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🚫Reupload for December🚫 ✨Get a higher-quality version on my Patreon (check December)✨ 💸Commissioned by Hentai VR for their #NSFW #VR project 📽️Animation - Bewyx 🎤#Irelia Voice - ✦𝙿𝚒𝚡𝚒𝚎𝚆𝚒𝚕𝚕𝚘𝚠✦ | Voice Actress & Sound 🔊Audio – me #R34 #rule34 #hentai #3d #LeagueOfLegendsFanArt

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110,853 Aufrufe • vor 2 Jahren •via X (Twitter)

NSFW#NSFW#VR#Irelia#R34#rule34#hentai#3d#LeagueOfLegendsFanArt
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Why would anyone choose to defend Australia? The pattern is clear: 1. We send them to war with rules of engagement that make their work impossible. 2. We abandon them when they get back home with a dysfunctional DVA and a total lack of empathy for their PTSD. 3. We persecute the best among them with endless years of investigations, trial by media, and the never-ending threat of prosecution. 4. Our politicians have the gall to stand up on ANZAC day and speak of their courage in the face of the enemy, whilst being their enemies right here at home. Why would anyone fight for Australia? If you appreciate me being a voice of reason in a world gone mad then please support my work by buying me a coffee via Check out my books, DVDS, tee shirts, hoodies, caps, and stickers via the link above, and EVERYTHING you buy helps me to keep the Topher Project going.
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Why would anyone choose to defend Australia? The pattern is clear: 1. We send them to war with rules of engagement that make their work impossible. 2. We abandon them when they get back home with a dysfunctional DVA and a total lack of empathy for their PTSD. 3. We persecute the best among them with endless years of investigations, trial by media, and the never-ending threat of prosecution. 4. Our politicians have the gall to stand up on ANZAC day and speak of their courage in the face of the enemy, whilst being their enemies right here at home. Why would anyone fight for Australia? If you appreciate me being a voice of reason in a world gone mad then please support my work by buying me a coffee via Check out my books, DVDS, tee shirts, hoodies, caps, and stickers via the link above, and EVERYTHING you buy helps me to keep the Topher Project going.

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JOIN FASHION WITH THASORN #CELovesFashionxEmi ✨ #emiamily talking abt #ANY's newfound stardom 🎤: You like to sing? 🦊: Not only me! My daughter also sings! You can hire my daughter. Her voice might be a bit high-pitched, but you can hire her 😂 🎤: We heard that Any's new song is very famous. 🦊: My new song? 🎤: Any's, Any's. 🦊: Any's new song is sung by her wet nurse, but she's the one who wrote it. She has a talent for singing. 🎤: Your daughter is really famous now. 🦊: Now I'm singing her song every day. My name is Any~🎵 (gestures to the reporters to continue singing) 🦊: Can you sing it? 🦊🎤: I have a butterfly wings~ 🦊: Wow! 👏🏼👏🏼👏🏼 🦊: The song is an earworm. And she's very cute too. The mascots are very cute, all of them. 🎤: When you see your daughter, you greet her so cutely. 🦊: When I see her, I greet her in that voice, my higher pitched voice, like oooh ahhhhh Anyyyy~ 🎤: We saw on social media that your daughter is very famous on there. 🦊: I'm so happy. Thank you so much, everyone, for loving my daughter, bc she really is so cute. My friend recently watched a clip of her walking into the hall and she cried. It's like... "my grandchild 🥹" My friend cried. I also had tears in my eyes. I don't know why it pulled at our heartstrings so much, she's really like our daughter, our grandchild. 🎤: #POLCASAN also introduced your daughter so well. "My beautiful younger sister". 🦊: Yes, P'Sang has given so much support! He sang her song and now her song is super famous. Thank you to P'Sang. 🎤: Did you get to see the atmosphere of your daughter's latest event? 🦊: I watched it through lives. If there was a fan streaming it live, I watched it, bc I miss my daughter sooo much. When I have nothing to do, I just watch the kids on stage singing and dancing. It's a new kind of happiness. I think it's the same for everyone. It's like they've brought more happiness to our lives.
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many friends keep asking me which AI model is the best for lip sync or talking characters, so here’s my honest personal breakdown based on my experience using these tools. this is purely from my perspective, so feel free to agree, disagree, or add your own insight. seedance 1.5 pro Pros: Super clear voice, strong pronunciation, expressive facial movement. Cons: Still only outputs 720p, so even if your source image is 4K it gets compressed a lot. Kling 2.6 Pros: Image quality stays top tier, expressions feel soft and natural, skin texture looks extremely realistic. For talking characters with lots of motion, this is currently the best. Cons: Audio still has noise, doesn’t feel bold enough yet, and usually needs manual sound mixing to make it truly HD. Veo 3.1 Pros: HD quality, lip movement matches tone and timing really well, voice sounds powerful. Cons: Slightly stiff at times, and sometimes it auto-adds extra dialogue if your script is shorter than the video duration. WAN 2.6 Pros: Very natural expression and excellent language precision, especially Chinese. Voice clarity is impressive. Cons: Sound sometimes feels too “treble heavy,” like it’s pushed too hard, so it can feel a bit distorted. and yes I tested all of these inside If you’ve tried them too, I’d love to hear your experience✨

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Type a sentence, get any sound - from talking cats to singing saxophones. Brilliant release by NVIDIA ✨ NVIDIA just unveiled Fugatto, a groundbreaking 2.5B parameter audio AI model that can generate and transform any combination of music, voices, and sounds using text prompts and audio inputs Fugatto could ultimately allow developers and creators to bring sounds to life simply by inputting text prompts, → The model demonstrates unique capabilities like creating hybrid sounds (trumpet barking), changing accents/emotions in voices, and allowing fine-grained control over sound transitions - trained on millions of audio samples using 32 NVIDIA H100 GPUs 👨‍🔧 Architecture Built as a foundational generative transformer model leveraging NVIDIA's previous work in speech modeling and audio understanding. The training process involved creating a specialized blended dataset containing millions of audio samples → ComposableART's Innovation in Audio Control Introduces a novel technique allowing combination of instructions that were only seen separately during training. Users can blend different audio attributes and control their intensity → Temporal Interpolation Capabilities Enables generation of evolving soundscapes with precise control over transitions. Can create dynamic audio sequences like rainstorms fading into birdsong at dawn → Processes both text and audio inputs flexibly, enabling tasks like removing instruments from songs or modifying specific audio characteristics while preserving others → Shows capabilities beyond its training data, creating entirely new sound combinations through interaction between different trained abilities 🔍 Real-world Applications → Allows rapid prototyping of musical ideas, style experimentation, and real-time sound creation during studio sessions → Enables dynamic audio asset generation matching gameplay situations, reducing pre-recorded audio requirements → Can modify voice characteristics for language learning applications, allowing content delivery in familiar voices NVIDIA AI Developer

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1:00

CORNUCOPIA is now available to watch on demand on Apple Music Apple Music and AppleTV+ Apple TV !! Watch it here : i am so thrilled to share an hour excerpt of the Cornucopia concert film here with you online . the full version will be played later in theatres . this has been a long journey with hundreds of people helping out . i am so beyond enormously grateful to every single one of them . i feel the modern concert film is a matriarchially friendly construct , welcomed in the current climate . where female musicians can share their worlds uncorrupted . in cornucopia , i was joined by musical director and multi instrumentalist bergur þórisson , percussionist manu delago , flute septet Viibra , harpist katie buckley and the hamrahlid choir . i spent last decade working with 360-degree sound and visual software in virtual reality and animation, creating Biophilia and later Vulnicura as a VR album. i was deeply inspired by the idea of a fully-immersive experience spreading Utopia and Fossora into fully surround speakers. my intention was to bring what we had created for 21st-century VR into a 19th-century theatre - taking it from the headset to the stage. this vision was realised with 27 moving curtains that captured projections on different textures and LED screens, creating a digitally animated show : a "modern lanterna magica" for live music. i also wanted to feature bespoke instruments: a magnetic harp, an aluphone, a circular flute, and a reverb chamber, specially built with an audio architect to enhance the most intimate version of a performance—in a personal chapel. throughout this tale, there is a subplot woven in: a second story of an avatar—a modern marionette who alchemically mutates, from puppet to puppet, from the injury of a heart wound to a fully healed state. i hope you enjoy it. warmthness, björk

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CORNUCOPIA on Apple Music Apple Music and AppleTV+ Apple TV !! This Friday, 24th of January at 7pm PT. #AppleMusicLive i am so thrilled to share an hour excerpt of the Cornucopia concert film here with you online . the full version will be played later in theatres . this has been a long journey with hundreds of people helping out . i am so beyond enormously grateful to every single one of them . i feel the modern concert film is a matriarchially friendly construct , welcomed in the current climate . where female musicians can share their worlds uncorrupted . in cornucopia , i was joined by musical director and multi instrumentalist bergur þórisson , percussionist manu delago , flute septet Viibra , harpist katie buckley and the hamrahlid choir . i spent last decade working with 360-degree sound and visual software in virtual reality and animation, creating Biophilia and later Vulnicura as a VR album. i was deeply inspired by the idea of a fully-immersive experience spreading Utopia and Fossora into fully surround speakers. my intention was to bring what we had created for 21st-century VR into a 19th-century theatre - taking it from the headset to the stage. this vision was realised with 27 moving curtains that captured projections on different textures and LED screens, creating a digitally animated show : a "modern lanterna magica" for live music. i also wanted to feature bespoke instruments: a magnetic harp, an aluphone, a circular flute, and a reverb chamber, specially built with an audio architect to enhance the most intimate version of a performance—in a personal chapel. throughout this tale, there is a subplot woven in: a second story of an avatar—a modern marionette who alchemically mutates, from puppet to puppet, from the injury of a heart wound to a fully healed state. i hope you enjoy it. warmthness, björk

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@levelsio

706,902 Aufrufe • vor 3 Monaten

Voice AI turn taking is a solved problem. The single most common complaint about voice AI, today, is that agents interrupt too often. But the voice agents I build for myself now respond quickly and interrupt me less often than the people I talk to every day. (I actually measured this.) Mark Backman made a Pipecat AI PR two weeks ago that was the last piece of the puzzle for turn taking so good that I no longer ever think about it. The approach combines three layers of processing: 1. Voice activity detection, with a short (200ms) trigger. 2. A native audio turn detection model that's small, fast, and runs on CPU. This model captures audio nuances like inflection and filler sounds that don't get transcribed. 3. A prompt mixin for the conversation LLM that decides turn completion based on conversation context. None of these are new. We've been using VAD for a long time. We trained the first version of the Pipecat Smart Turn native audio model in December 2024. And we've been experimenting with prompt-based large model turn detection (sometimes called "selective refusal") for more than a year. Now, the Smart Turn model and the SOTA LLMs we're using in voice agents have both gotten so good that using them together feels like we've finally "solved" turn detection. Mark also figured out how to elegantly apply a "single-token tagging" technique to this problem. We sometimes use single-token tagging in place of tool calling, when we need a near-zero latency programmatic trigger. Mark's Pipecat mixin defines three single-token characters and prompts the LLM to output exactly one of them at the beginning of every response. - ✓ means the agent should respond normally (immediately) - ○ is a "short incomplete" - the agent should wait 5 seconds - ◐ is a "long incomplete" - the agent should wait 10 seconds The wait times, and the details of the prompt, are configurable, of course. Watch the video to see me talk to an agent that handles all my various pauses and inflections, plus phrases like "let me think," pretty much the way a person would handle them, in terms of response latency. Also, in the second half of the video, I ask the agent to adjust its response pattern because I'm going to tell it a phone number. This kind of "in-context" adjustment of response wait times is really useful. The LLM in the video is GTP-4.1. We've tested the prompt and single-token adherance with GPT-4.1, Gemini 2.5 Flash, Anthropic Claude Sonnet 4.5, and AWS Nova 2 Pro. Note that older models in all these families (and, in general, smaller open weights models) aren't able to reliably output these single-token tags. But the new models we're using these days are pretty amazing.
4:39

Voice AI turn taking is a solved problem. The single most common complaint about voice AI, today, is that agents interrupt too often. But the voice agents I build for myself now respond quickly and interrupt me less often than the people I talk to every day. (I actually measured this.) Mark Backman made a Pipecat AI PR two weeks ago that was the last piece of the puzzle for turn taking so good that I no longer ever think about it. The approach combines three layers of processing: 1. Voice activity detection, with a short (200ms) trigger. 2. A native audio turn detection model that's small, fast, and runs on CPU. This model captures audio nuances like inflection and filler sounds that don't get transcribed. 3. A prompt mixin for the conversation LLM that decides turn completion based on conversation context. None of these are new. We've been using VAD for a long time. We trained the first version of the Pipecat Smart Turn native audio model in December 2024. And we've been experimenting with prompt-based large model turn detection (sometimes called "selective refusal") for more than a year. Now, the Smart Turn model and the SOTA LLMs we're using in voice agents have both gotten so good that using them together feels like we've finally "solved" turn detection. Mark also figured out how to elegantly apply a "single-token tagging" technique to this problem. We sometimes use single-token tagging in place of tool calling, when we need a near-zero latency programmatic trigger. Mark's Pipecat mixin defines three single-token characters and prompts the LLM to output exactly one of them at the beginning of every response. - ✓ means the agent should respond normally (immediately) - ○ is a "short incomplete" - the agent should wait 5 seconds - ◐ is a "long incomplete" - the agent should wait 10 seconds The wait times, and the details of the prompt, are configurable, of course. Watch the video to see me talk to an agent that handles all my various pauses and inflections, plus phrases like "let me think," pretty much the way a person would handle them, in terms of response latency. Also, in the second half of the video, I ask the agent to adjust its response pattern because I'm going to tell it a phone number. This kind of "in-context" adjustment of response wait times is really useful. The LLM in the video is GTP-4.1. We've tested the prompt and single-token adherance with GPT-4.1, Gemini 2.5 Flash, Anthropic Claude Sonnet 4.5, and AWS Nova 2 Pro. Note that older models in all these families (and, in general, smaller open weights models) aren't able to reliably output these single-token tags. But the new models we're using these days are pretty amazing.

kwindla

26,879 Aufrufe • vor 5 Monaten

✨ I made a 100% AI video of a single night in 🇩🇪 Berlin's underground techno scene Doing an AI shoot is very much like a real life shoot, you have to prepare locations, settings, outfits and models, you can do the same: 1) First I generated photos with the [ 🇩🇪 Berlin nightlife ] photo pack on they're all non-existing AI people except me and my gf 2) Then I put the pics I liked in Kling AI to make them into 10 second videos (with Professional Mode), soon I'll have API access and it'll be one-click inside Photo AI to turn a photo into a 10-sec video, it then takes about 5 minutes to make a video. It's not always great, especially dancing is hard to get right! 3) Then I wanted to have a German narrator talking about Berlin's techno nights in a poetic way like a documentary, so I asked ChatGPT 4o: "write in the style of a cult German novelist about the Berlin techno scene" I then copied that text into Eleven Labs and selected a German AI voice 4) I then collected all the videos, the music and the audio narrator and edited them together in Final Cut Pro adding music from HÖR and adding audio effects 5) Then I added English captions with CapCut Time to make it: 3 hours for 1 minute of video I hope you like it! My dream is to have this entire pipeline in Photo AI at some point. Connecting to Kling AI's video API is the first step to that. Imagine just writing a prompt and you end up with a video like this without all the work Credits: Music: Asquith - Let Me (Rave Mix) [ASQ004] Barbax - Si Vis Pacem Para Bellum (Original Mix) Mixed by Ellen Allien @ HÖR Video: 100% AI characters and video by Photo AI Edited by me Narrator voice: 100% written by ChatGPT 4o 100% narrated by Eleven Labs AI voice
0:59

✨ I made a 100% AI video of a single night in 🇩🇪 Berlin's underground techno scene Doing an AI shoot is very much like a real life shoot, you have to prepare locations, settings, outfits and models, you can do the same: 1) First I generated photos with the [ 🇩🇪 Berlin nightlife ] photo pack on they're all non-existing AI people except me and my gf 2) Then I put the pics I liked in Kling AI to make them into 10 second videos (with Professional Mode), soon I'll have API access and it'll be one-click inside Photo AI to turn a photo into a 10-sec video, it then takes about 5 minutes to make a video. It's not always great, especially dancing is hard to get right! 3) Then I wanted to have a German narrator talking about Berlin's techno nights in a poetic way like a documentary, so I asked ChatGPT 4o: "write in the style of a cult German novelist about the Berlin techno scene" I then copied that text into Eleven Labs and selected a German AI voice 4) I then collected all the videos, the music and the audio narrator and edited them together in Final Cut Pro adding music from HÖR and adding audio effects 5) Then I added English captions with CapCut Time to make it: 3 hours for 1 minute of video I hope you like it! My dream is to have this entire pipeline in Photo AI at some point. Connecting to Kling AI's video API is the first step to that. Imagine just writing a prompt and you end up with a video like this without all the work Credits: Music: Asquith - Let Me (Rave Mix) [ASQ004] Barbax - Si Vis Pacem Para Bellum (Original Mix) Mixed by Ellen Allien @ HÖR Video: 100% AI characters and video by Photo AI Edited by me Narrator voice: 100% written by ChatGPT 4o 100% narrated by Eleven Labs AI voice

@levelsio

675,626 Aufrufe • vor 1 Jahr

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.
0:40

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,531 Aufrufe • vor 1 Jahr

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~~~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~~~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :
0:15

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~~~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~~~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :

björk

51,637 Aufrufe • vor 1 Jahr

So, Google said, "Hey, wanna make a film for #GoogleIO ? You have Carte Blanche." 🤯 For a brain that’s been mainlining animation and questionable VHS tapes since forever, that kind of freedom is both a dream and a mild panic attack. To be honest, until recently I never really thought film making was in the cards for me. Life happened, and although I ended up being a designer, film was more of a distant dream of a young version of myself. Following the unexpected attention and warm reception for Kitsune earlier this year, Electric Pink came out as my own self-administered therapy session: a coming-of-age story that’s basically me trying to figure out my own creative wiring, from the fuzzy nostalgia of childhood to the full-on HD chaos of the present. Turns out, the path to making stuff is paved with a lot of self-doubt and sudden left turns. I’m hoping this film can build on the connection Kitsune fostered. For this project, focused on exclusively using a lengthy process involving leveraging Imagen 3 to create the base of still frames (Imagen was amazing at iteratively enabling me to lock art direction) which I would then heavily retouch and prepare to get them as perfect as needed. Then each scene would be run through VEO2 to get animated clips based on those images (and then a very obvious bunch of sound design, voice design, editing, post-production and what not). Now, what's been amazing as I was nearing the end of this project, is to see individual separate tools converge towards becoming "Flow": Google's AI filmmaking tool built on DeepMind's brilliant tools (Veo, Imagen, Gemini). I must say it’s been fascinating seeing how this tech can translate the random noise in my head into something… well, film-like. It felt like a real step forward in allowing creators to iterate and refine their vision without getting bogged down in organization, and for example having an opportunity to use a first-frame to last-frame interpolation proved to be extremely useful as I could fully control the action I was aiming for. Now in its current version, Flow offers even more features such as the scene builder to easily expand storylines, or ingredients to control character, object, and environment consistency...can't wait to dig more into those possibilities...they definitely would have made my life easier during the creation of this film which I hope you will enjoy. Read more here: And there:
5:15

So, Google said, "Hey, wanna make a film for #GoogleIO ? You have Carte Blanche." 🤯 For a brain that’s been mainlining animation and questionable VHS tapes since forever, that kind of freedom is both a dream and a mild panic attack. To be honest, until recently I never really thought film making was in the cards for me. Life happened, and although I ended up being a designer, film was more of a distant dream of a young version of myself. Following the unexpected attention and warm reception for Kitsune earlier this year, Electric Pink came out as my own self-administered therapy session: a coming-of-age story that’s basically me trying to figure out my own creative wiring, from the fuzzy nostalgia of childhood to the full-on HD chaos of the present. Turns out, the path to making stuff is paved with a lot of self-doubt and sudden left turns. I’m hoping this film can build on the connection Kitsune fostered. For this project, focused on exclusively using a lengthy process involving leveraging Imagen 3 to create the base of still frames (Imagen was amazing at iteratively enabling me to lock art direction) which I would then heavily retouch and prepare to get them as perfect as needed. Then each scene would be run through VEO2 to get animated clips based on those images (and then a very obvious bunch of sound design, voice design, editing, post-production and what not). Now, what's been amazing as I was nearing the end of this project, is to see individual separate tools converge towards becoming "Flow": Google's AI filmmaking tool built on DeepMind's brilliant tools (Veo, Imagen, Gemini). I must say it’s been fascinating seeing how this tech can translate the random noise in my head into something… well, film-like. It felt like a real step forward in allowing creators to iterate and refine their vision without getting bogged down in organization, and for example having an opportunity to use a first-frame to last-frame interpolation proved to be extremely useful as I could fully control the action I was aiming for. Now in its current version, Flow offers even more features such as the scene builder to easily expand storylines, or ingredients to control character, object, and environment consistency...can't wait to dig more into those possibilities...they definitely would have made my life easier during the creation of this film which I hope you will enjoy. Read more here: And there:

Henry Daubrez 🌸💀

51,189 Aufrufe • vor 1 Jahr

BOWIE EXITS THE 70s IN THE UK WITH KENNY EVERETT “Can you hear me, Major Tom?” 45 years ago today, David Bowie’s re-recording of Space Oddity was broadcast on the Will Kenny Everett Make It To 1980? Show. You'll be familiar with this broadcast (Shot 18 September 1979 | Broadcast 31 December 1979), but this From the river to the sea, Palestine will be free edit bears repeating. The original footage was directed for the show by Bowie’s video director of the time, David Mallet, the action takes place in a high-ceilinged padded cell and an exploding kitchen with an unflappable nurse. Speaking to Angus MacKinnon in the NME in 1980, Bowie said: “That came about because (David) Mallet wanted me to do something for his show and he wanted Space Oddity. I agreed as long as I could do it again without all its trappings and do it strictly with three instruments. Having played it with just an acoustic guitar onstage early on, I was always surprised as how powerful it was just as a song, without all the strings and synthesizers. In fact the video side of it was secondary; I really wanted to do it as a three-piece song.” Both scenes were recreated for the May 1980 filming of Ashes To Ashes, the continuity experts among you will notice the very obvious differences. So, ten years after it was originally a hit, Major Tom also had the last word of the 70s for Bowie. Another 45 years on and the impact of this version is still as powerful. Read Nacho's notes with more detail regarding the recording of both the sound and vision, along with the complete video, here: Audio Source: David Bowie | Space Oddity | Recorded Good Earth Studios | Soho, London | September 1979 | Released as B side of Alabama Song | 15 February 1980 Vocals & 12-string guitar | David Bowie Bass | Zaine Griff Piano | Hans Zimmer Drums | Andy Duncan Producer | Tony Visconti FOOTNOTE: In the US Bowie appeared on Dick Clark's Salute to the Seventies TV broadcast. Bowie mimed to an edit of the 1969 Space Oddity recording. Stills from this show were utilised for the sleeve of the aforementioned Alabama Song 45. Sadly, a decent quality version of this broadcast has yet to surface. You can find it on YouTube, but hopefully Nacho will get his hands on a higher quality version to work his magic on. #SpaceOddity55 #SpaceOddityKennyEverett #NachoBowie #NachosVideos
1:00

BOWIE EXITS THE 70s IN THE UK WITH KENNY EVERETT “Can you hear me, Major Tom?” 45 years ago today, David Bowie’s re-recording of Space Oddity was broadcast on the Will Kenny Everett Make It To 1980? Show. You'll be familiar with this broadcast (Shot 18 September 1979 | Broadcast 31 December 1979), but this From the river to the sea, Palestine will be free edit bears repeating. The original footage was directed for the show by Bowie’s video director of the time, David Mallet, the action takes place in a high-ceilinged padded cell and an exploding kitchen with an unflappable nurse. Speaking to Angus MacKinnon in the NME in 1980, Bowie said: “That came about because (David) Mallet wanted me to do something for his show and he wanted Space Oddity. I agreed as long as I could do it again without all its trappings and do it strictly with three instruments. Having played it with just an acoustic guitar onstage early on, I was always surprised as how powerful it was just as a song, without all the strings and synthesizers. In fact the video side of it was secondary; I really wanted to do it as a three-piece song.” Both scenes were recreated for the May 1980 filming of Ashes To Ashes, the continuity experts among you will notice the very obvious differences. So, ten years after it was originally a hit, Major Tom also had the last word of the 70s for Bowie. Another 45 years on and the impact of this version is still as powerful. Read Nacho's notes with more detail regarding the recording of both the sound and vision, along with the complete video, here: Audio Source: David Bowie | Space Oddity | Recorded Good Earth Studios | Soho, London | September 1979 | Released as B side of Alabama Song | 15 February 1980 Vocals & 12-string guitar | David Bowie Bass | Zaine Griff Piano | Hans Zimmer Drums | Andy Duncan Producer | Tony Visconti FOOTNOTE: In the US Bowie appeared on Dick Clark's Salute to the Seventies TV broadcast. Bowie mimed to an edit of the 1969 Space Oddity recording. Stills from this show were utilised for the sleeve of the aforementioned Alabama Song 45. Sadly, a decent quality version of this broadcast has yet to surface. You can find it on YouTube, but hopefully Nacho will get his hands on a higher quality version to work his magic on. #SpaceOddity55 #SpaceOddityKennyEverett #NachoBowie #NachosVideos

David Bowie Official

110,908 Aufrufe • vor 1 Jahr

“I feel like a ghost.” Many indie VTubers like myself often feel this way in this rapidly expanding sea of stars. However, everything changed yesterday night. It was around 11pm on the final day of #OffKaiGen4 and Mosomatsuri had just ended. I was about to log offline when suddenly I was given the chance to pop on again for some “laptop time” because the big TV monitor broke. I didn’t know if anyone was still around at the concert venue or if I was there for photos or talking or performing. In a flash, I was thrust in front of an audience again. After a long day of fiery cheering, wotagei and Naruto running, I decided to do what I always do to heal my tired soul after long days. Singing and guitar. I didn’t expect anybody to stay, much less form a crowd around my laptop on the floor. But just when things couldn’t get worse, they get worse ✨ The speaker breaks. The laptop falls down mid performance. I am now on the floor stuck inside my laptop with my tiny voice shouting out asking if anyone can hear me. In that moment I was so anxious and high on adrenaline. The noise cancellation was so high on the audience camera feed I couldn’t hear the crowd. The video itself was blurry and I could barely make out their faces. A ghostly feeling. All this just when I was about to sing GHOST by Hoshimachi Suisei. I nervously laughed and said it was quite poetic that I’m singing this song while being reduced to a tiny voice on a tiny screen. But looking back now on your fan video recordings, I can see your faces clearly now and I can’t help the tears streaming down my face. Despite it all, they still stayed. Clinging onto every word I sang and raising their arms and penlights. Sitting on the cold hard ground craning their necks in to hear me. Building an entire campfire out of orange penlights. The lyrics of GHOST shook me to my core so deeply and I’ve always resonated with feeling invisible. Feeling not enough for my fans who were too kind to me. Feeling like maybe I should disappear instead of chasing a fruitless stupid dream. But seeing how passionate, vibrant and infectious your joy is has filled my heart with an indescribable sense of love. Your tenderness and patience and trust in me has changed something in me. How could I forget, this is what it was about all along. To make create beautiful memories for someone. To make them smile and cry. To make them dream of hoping again. And in return, for me as well. Maybe its the fact I’ve been sleeping 3-4 hours this whole weekend. Maybe its because I’m still high on emotions. Maybe it’s because the trajectory of my life has been changed forever but whatever it’s cringeposting season so unfortunately you will witness cringemaxxing!!!! Thank you Galaxy Gang. I will never ever forget this night for the rest of my life. Thank you for finding this ghost✨💫
1:34

“I feel like a ghost.” Many indie VTubers like myself often feel this way in this rapidly expanding sea of stars. However, everything changed yesterday night. It was around 11pm on the final day of #OffKaiGen4 and Mosomatsuri had just ended. I was about to log offline when suddenly I was given the chance to pop on again for some “laptop time” because the big TV monitor broke. I didn’t know if anyone was still around at the concert venue or if I was there for photos or talking or performing. In a flash, I was thrust in front of an audience again. After a long day of fiery cheering, wotagei and Naruto running, I decided to do what I always do to heal my tired soul after long days. Singing and guitar. I didn’t expect anybody to stay, much less form a crowd around my laptop on the floor. But just when things couldn’t get worse, they get worse ✨ The speaker breaks. The laptop falls down mid performance. I am now on the floor stuck inside my laptop with my tiny voice shouting out asking if anyone can hear me. In that moment I was so anxious and high on adrenaline. The noise cancellation was so high on the audience camera feed I couldn’t hear the crowd. The video itself was blurry and I could barely make out their faces. A ghostly feeling. All this just when I was about to sing GHOST by Hoshimachi Suisei. I nervously laughed and said it was quite poetic that I’m singing this song while being reduced to a tiny voice on a tiny screen. But looking back now on your fan video recordings, I can see your faces clearly now and I can’t help the tears streaming down my face. Despite it all, they still stayed. Clinging onto every word I sang and raising their arms and penlights. Sitting on the cold hard ground craning their necks in to hear me. Building an entire campfire out of orange penlights. The lyrics of GHOST shook me to my core so deeply and I’ve always resonated with feeling invisible. Feeling not enough for my fans who were too kind to me. Feeling like maybe I should disappear instead of chasing a fruitless stupid dream. But seeing how passionate, vibrant and infectious your joy is has filled my heart with an indescribable sense of love. Your tenderness and patience and trust in me has changed something in me. How could I forget, this is what it was about all along. To make create beautiful memories for someone. To make them smile and cry. To make them dream of hoping again. And in return, for me as well. Maybe its the fact I’ve been sleeping 3-4 hours this whole weekend. Maybe its because I’m still high on emotions. Maybe it’s because the trajectory of my life has been changed forever but whatever it’s cringeposting season so unfortunately you will witness cringemaxxing!!!! Thank you Galaxy Gang. I will never ever forget this night for the rest of my life. Thank you for finding this ghost✨💫

Nana Asteria ✨💫

160,613 Aufrufe • vor 1 Jahr

🚨 The GAGOP Nominating Committee Was a Biased, Corrupt Disaster 🚨 One week ago, I sat for what was supposed to be a fair Nominating Committee interview, a required step to run for GAGOP Assistant Secretary. Here’s the full audio. Spoiler alert: it wasn’t an interview, it was a coordinated ambush. 🧨 I was mocked. 🧨 I was belittled. 🧨 I was attacked for having a voice and a social media platform. 🧨 I was compared to Jordan Fuchs, the same woman who helped trigger Trump’s indictment. 🧨 I was told I needed to be physically punished. Yes, that happened. This wasn’t about qualifications or vision. It was a hit job by a committee formed by Josh McKoon, designed to protect the establishment and crush anyone who dared challenge it. Let’s be honest: McKoon isn’t calling the shots. He’s the puppet. Brian Kemp is the puppeteer and McKoon was installed to keep the Kemp machine in charge and the MAGA base silenced. Need proof? 👉 Committee Chair Katie Frost Katie Frost (rumored to be the pick for next GAGOP Chair) has mocked my appearance and attacked my family. She even took a page from the Democrat’s and called my mother, GA’s RNC National Committeewoman, an “insurrectionist” because she held the event at the White House Ellipse with President Trump on J6. 👉 Committee Vice Chair Kandiss Taylor Kandiss Taylor, a school employee and congressional candidate, told me I needed “corporal punishment” and to be “spanked by the world.” This is the same woman previously condemned by the GAGOP for antisemitic and hateful rhetoric. 👉 Committee Member Julianne Thompson Julianne Thompson works for Brad Raffensperger and scored a $100k no-bid contract with Dominion. Her daughter, Victoria, also worked for Raffensperger and was subpoenaed by the Special Grand Jury that indicted Trump for her alleged role in setting up the infamous illegally recorded phone call—and Victoria’s best friend? Jordan Fuchs. And the rest of the members? Same script, different names. This wasn’t vetting. It was character assassination. Then, to top it off, they doubled down on convention day, repeating their same personal attacks from the stage. Now that they’ve kicked MAGA in the teeth, the backlash is here: 🚫 Donations are drying up. 🚫 People are calling their credit card companies to get their money back from the convention. 🚫People are leaving the party. And Josh McKoon? He doesn’t care. Because he’s rumored to be stepping down soon to run for Secretary of State, leaving behind a fractured, hollowed-out party all to pave the way for Brian Kemp’s 2028 presidential run. This is the GAGOP: ❌ No transparency. ❌ No accountability. ❌ No fighters. ❌ No paper ballots. ❌ Just rigged elections, gag orders, and party loyalty tests. The powers that be can’t wait to rid the party of Trump and MAGA so politics can go back to “normal.” Georgia is burning and we aren’t even in an election cycle fighting the Democrats. And the same people preaching “unity” are still throwing matches. Meanwhile, McKoon and Kemp are watching it all from the sidelines with the Dominion machines right where they want them. Listen to the full interview and tell me what you think ⬇️⬇️⬇️⬇️ Are these people really who you want in top leadership of the Georgia Republican Party?
21:12

🚨 The GAGOP Nominating Committee Was a Biased, Corrupt Disaster 🚨 One week ago, I sat for what was supposed to be a fair Nominating Committee interview, a required step to run for GAGOP Assistant Secretary. Here’s the full audio. Spoiler alert: it wasn’t an interview, it was a coordinated ambush. 🧨 I was mocked. 🧨 I was belittled. 🧨 I was attacked for having a voice and a social media platform. 🧨 I was compared to Jordan Fuchs, the same woman who helped trigger Trump’s indictment. 🧨 I was told I needed to be physically punished. Yes, that happened. This wasn’t about qualifications or vision. It was a hit job by a committee formed by Josh McKoon, designed to protect the establishment and crush anyone who dared challenge it. Let’s be honest: McKoon isn’t calling the shots. He’s the puppet. Brian Kemp is the puppeteer and McKoon was installed to keep the Kemp machine in charge and the MAGA base silenced. Need proof? 👉 Committee Chair Katie Frost Katie Frost (rumored to be the pick for next GAGOP Chair) has mocked my appearance and attacked my family. She even took a page from the Democrat’s and called my mother, GA’s RNC National Committeewoman, an “insurrectionist” because she held the event at the White House Ellipse with President Trump on J6. 👉 Committee Vice Chair Kandiss Taylor Kandiss Taylor, a school employee and congressional candidate, told me I needed “corporal punishment” and to be “spanked by the world.” This is the same woman previously condemned by the GAGOP for antisemitic and hateful rhetoric. 👉 Committee Member Julianne Thompson Julianne Thompson works for Brad Raffensperger and scored a $100k no-bid contract with Dominion. Her daughter, Victoria, also worked for Raffensperger and was subpoenaed by the Special Grand Jury that indicted Trump for her alleged role in setting up the infamous illegally recorded phone call—and Victoria’s best friend? Jordan Fuchs. And the rest of the members? Same script, different names. This wasn’t vetting. It was character assassination. Then, to top it off, they doubled down on convention day, repeating their same personal attacks from the stage. Now that they’ve kicked MAGA in the teeth, the backlash is here: 🚫 Donations are drying up. 🚫 People are calling their credit card companies to get their money back from the convention. 🚫People are leaving the party. And Josh McKoon? He doesn’t care. Because he’s rumored to be stepping down soon to run for Secretary of State, leaving behind a fractured, hollowed-out party all to pave the way for Brian Kemp’s 2028 presidential run. This is the GAGOP: ❌ No transparency. ❌ No accountability. ❌ No fighters. ❌ No paper ballots. ❌ Just rigged elections, gag orders, and party loyalty tests. The powers that be can’t wait to rid the party of Trump and MAGA so politics can go back to “normal.” Georgia is burning and we aren’t even in an election cycle fighting the Democrats. And the same people preaching “unity” are still throwing matches. Meanwhile, McKoon and Kemp are watching it all from the sidelines with the Dominion machines right where they want them. Listen to the full interview and tell me what you think ⬇️⬇️⬇️⬇️ Are these people really who you want in top leadership of the Georgia Republican Party?

Kylie Jane Kremer

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