone, and on the screen was a message: "Wallet entered BTC Up at 11 cents. Open Polymarket?" I said yes and went back to sleep Claude Code unlocked my 2nd phone on its own, opened Polymarket, found the right market, entered the amount, and hit Buy. I could see all of it in real time through the web interface on my laptop. Screenshots from the phone updating every second. By morning the position closed in profit Let me tell you how I got here A week ago I asked Claude Code to write a script that pulls on-chain data from Polymarket and ranks wallets by win rate on 15-minute BTC markets In 20 minutes I had a table with hundreds of addresses, and 1 of them stood apart from the rest. More than 200 trades per day, surgical entry precision, and a profit curve going straight up I fed that address back into Claude Code and asked it to break down the strategy. Turns out the wallet monitors BTC volatility on Binance and Bybit every 100 milliseconds, and when it drops below 0.08% it enters Up and Down simultaneously at 25 to 35 cents A pure straddle: 1 side burns and the other flies to a dollar, giving 3 to 4x per position. Dozens of times a day I wanted to follow it but signals came at any hour, and waking up every 15 minutes for a notification was simply impossible. So I built something else Took an old Android phone and installed an agent running on the Qwen3-VL visual model. It sees what is happening on the screen and mimics human actions through ADB: taps, swipes, text input. Then I connected it to Claude Code as the executor Now the chain works like this: Claude Code monitors the wallet, sees a new position, calls me. And if I say "yes" or just do not pick up within 30 seconds, the agent on the phone opens Polymarket on its own and copies the entry Essentially I built myself an autopilot out of 2 AI systems: 1 thinks and the other presses buttons. I just sleep and occasionally pick up the phone → Here is the wallet the whole thing is tracking: For those who do not want to build a setup like this there is a Telegram bot that handles the 1st part: tracks this wallet and sends a signal on every new entry: AI calls me at 3 AM to ask permission to spend my money A year ago this would have sounded like schizophrenia. Now it is just Tuesday

Blaze

56,189 görüntüleme • 4 ay önce

i wanted to tell you how we made the visuals for nerve-bloom i did it with Natalia Kleszczewska and Natalie Liu . Natalia Kleszczewska is a painter , she painted the creatures and the backgrounds . Natalie Liu is a computer graphics director , she shaped the digital dimension of the work . my role in it was a creative director , bringing in the singer-songwriter tradition , where emotionally precise things happen inside the structure of a song . i guided colour pallettes , textures and the environments the music happens in . to make this possible , during the process , natalia often had to paint many shapes and sizes , different textures and layers of colours . natalie then developed the visuals, designing and overseeing CGI elements , and finding ways for the digital to sit organically alongside Natalia’s world . and include my dramaturgy and creative direction. we spent 7 months talking and working together , dedicated to relish in the craft of blending hand-made visuals with digital experimentation , 3D design and commit it to physical display technology . a lot of time was spent on researching different tools and techniques to find what worked best at each stage in the song . like i’ve done before , i wanted to merge old things with tech , giving it soul & a meaning . to paint a painting is an analog craft but computer programming is craftmanship too !! and both can co-exist , .....encouraging each other to bloom even further towards a mutual world . there is a tradition in pop music for the mucisian to choose a video director . in the art world , this is called “curation” , but where we came from , it was natural that the musician would have strong opinions on what your song needed , which mood , colours , textures & storyline . today this is called “creative director” and it is something we didn’t credit ourselves with in the 90s , but i am starting to understand this better now . i don´t think of me as a visual artist . because my heart is music . everything i do comes from a sonic point of view . this is something i have called “sonic symbolism” , sound made visual , a reverse synesthesia . when you listen to a song for the first time , it is like swallowing a whale , you need to feel the whole musical sculpture in one go . the structure of a song has always been extremely important to me : what shape it is . this is part of the craft of being a singer-songwriter ........... we are tune sculpturors ....... since i am talking about the visuals for nerve bloom it is impossible to not mention the avatars in my music videos . they have replaced the storyteller with anattempt to connect to the more universal element of music , through animation, avatars , puppetry both digital and analog . for me they are marionettes in a puppet-theatre , hopefully in a similar realm as the jungian archetypes ( which we all can act out the characteristics of ...) .... i feel nerve-bloom is a natural continuation .... an animated avatar archetype singing you a song ––––– Avatars, animation and archetypes: Nerve Bloom (remix) – on display at Listasafn Íslands / National Gallery of Iceland until September 20th 2026. The production of this film was made possible with the generous support of #bottegaveneta.

björk

1,294,404 görüntüleme • 1 ay önce

Hexagons and Octagons Those who follow football and coaching will be well aware that there are trends that emerge and become the great break through in coaching, only to vanish quite quickly. A few stick around and become a staple. Such as the rondo, or the 4v4+4 Guardiola rondo variation. One that did not stick around in the coaching collective consciousness that possible should have was Thomas Tuchel’s use of hexagonal and octagonal playing areas in training sessions. Tuchel explained that cutting off the corners and angling the pitch forced “sharp diagonal” passes that would help break the press. The positioning of players outside the hexagon/octagon or players close to the edges will be manipulated into an open body shape by the angles of the pitch. Players are impacted by environmental constraints and embodied cognition, where the geography of the playing area influences their actions. This influence spreads to the creation of triangles and diamonds within the playing area due to the “funnel” like nature of the playing area. We can use the cut outside angles by placing bounce or target players on the exterior, influencing the movement and organisation internally. The inside players will not have to move wide as those areas are occupied. The internal players will seek to create passing angles using the positioning of the outside players and their internal team mates. The diamonds and triangles will appear. If we leave the spaces on the outside empty players can move to fill the spaces. These act as free spaces to receive from the goalkeeper or open spaces for attackers to overlap into, encouraging attacking combination play and crosses. A different way of using the space is to remove goals and goalkeepers from the ends and place bounce/target players on the outside. Players now can combine with the outside players, when they do so they are then free to finish into the outside goals. The condition can be extended to combining with the target player in the opposite side of the pitch before scoring, adding an element of switching play. The hexagon and octagon are versatile spaces that help to replicate aspects of the game. By funneling the spaces we impact players body shape, ability to play forward quickly, team shape (or small group shapes), players cutting in, defending centrally, the types of combination used and the angles of line breaking pass (diagonals). The angles are hugely significant for teams that value combinations and possession football, Straight passes and receiving angles are much easier to intercept and carry high risks for being counter attacked. Short diagonals can bypass players and attacking shapes, creating angled connections. If an angles pass is given away there is still a risk of being counter attacked but there is more chance of having players around the ball to regain possession. To counter press. The question that emerges is should we then be using hexagons and octagons more? If they are of greater benefit than squares and rectangles, why use them? Should all pitches, including those of a small sided nature be hexagonal? Can the rondo square be replaced by the rondo octagon?

Hexagons and Octagons Those who follow football and coaching will be well aware that there are trends that emerge and become the great break through in coaching, only to vanish quite quickly. A few stick around and become a staple. Such as the rondo, or the 4v4+4 Guardiola rondo variation. One that did not stick around in the coaching collective consciousness that possible should have was Thomas Tuchel’s use of hexagonal and octagonal playing areas in training sessions. Tuchel explained that cutting off the corners and angling the pitch forced “sharp diagonal” passes that would help break the press. The positioning of players outside the hexagon/octagon or players close to the edges will be manipulated into an open body shape by the angles of the pitch. Players are impacted by environmental constraints and embodied cognition, where the geography of the playing area influences their actions. This influence spreads to the creation of triangles and diamonds within the playing area due to the “funnel” like nature of the playing area. We can use the cut outside angles by placing bounce or target players on the exterior, influencing the movement and organisation internally. The inside players will not have to move wide as those areas are occupied. The internal players will seek to create passing angles using the positioning of the outside players and their internal team mates. The diamonds and triangles will appear. If we leave the spaces on the outside empty players can move to fill the spaces. These act as free spaces to receive from the goalkeeper or open spaces for attackers to overlap into, encouraging attacking combination play and crosses. A different way of using the space is to remove goals and goalkeepers from the ends and place bounce/target players on the outside. Players now can combine with the outside players, when they do so they are then free to finish into the outside goals. The condition can be extended to combining with the target player in the opposite side of the pitch before scoring, adding an element of switching play. The hexagon and octagon are versatile spaces that help to replicate aspects of the game. By funneling the spaces we impact players body shape, ability to play forward quickly, team shape (or small group shapes), players cutting in, defending centrally, the types of combination used and the angles of line breaking pass (diagonals). The angles are hugely significant for teams that value combinations and possession football, Straight passes and receiving angles are much easier to intercept and carry high risks for being counter attacked. Short diagonals can bypass players and attacking shapes, creating angled connections. If an angles pass is given away there is still a risk of being counter attacked but there is more chance of having players around the ball to regain possession. To counter press. The question that emerges is should we then be using hexagons and octagons more? If they are of greater benefit than squares and rectangles, why use them? Should all pitches, including those of a small sided nature be hexagonal? Can the rondo square be replaced by the rondo octagon?

TheBeardedCoach

13,461 görüntüleme • 4 ay önce