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Rotary wheel & tuner indicator component using an onRotate listener. Added some lag motion and after drag. Loving Framer workshop 🫶

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Lee Black

13,149 subscribers

13,217 просмотров • 1 год назад •via X (Twitter)

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Фото профиля Lee Black
Lee Black1 год назад

Just added dynamic web radio stations — try it for yourself and happy scrubbing to find your vibe:

Фото профиля Seven Eleven Records
Seven Eleven Records1 год назад

Fresh tracks weekly. 🎶🎧Follow and save!🚀🔥⬇️⬇️ #Spotify #SpotifyPlaylist #NewMusic

Фото профиля Seb Cornelius
Seb Cornelius1 год назад

@framer Early adopter doesn’t even cover it

Фото профиля Lee Black
Lee Black1 год назад

@framer Just added a link above to test it - Desktop only for now :)

Фото профиля Tyrone C.
Tyrone C.1 год назад

@framer The button is cool and all but man im so fascinated by the entire flip clock haha looks so sick!

Фото профиля Lee Black
Lee Black1 год назад

@framer Haha thanks man. Link in the thread if you wanna check out the flipping in real time. Also dropped some internet radio to the button code. All dynamic from here on in 🙌

Фото профиля Isaac Dailey
Isaac Dailey1 год назад

@framer This is SO cool!

Фото профиля Lee Black
Lee Black1 год назад

@framer Just added a link above to test it - Desktop only for now :)

Фото профиля Jordan Gilroy
Jordan Gilroy1 год назад

@framer Wild!

Фото профиля Lee Black
Lee Black1 год назад

@framer Cheers Jordan! Just added a link above to test it - Desktop only for now :)

Фото профиля Alex Aperios
Alex Aperios1 год назад

@framer I’ve said this to you before. I need to see how you made this haha!

Фото профиля Lee Black
Lee Black1 год назад

@framer Yeah we still need to have that online coffee break. Should pencil something in soon.

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On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.
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On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

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URGENT warning issued after DRUG overdoses in GRIMSBY 10 MEN ARRESTED An urgent warning has been issued after a series of drug-related incidents in North East Lincolnshire. It comes after reports of emergency services responding to four unresponsive people, believed to have overdosed, at the weekend. Geoff Barnes, deputy director of public health for northern Lincolnshire, said "some harmful drugs" were circulating in the Grimsby area. "These drugs can cause a very sudden overdose which can be life-threatening," he added. Those taking drugs were advised to avoid using them alone and to ensure there was access to naloxone - which rapidly reverses opioid overdoses by blocking the effects of drugs like heroin, fentanyl, and morphine. People have also been urged to dial 999 in the event of an overdose. On Monday, Humberside Police arrested 10 men after several people became ill. The force said four people were found unresponsive in the East Marsh area of Grimsby after they were believed to have overdosed on suspected heroin and a synthetic amphetamine.
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URGENT warning issued after DRUG overdoses in GRIMSBY 10 MEN ARRESTED An urgent warning has been issued after a series of drug-related incidents in North East Lincolnshire. It comes after reports of emergency services responding to four unresponsive people, believed to have overdosed, at the weekend. Geoff Barnes, deputy director of public health for northern Lincolnshire, said "some harmful drugs" were circulating in the Grimsby area. "These drugs can cause a very sudden overdose which can be life-threatening," he added. Those taking drugs were advised to avoid using them alone and to ensure there was access to naloxone - which rapidly reverses opioid overdoses by blocking the effects of drugs like heroin, fentanyl, and morphine. People have also been urged to dial 999 in the event of an overdose. On Monday, Humberside Police arrested 10 men after several people became ill. The force said four people were found unresponsive in the East Marsh area of Grimsby after they were believed to have overdosed on suspected heroin and a synthetic amphetamine.

Active Patriot

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Shelter Dog Caught On Camera Releasing His friends For Late Night Parties ❤️ Staff at Battersea Dogs Home were mystified when they arrived at work one morning to find that the kitchen had been raided for an animal version of a midnight feast. But it was not an isolated incident. It had happened again and again. The doors of their kennels had been mysteriously unlocked. The staff were confused, so they decided to install cameras to find out the truth. Soon, the cameras revealed the main culprit, Red, a 3-year-old lurcher. The footage showed Red using his teeth to open the latch of his own kennel. After freeing himself, he went to other kennels and opened them too, helping his dog friends escape. Together, the dogs walked down the corridor and enjoyed biscuits, treats, and even toys for some fun after eating. In the end, this smart and kind dog won everyone’s heart. After the story went viral, Red was adopted into a loving home.
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Shelter Dog Caught On Camera Releasing His friends For Late Night Parties ❤️ Staff at Battersea Dogs Home were mystified when they arrived at work one morning to find that the kitchen had been raided for an animal version of a midnight feast. But it was not an isolated incident. It had happened again and again. The doors of their kennels had been mysteriously unlocked. The staff were confused, so they decided to install cameras to find out the truth. Soon, the cameras revealed the main culprit, Red, a 3-year-old lurcher. The footage showed Red using his teeth to open the latch of his own kennel. After freeing himself, he went to other kennels and opened them too, helping his dog friends escape. Together, the dogs walked down the corridor and enjoyed biscuits, treats, and even toys for some fun after eating. In the end, this smart and kind dog won everyone’s heart. After the story went viral, Red was adopted into a loving home.

Restoring Your Faith in Humanity

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CSS Tip! 🤙 You can create this magnetic :hover effect with CSS anchor positioning, :has, and zero JS 🔥 article { anchor-name: --develop; } ul:has(li:hover) { --anchor: --develop; } ul::after { inset: anchor(var(--anchor) top) anchor(var(--anchor) right) ... ; } How do you keep it clean when entering/exiting the list? Use transition-delay ⭐️ ul:has(li:hover) { --active: 1; } ul::after { opacity: var(--active, 0); transition: opacity 0.2s, inset 0.2s 0.2s; } ul:hover::after { transition: opacity 0.2s 0.2s, inset 0.2s; } This is a cool trick you can use. Delay the opacity on enter and then delay the position on exit. That way you don't get a weird effect on enter/exit 🙏 This one's a "Future" CSS tip 🔮 But, the demo will work in all browsers in some way. The idea is to progressively enhance it. 1. No JavaScript and no Anchor Positioning? Highlight on hover ✏️ 2. No Anchor Positioning? Use JavaScript with a single event listener to update the inset values using elementFromPoint and .closest 🫶 3. If there is Anchor Positioning support, use that and don't fire the JavaScript. You can check with CSS.supports('anchor-name: --anchor') ✨ That's it! CodePen.IO link below! 👇
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CSS Tip! 🤙 You can create this magnetic :hover effect with CSS anchor positioning, :has, and zero JS 🔥 article { anchor-name: --develop; } ul:has(li:hover) { --anchor: --develop; } ul::after { inset: anchor(var(--anchor) top) anchor(var(--anchor) right) ... ; } How do you keep it clean when entering/exiting the list? Use transition-delay ⭐️ ul:has(li:hover) { --active: 1; } ul::after { opacity: var(--active, 0); transition: opacity 0.2s, inset 0.2s 0.2s; } ul:hover::after { transition: opacity 0.2s 0.2s, inset 0.2s; } This is a cool trick you can use. Delay the opacity on enter and then delay the position on exit. That way you don't get a weird effect on enter/exit 🙏 This one's a "Future" CSS tip 🔮 But, the demo will work in all browsers in some way. The idea is to progressively enhance it. 1. No JavaScript and no Anchor Positioning? Highlight on hover ✏️ 2. No Anchor Positioning? Use JavaScript with a single event listener to update the inset values using elementFromPoint and .closest 🫶 3. If there is Anchor Positioning support, use that and don't fire the JavaScript. You can check with CSS.supports('anchor-name: --anchor') ✨ That's it! CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

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This is why actors remain essential. AI can never generate this kind of acting choreography, long performance rhythm, or silent emotional action on its own. Sharing a 2-minute scene from Mann-Pishach to explain a certain creative grammar behind the film. Rendering an 80-minute 4K film using AI-generated shots, After Effects compositing, and iPhone performances on a single PC is something very few filmmakers attempt. Most AI experiments stop at just a few minutes. I began by rethinking the visual and cinematic language itself. Once the script and storyboards were locked, I started treating AI the way old stop-motion filmmakers treated their frames — carefully, shot by shot. Those flashy 5–10 second AI generations were never the focus. They always came after the script, the shot divisions, the performances, and the emotional flow of the scene. Sharing here a short moment — Savitri Bai’s silent anger, played by Yaaneea Bhardwaj. This small clip may give some idea of how Mann-Pishach was constructed. The entire film was consciously created using cheap or free AI tools, simply to stay honest to the zero-budget experiment.

rahi anil barve

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Glitch is trending because JAMB has confirmed the mass 2025 UTME failure is due to a system error, which they noticed during the Mock exams since April 10th. This is the summary of what happened. They have two servers (KAD & LAG), after the mock exams, they discovered that the system didn’t; 1. Shuffle the questions properly. 2. Omitted some questions and answers. 3. Graded wrongly. They tried to fix it. On the second day of exam April 25th, they discovered that the system still wasn’t collating responses and grading properly. (That’s why some questions were not complete). This was because they wanted every system in same session to have different questions, shuffled. But the software wasn’t good enough to handle it under pressure. So, they built a patch to fix it. They used April 26th, 27th and 28th to test it, and released the patch on April 29th 12am. Which would correct the errors from 25th till 28th. But unfortunately, some service providers under LAG server, in SW and SE, failed to install the patch update. So all the candidates answers were not fully submitted, it was the few answers that got in, that JAMB released as “full” result and bragged about the failures. That’s why the result were identical. 153, 157, 161, 142, 143, etc.. However, this only affected 65 centers in Lagos and 92 in South East and Oyo, 157/882 centers. Total of 206,610 candidates in Lagos and 173,387 in all of South East and Oyo. According to JAMB, the glitch did not glitch the North. In summary, all these are because JAMB tried to tackle malpractice, using outdated resources. So, JAMB is apologizing for their negligence, their carelessness to maintain a generic quality assurance standard. They will retake the exams from May 16th. Most Nigerians are arguing that, JAMB should remark the script instead of asking students to retake an exam at their own expense. Alas, according to their explanation, this will be impossible. Because they are basically saying that the system didn’t keep all the selections the candidates made. Some Nigerians believe the glitch only affected the entire South East, because of the tribalism in the country and alleged marginalization against the Igbos. Follow Trending Explained for daily explanations!

Trending Explained

27,218 просмотров • 1 год назад

CSS Tip! 💪 You can create these tab controls with CSS :has() + radio buttons ✨ .tabs:has(input:nth-of-type(3)) { --count: 3; } .tabs:has(:checked:nth-of-type(3)) { --active: 2; } .tabs::after { translate: calc(var(--active, 0) * 100%) 0; width: calc(100% / var(--count)); } Two CSS :has() tricks here combined with a rendering trick 🤙 The tab control is a container using display: grid. You can use :has() to count the number of tabs in the container: .tabs:has(input:nth-of-type(3)) { --count: 3; } .tabs:has(input:nth-of-type(4)) { --count: 4; } Using the cascade, the last valid :has() gives you the number of tabs 🫶 Once you know the number of tabs, you know how to size the indicator: .tabs::after { content: ""; position: absolute; height: 100%; width: calc(100% / var(--count)); } It's a pseudoelement that uses --count to determine its size 📏 The next :has() trick is determining which tab is active or :checked as it's an input [type=radio] .tabs:has(:checked:nth-of-type(2)) { --active: 1; } .tabs:has(:checked:nth-of-type(3)) { --active: 2; } You can use a zero-indexed translation here. If the second input is :checked, set --active: 1, then translate the pseudoelement on the tabs to that position 👉 .tabs::after { translate: calc(var(--active, 0) * 100%) 0; } The last rendering trick is using mix-blend-mode 👀 The tabs have a black background-color, the pseudoelement is white, and the label text is white. When you use mix-blend-mode: difference on the pseudoelement it will give this effect that the text transitions from white to black sliding across 😎 .tabs::after { color: hsl(0 0% 100%); mix-blend-mode: difference; } You can totally mix up the colors here though and go with a different effect. The mechanics of how you can use CSS :has() is the main point here 🙏 As always, any questions, suggestions, etc. let me know CodePen.IO link below! 👇 (There's even a Tailwind CSS play for this one too 👀)
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CSS Tip! 💪 You can create these tab controls with CSS :has() + radio buttons ✨ .tabs:has(input:nth-of-type(3)) { --count: 3; } .tabs:has(:checked:nth-of-type(3)) { --active: 2; } .tabs::after { translate: calc(var(--active, 0) * 100%) 0; width: calc(100% / var(--count)); } Two CSS :has() tricks here combined with a rendering trick 🤙 The tab control is a container using display: grid. You can use :has() to count the number of tabs in the container: .tabs:has(input:nth-of-type(3)) { --count: 3; } .tabs:has(input:nth-of-type(4)) { --count: 4; } Using the cascade, the last valid :has() gives you the number of tabs 🫶 Once you know the number of tabs, you know how to size the indicator: .tabs::after { content: ""; position: absolute; height: 100%; width: calc(100% / var(--count)); } It's a pseudoelement that uses --count to determine its size 📏 The next :has() trick is determining which tab is active or :checked as it's an input [type=radio] .tabs:has(:checked:nth-of-type(2)) { --active: 1; } .tabs:has(:checked:nth-of-type(3)) { --active: 2; } You can use a zero-indexed translation here. If the second input is :checked, set --active: 1, then translate the pseudoelement on the tabs to that position 👉 .tabs::after { translate: calc(var(--active, 0) * 100%) 0; } The last rendering trick is using mix-blend-mode 👀 The tabs have a black background-color, the pseudoelement is white, and the label text is white. When you use mix-blend-mode: difference on the pseudoelement it will give this effect that the text transitions from white to black sliding across 😎 .tabs::after { color: hsl(0 0% 100%); mix-blend-mode: difference; } You can totally mix up the colors here though and go with a different effect. The mechanics of how you can use CSS :has() is the main point here 🙏 As always, any questions, suggestions, etc. let me know CodePen.IO link below! 👇 (There's even a Tailwind CSS play for this one too 👀)

jhey ʕ•ᴥ•ʔ

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Prior to the release of "Rabid" (1977), David Cronenberg was asked to vacate the house by his Landlady because she thought he made p0rn0gr@phic movies. After reading an article in the newspaper that included some "Nastier bits" of a review of "Shivers" (1975) written by Robert Fulford, the landlady was convinced that Cronenberg was a director who made "That" sort of movies. When Cronenberg asked her "what sort is "That" sort?", she replied "The p0rn0gr@phic sort". Cronenberg tried to make her understand that he made "Horror" movies but she was convinced that the newspaper "The Global and Mail" would not print a misleading article & it had clearly stated "Shivers" was obscene. Moreover, she didn't want to be associated with a p0rn0gr@phic actress like Marilyn Chambers. She told him that she had been working quietly against p0rn0gr@phy with a league of women for many years. She also added that it was nothing "personal" and asked him to vacate the house within the end of the night. Cronenberg told the landlady that it was in fact very personal, and that he was very personally insulted, and that he will personally approach the Human Rights Commission before leaving. But 10 minutes after the Landlady left, Cronenberg arranged to occupy the house opposite to the Landlady's which had been up for sale for some weeks. He bought the house a few days later. Three days before he shifted to the new home, City Zoning inspector visited his house as there had been an anonymous complaint filed against him for "Photographing and developing of p0rn0gr@phic motion picture films for public sale". He said to the inspector that he knew who filed the complaint and allowed him to search. The inspector did not find anything incriminating. Three months later, David Cronenberg wrote an article in "The Globe and Mail" (The Same paper that was the catalyst for the whole situation) about the whole situation. P.S: On this day, 49 years ago, "Rabid" (1977) was released in the USA and Canada.
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Sensitive content

Prior to the release of "Rabid" (1977), David Cronenberg was asked to vacate the house by his Landlady because she thought he made p0rn0gr@phic movies. After reading an article in the newspaper that included some "Nastier bits" of a review of "Shivers" (1975) written by Robert Fulford, the landlady was convinced that Cronenberg was a director who made "That" sort of movies. When Cronenberg asked her "what sort is "That" sort?", she replied "The p0rn0gr@phic sort". Cronenberg tried to make her understand that he made "Horror" movies but she was convinced that the newspaper "The Global and Mail" would not print a misleading article & it had clearly stated "Shivers" was obscene. Moreover, she didn't want to be associated with a p0rn0gr@phic actress like Marilyn Chambers. She told him that she had been working quietly against p0rn0gr@phy with a league of women for many years. She also added that it was nothing "personal" and asked him to vacate the house within the end of the night. Cronenberg told the landlady that it was in fact very personal, and that he was very personally insulted, and that he will personally approach the Human Rights Commission before leaving. But 10 minutes after the Landlady left, Cronenberg arranged to occupy the house opposite to the Landlady's which had been up for sale for some weeks. He bought the house a few days later. Three days before he shifted to the new home, City Zoning inspector visited his house as there had been an anonymous complaint filed against him for "Photographing and developing of p0rn0gr@phic motion picture films for public sale". He said to the inspector that he knew who filed the complaint and allowed him to search. The inspector did not find anything incriminating. Three months later, David Cronenberg wrote an article in "The Globe and Mail" (The Same paper that was the catalyst for the whole situation) about the whole situation. P.S: On this day, 49 years ago, "Rabid" (1977) was released in the USA and Canada.

DepressedBergman

631,593 просмотров • 3 месяцев назад

some words : i wanted to create something referential to Mexico City, Museo Diego Rivera Anahuacalli and the culture. i kept finding myself reading about cenotes (sinkholes). i loved the idea of exploring cenotes as a subject. sudden, massive drops right in the middle of solid ground. in mayan mythology, they were literal gateways to xibalba, the underworld. that’s where the title comes from. for the ancients, falling into that darkness meant crossing over into the realm of gods and myth. today, we’re all just nomads wandering an endless, hypersaturated landscape of information. we pace in circles, fully suited up for a daily routine of infinite impulses. but instead of sacred underground rivers, the voids we face now are just massive black holes where our time goes to die. they are the endless scrolls, the digital rabbit holes, the mindless distractions where we willingly dump hours of our lives. the prompt asks what carries enough meaning to become myth in an age of infinite information. maybe it’s not some grand story or hero. maybe our modern myth is the void itself, this collective, shared experience of sleepwalking through life, constantly getting swallowed by the things that waste our time. the art is a 1:50 video (100mb), made using procreate, midjourney for model generation, after effects, and a combination of two of my dumb vfx robots. on the score - i wrestled with the composition of the music for some time. it was important that the music met the theme - dark, but hopeful, ominous at times, but also left the listener with a feeling of something deeper but unexplained. a heartfelt thank you to Museo Diego Rivera Anahuacalli, Jared_poz: 8NAP Founder, 8NAP ART and SuperchiefGalleryNFT for including me in what is now my first museum exhibition. edition of 100 - releasing tomorrow. link to follow. ➕
1:48

some words : i wanted to create something referential to Mexico City, Museo Diego Rivera Anahuacalli and the culture. i kept finding myself reading about cenotes (sinkholes). i loved the idea of exploring cenotes as a subject. sudden, massive drops right in the middle of solid ground. in mayan mythology, they were literal gateways to xibalba, the underworld. that’s where the title comes from. for the ancients, falling into that darkness meant crossing over into the realm of gods and myth. today, we’re all just nomads wandering an endless, hypersaturated landscape of information. we pace in circles, fully suited up for a daily routine of infinite impulses. but instead of sacred underground rivers, the voids we face now are just massive black holes where our time goes to die. they are the endless scrolls, the digital rabbit holes, the mindless distractions where we willingly dump hours of our lives. the prompt asks what carries enough meaning to become myth in an age of infinite information. maybe it’s not some grand story or hero. maybe our modern myth is the void itself, this collective, shared experience of sleepwalking through life, constantly getting swallowed by the things that waste our time. the art is a 1:50 video (100mb), made using procreate, midjourney for model generation, after effects, and a combination of two of my dumb vfx robots. on the score - i wrestled with the composition of the music for some time. it was important that the music met the theme - dark, but hopeful, ominous at times, but also left the listener with a feeling of something deeper but unexplained. a heartfelt thank you to Museo Diego Rivera Anahuacalli, Jared_poz: 8NAP Founder, 8NAP ART and SuperchiefGalleryNFT for including me in what is now my first museum exhibition. edition of 100 - releasing tomorrow. link to follow. ➕

Modest

13,883 просмотров • 2 месяцев назад

A 30-second fake video is circulating online in which three unidentified men wearing digital camouflage with Ukrainian flag patches threaten #Iran. The Russian influence-operation actors behind the video took an extremely crude approach to staging it: they dressed in Ukrainian digital camouflage, completely concealed their faces with balaclavas, printed the Iranian flag on an A4 sheet of paper, and added an unnatural voice-over containing Russianisms and grammatical errors. The audio appears to have been added separately. The faces were likely concealed not only to prevent identification but also to make it more difficult to verify whether the speech was synchronized with the speakers’ lip movements. At the same time, all the elements required for an information provocation were deliberately left visible: Ukrainian flag patches, the Iranian flag, aggressive threats, references to the United States, and Persian subtitles. InformNapalm separately analyzed the audio track using the TruthScan AI Voice Detector, which examines acoustic characteristics and artifacts associated with synthetic speech. The result indicated a 99% probability that the voice had been generated using AI voice-over tools. This constitutes a significant technical indicator that the video was staged. TruthScan is designed to detect synthetic speech produced by ElevenLabs, Murf, and other voice-generation platforms. Heorhii Tykhyi Heorhii Tykhyi , spokesperson for Ukraine’s Ministry of Foreign Affairs, officially described the video as a fake and as a staged “appeal” by unidentified people with concealed faces, intended to exacerbate tensions. To an informed Ukrainian audience, the fabrication is obvious. However, Ukraine was not its primary target. The Persian subtitles indicate that the video was produced mainly for Iranian and broader Middle Eastern audiences. The objective is straightforward: to create the impression that the Ukrainian Armed Forces are officially threatening Iran, associate Ukraine with US strikes, and provoke diplomatic tensions between Kyiv and Tehran. One of the main amplifiers of the fake was OSINT613, also known as Open Source Intel, a major English-language aggregator covering Middle Eastern news with more than 1.6 million followers on X. Without conducting proper verification, the outlet presented the unidentified masked individuals as Ukrainian soldiers and relayed the threats embedded in the video to an audience of more than a million people. Open Source Intel itself claims to verify material through several independent sources. In this case, however, even the most basic verification procedures were evidently not performed. This is not the outlet’s first failure of this kind. In 2023, Reuters established that OSINT613 had falsely presented a photograph of money seized during an anti-corruption raid in Nigeria in 2017 as allegedly showing $50 million discovered in a truck carrying humanitarian aid to Gaza. After spreading the false claim, the account deleted the post and stated that it had relied on a source it considered credible. There is currently no publicly available evidence of organizational links between OSINT613 and #Russia. Its dissemination of the fake may therefore have been inadvertent. Nevertheless, the pursuit of speed and reach can turn large news aggregators into ready-made distribution channels for Russian information operations. This case illustrates the contemporary model of a Russian influence operation: cheaply produce a staged video, add a synthetic voice and subtitles tailored to the intended audience, and then pass it to major aggregators that will generate millions of views on their own. A mask, camouflage uniform, and a flag patch on a sleeve are not proof that someone belongs to the Ukrainian Armed Forces. Likewise, an account with millions of followers does not become a reliable source merely because of the size of its audience. P.S. To avoid contributing to the further spread of the original Russian information operation with Persian subtitles, we added prominent labels identifying the video as fake. As the screenshots from X demonstrate, the fake received approximately 348,000 views, while the official rebuttal issued by the Ukrainian Foreign Ministry spokesperson received only around 17,000.
0:30

A 30-second fake video is circulating online in which three unidentified men wearing digital camouflage with Ukrainian flag patches threaten #Iran. The Russian influence-operation actors behind the video took an extremely crude approach to staging it: they dressed in Ukrainian digital camouflage, completely concealed their faces with balaclavas, printed the Iranian flag on an A4 sheet of paper, and added an unnatural voice-over containing Russianisms and grammatical errors. The audio appears to have been added separately. The faces were likely concealed not only to prevent identification but also to make it more difficult to verify whether the speech was synchronized with the speakers’ lip movements. At the same time, all the elements required for an information provocation were deliberately left visible: Ukrainian flag patches, the Iranian flag, aggressive threats, references to the United States, and Persian subtitles. InformNapalm separately analyzed the audio track using the TruthScan AI Voice Detector, which examines acoustic characteristics and artifacts associated with synthetic speech. The result indicated a 99% probability that the voice had been generated using AI voice-over tools. This constitutes a significant technical indicator that the video was staged. TruthScan is designed to detect synthetic speech produced by ElevenLabs, Murf, and other voice-generation platforms. Heorhii Tykhyi Heorhii Tykhyi , spokesperson for Ukraine’s Ministry of Foreign Affairs, officially described the video as a fake and as a staged “appeal” by unidentified people with concealed faces, intended to exacerbate tensions. To an informed Ukrainian audience, the fabrication is obvious. However, Ukraine was not its primary target. The Persian subtitles indicate that the video was produced mainly for Iranian and broader Middle Eastern audiences. The objective is straightforward: to create the impression that the Ukrainian Armed Forces are officially threatening Iran, associate Ukraine with US strikes, and provoke diplomatic tensions between Kyiv and Tehran. One of the main amplifiers of the fake was OSINT613, also known as Open Source Intel, a major English-language aggregator covering Middle Eastern news with more than 1.6 million followers on X. Without conducting proper verification, the outlet presented the unidentified masked individuals as Ukrainian soldiers and relayed the threats embedded in the video to an audience of more than a million people. Open Source Intel itself claims to verify material through several independent sources. In this case, however, even the most basic verification procedures were evidently not performed. This is not the outlet’s first failure of this kind. In 2023, Reuters established that OSINT613 had falsely presented a photograph of money seized during an anti-corruption raid in Nigeria in 2017 as allegedly showing $50 million discovered in a truck carrying humanitarian aid to Gaza. After spreading the false claim, the account deleted the post and stated that it had relied on a source it considered credible. There is currently no publicly available evidence of organizational links between OSINT613 and #Russia. Its dissemination of the fake may therefore have been inadvertent. Nevertheless, the pursuit of speed and reach can turn large news aggregators into ready-made distribution channels for Russian information operations. This case illustrates the contemporary model of a Russian influence operation: cheaply produce a staged video, add a synthetic voice and subtitles tailored to the intended audience, and then pass it to major aggregators that will generate millions of views on their own. A mask, camouflage uniform, and a flag patch on a sleeve are not proof that someone belongs to the Ukrainian Armed Forces. Likewise, an account with millions of followers does not become a reliable source merely because of the size of its audience. P.S. To avoid contributing to the further spread of the original Russian information operation with Persian subtitles, we added prominent labels identifying the video as fake. As the screenshots from X demonstrate, the fake received approximately 348,000 views, while the official rebuttal issued by the Ukrainian Foreign Ministry spokesperson received only around 17,000.

InformNapalm

22,233 просмотров • 4 дней назад

English former actress and singer Shirley Eaton (born January 12, 1937) as Bond Girl Jill Masterson in the James Bond film “Goldfinger” (1964). The third photo of Eaton is when she recreated the iconic look in 2015 at 78 years old. Shirley Eaton was painted gold by makeup artist Paul Rabiger (often spelled Rabinger in some sources). Her being painted gold in “Goldfinger” (1964) was done to a strict time limit. Doctors warned that after 60 minutes the continued blocking of the pores by the paint could be dangerous. An inch square on her midriff was left clear as an added precaution on the doctors' insistence, A doctor and a nurse were on standby during filming. The scene lasted only 3 minutes, but what made things more difficult was that she had the flu at the time. Although only a small part in the film, (her character was killed only 16 minutes into the movie), the image of Eaton painted gold was renowned and Eaton appeared as such on the November 6, 1964 cover of LIFE magazine. Music | At the behest of composer John Barry, Shirley Bassey was chosen to sing the theme song. On Bassey, Barry was quoted saying “Nobody could have sung it like her; she had that great dramatic sense”. The theme was recorded on August 20, 1964 after an all-night session in the recording studio. The session was produced by EMI in-house producer George Martin, who also was the Beatles' producer at the time. Guitarist Vic Flick, who played on the track, recalled at a 2012 Academy of Motion Pictures Arts and Sciences salute to the music of James Bond that Bassey was having difficulty getting a proper take. Martin spoke to her and then over the recording baffle her brassiere came flying. She nailed it on the next take.
0:38

English former actress and singer Shirley Eaton (born January 12, 1937) as Bond Girl Jill Masterson in the James Bond film “Goldfinger” (1964). The third photo of Eaton is when she recreated the iconic look in 2015 at 78 years old. Shirley Eaton was painted gold by makeup artist Paul Rabiger (often spelled Rabinger in some sources). Her being painted gold in “Goldfinger” (1964) was done to a strict time limit. Doctors warned that after 60 minutes the continued blocking of the pores by the paint could be dangerous. An inch square on her midriff was left clear as an added precaution on the doctors' insistence, A doctor and a nurse were on standby during filming. The scene lasted only 3 minutes, but what made things more difficult was that she had the flu at the time. Although only a small part in the film, (her character was killed only 16 minutes into the movie), the image of Eaton painted gold was renowned and Eaton appeared as such on the November 6, 1964 cover of LIFE magazine. Music | At the behest of composer John Barry, Shirley Bassey was chosen to sing the theme song. On Bassey, Barry was quoted saying “Nobody could have sung it like her; she had that great dramatic sense”. The theme was recorded on August 20, 1964 after an all-night session in the recording studio. The session was produced by EMI in-house producer George Martin, who also was the Beatles' producer at the time. Guitarist Vic Flick, who played on the track, recalled at a 2012 Academy of Motion Pictures Arts and Sciences salute to the music of James Bond that Bassey was having difficulty getting a proper take. Martin spoke to her and then over the recording baffle her brassiere came flying. She nailed it on the next take.

MSI | Movie Star Icons

669,586 просмотров • 5 месяцев назад

🫶【Mechanism Study of the Tesla Optimus Hand Patent】🫶 I built a quick functional mock-up yesterday based on the newly published Tesla Optimus hand patent filings. It looks rough because I wanted to validate the mechanism as quickly as possible, but it is fully functional. What impressed me most is that the interesting part is not just the unusual joint geometry itself. My reading is that the real elegance of this design is in reducing active cable count by using an elastic return / bias element instead of another extensor-side cable, while routing the distal control cable through the proximal joints carefully enough that distal motion remains controllable with reduced unwanted coupling. The rolling-contact style joint also works surprisingly well in practice. What I respect most about these filings is that they do not read like “look at this clever mechanism.” They read like a serious attempt to solve the real problems of a tendon-driven humanoid hand: cable count, routing through multiple joints, manufacturability, and assembly. There is a very strong sense here that the design was pushed not only toward motion, but toward production. This mock-up is simplified for functional reproduction. My prototype uses a single-resin flexure, not the multilayer composite flexible member described in the patent filings, so the extension-side hysteresis is probably not representative of the intended behavior. I also did not fully reproduce the cable-support / control-channel geometry shown in the filings, so some residual inter-joint crosstalk remains in this mock-up. WO2026/080687 A1 WO2026/080690 A1 WO2026/080691 A1 WO2026/080693 A1 WO2026/080701 A1
1:01

🫶【Mechanism Study of the Tesla Optimus Hand Patent】🫶 I built a quick functional mock-up yesterday based on the newly published Tesla Optimus hand patent filings. It looks rough because I wanted to validate the mechanism as quickly as possible, but it is fully functional. What impressed me most is that the interesting part is not just the unusual joint geometry itself. My reading is that the real elegance of this design is in reducing active cable count by using an elastic return / bias element instead of another extensor-side cable, while routing the distal control cable through the proximal joints carefully enough that distal motion remains controllable with reduced unwanted coupling. The rolling-contact style joint also works surprisingly well in practice. What I respect most about these filings is that they do not read like “look at this clever mechanism.” They read like a serious attempt to solve the real problems of a tendon-driven humanoid hand: cable count, routing through multiple joints, manufacturability, and assembly. There is a very strong sense here that the design was pushed not only toward motion, but toward production. This mock-up is simplified for functional reproduction. My prototype uses a single-resin flexure, not the multilayer composite flexible member described in the patent filings, so the extension-side hysteresis is probably not representative of the intended behavior. I also did not fully reproduce the cable-support / control-channel geometry shown in the filings, so some residual inter-joint crosstalk remains in this mock-up. WO2026/080687 A1 WO2026/080690 A1 WO2026/080691 A1 WO2026/080693 A1 WO2026/080701 A1

ぷらぎあ

270,117 просмотров • 3 месяцев назад

Motion graphics used to take me an hour per scene (or more) Now I'm creating them in 3-5 minutes — without After Effects, without Premiere, without writing a single line of code. I'm a former LA filmmaker (still PGA). My entire video stack is now 3 tools: Claude Code + HyperFrames (from HeyGen) + Descript Here's how the workflow runs: 1. Drop my brand style guide into a folder (colors, fonts, components Claude reuses forever) 2. Paste a line from my Descript transcript into Claude Code: "Create a scene for this part of the video" 3. Claude Code reads my brand, generates the HyperFrames scene, renders it to MP4 4. Drag the MP4 into Descript, drop it on the matching line of the transcript 5. Done. 3-5 minutes per scene. The unlock is the brand style guide. Once Claude has your colors, fonts, and reusable components, every scene inherits your look automatically. Bonus — you can take a Claude Design export (.zip), hand it to Claude Code, and it'll convert the HTML into a HyperFrames video you can render and edit. I built a GitHub repo with all the skills pre-loaded. Non-developers can clone it, open Claude Code, and be rendering scenes in under 10 minutes. Full walkthrough (20 min video) below Repo (skills + brand template + music-from-transcript plugin): Bookmark this if you make videos. The brand-style-guide pattern alone will save you hours every week. If you're a creator or operator using AI for content — share this with someone who's still living in After Effects.
23:55

Motion graphics used to take me an hour per scene (or more) Now I'm creating them in 3-5 minutes — without After Effects, without Premiere, without writing a single line of code. I'm a former LA filmmaker (still PGA). My entire video stack is now 3 tools: Claude Code + HyperFrames (from HeyGen) + Descript Here's how the workflow runs: 1. Drop my brand style guide into a folder (colors, fonts, components Claude reuses forever) 2. Paste a line from my Descript transcript into Claude Code: "Create a scene for this part of the video" 3. Claude Code reads my brand, generates the HyperFrames scene, renders it to MP4 4. Drag the MP4 into Descript, drop it on the matching line of the transcript 5. Done. 3-5 minutes per scene. The unlock is the brand style guide. Once Claude has your colors, fonts, and reusable components, every scene inherits your look automatically. Bonus — you can take a Claude Design export (.zip), hand it to Claude Code, and it'll convert the HTML into a HyperFrames video you can render and edit. I built a GitHub repo with all the skills pre-loaded. Non-developers can clone it, open Claude Code, and be rendering scenes in under 10 minutes. Full walkthrough (20 min video) below Repo (skills + brand template + music-from-transcript plugin): Bookmark this if you make videos. The brand-style-guide pattern alone will save you hours every week. If you're a creator or operator using AI for content — share this with someone who's still living in After Effects.

JJ Englert

103,435 просмотров • 3 месяцев назад

EXCLUSIVE: The Next Financial Shift Is Already in Motion Bitcoin didn’t start as an investment. It started as an idea. Back in 2008, right after the financial crisis, someone using the name Satoshi Nakamoto released a whitepaper describing a new kind of money. No banks. No central authority. Just a digital currency that people could send directly to each other. In 2009, Bitcoin launched. At the time, it was basically worthless. In fact, one of the first real-world transactions was 10,000 Bitcoin for two pizzas. Today, that same amount would be worth hundreds of millions of dollars. Since then, Bitcoin has gone from an obscure experiment to a global asset. It’s traded by institutions, held by public companies, and even recognized as legal tender in some countries. Entire financial systems are being built around it. But the path hasn’t been smooth. Crypto has seen massive runs, sharp crashes, and constant headlines. Prices have surged, collapsed, and surged again. And while adoption has grown, confusion hasn’t gone away. A lot of people still don’t fully understand how it works. They hear terms like “blockchain,” “wallets,” or “private keys,” and it feels overwhelming. Others are interested, but they don’t want to actively trade or manage something this volatile—especially when it comes to retirement savings. At the same time, there’s a growing belief that the future of money will be more digital, more decentralized, and more data-driven. So the real question becomes: How do you participate in something like this… without having to become a crypto expert, and without putting your financial future at unnecessary risk? Jonathan Rose, CEO of BlockTrust IRA, joins us now to discuss... 🧵
1:46

EXCLUSIVE: The Next Financial Shift Is Already in Motion Bitcoin didn’t start as an investment. It started as an idea. Back in 2008, right after the financial crisis, someone using the name Satoshi Nakamoto released a whitepaper describing a new kind of money. No banks. No central authority. Just a digital currency that people could send directly to each other. In 2009, Bitcoin launched. At the time, it was basically worthless. In fact, one of the first real-world transactions was 10,000 Bitcoin for two pizzas. Today, that same amount would be worth hundreds of millions of dollars. Since then, Bitcoin has gone from an obscure experiment to a global asset. It’s traded by institutions, held by public companies, and even recognized as legal tender in some countries. Entire financial systems are being built around it. But the path hasn’t been smooth. Crypto has seen massive runs, sharp crashes, and constant headlines. Prices have surged, collapsed, and surged again. And while adoption has grown, confusion hasn’t gone away. A lot of people still don’t fully understand how it works. They hear terms like “blockchain,” “wallets,” or “private keys,” and it feels overwhelming. Others are interested, but they don’t want to actively trade or manage something this volatile—especially when it comes to retirement savings. At the same time, there’s a growing belief that the future of money will be more digital, more decentralized, and more data-driven. So the real question becomes: How do you participate in something like this… without having to become a crypto expert, and without putting your financial future at unnecessary risk? Jonathan Rose, CEO of BlockTrust IRA, joins us now to discuss... 🧵

The Vigilant Fox 🦊

32,356 просмотров • 4 месяцев назад

What is an Automated Market Maker (AMM)? ************* Notes: The video is attached. Links to the shorts on other platforms are in the second Tweet. Voting on fees using your LP tokens is limited to the 8 biggest LP holders. For auctions, the discount gets you close to 0% but not effectively 0%. The math example couldn’t exist in reality based on G3M. It is just an example to explain the process. ************* Imagine a robot (AMM) that's always ready to help you trade your money (assets) with others on a special online platform (the XRP Ledger's decentralised exchange). This robot doesn’t need to find someone else to take the other side of your trade; it just makes the trade happen using a big pot of money (pool) it manages. How Does it Work? Trading: You can swap one type of money (asset) for another anytime you want, using the robot’s pot of money. The robot uses a special formula to decide the swap rate. Creating a Pool: Anyone can create a new pot of money for two different types of assets if it doesn’t exist yet, or add to an existing one. Rewards for Pool Creators: People who add money to the pot (liquidity providers) get special tokens (LP Tokens) as a thank-you. These tokens can be used to: • Get a share of the money in the pot back, along with some extra (fees collected). • Have a say in changing the robot’s settings, like trading fees. • Bid to get a temporary discount on trading fees. Risks and Rewards: If many people are swapping money and the pot stays balanced, the people who added money to the pot earn some passive income from the fees. But, if the value of the assets changes a lot, they might lose some money. More Technical Bits: Exchange Rate: The robot adjusts the swap rate based on how much each asset has in its pot. If it has a lot of one asset, that asset becomes cheaper to swap. Trading Fees: The robot charges a small fee for each swap, which goes to the people who added money to the pot. Voting on Fees: People with LP Tokens can vote to change the trading fee; the more tokens you have, the more your vote counts. Auction Slot: There’s a special feature where you can bid to get a discount on trading fees for a day. You bid with LP Tokens, and if you win, you (and up to 4 friends) pay no trading fees for 24 hours. LP Tokens: These are special tokens you get for adding money to the pot. They can be traded, used to vote on fees, or redeemed to pull your money out of the pot. Deleting an AMM: If all the money gets pulled out of the pot, the robot (AMM) gets deleted. But, it can be recreated by adding money to the pot again. In a Nutshell: An AMM is like a robot banker that helps people easily swap different types of money using a big shared pot. People who add money to the pot get special tokens and can earn fees from the swaps, but there are some risks if the market changes a lot. They can also vote on settings and bid for fee discounts. If the pot empties, the robot goes away but can be brought back by refilling the pot. Let’s look at an Example: Step 1: Creating a Money Pot with the AMM Robot Alice creates a new money pot (AMM) using the robot. She chooses two types of money: US Dollars (USD) and XRP. She puts in: 1000 USD 10 XRP In this example, we assume an exchange rate of $1 per XRP for easy math. Alice gets special tokens (LP Tokens) from the robot as a thank-you for adding money to the pot. These tokens prove she added money and can be used later to get her money back, plus some extra if the robot earns fees. Step 2: Bob Makes a Swap Bob wants to swap his 100 USD for XRP. He doesn’t have to wait for someone to take his offer; the robot does it instantly using the money in the pot. The robot uses a formula to decide how much XRP Bob gets for his 100 USD, ensuring it's a fair rate based on how much USD and XRP are in the pot. Step 3: Earning Fees The robot charges Bob a small fee, let’s say 1%, for convenience. So, Bob pays 1 USD as a fee, which stays in the pot. Now, the pot has more money than it started with, which is good for Alice because she can earn that extra when she uses her LP Tokens. Step 4: Alice Withdraws Her Money After some time, Alice decides to take her money out of the pot. Thanks to the fees the robot earned from Bob and others, the pot has grown to: 1101 USD 9 XRP Alice uses her LP Tokens to claim her share of the money in the pot. If she puts in 100% of the original money, she gets 100% of what’s in the pot now, including the extra earned from fees. Step 5: Voting and Discounts Alice can also use her LP Tokens to vote on things, like changing the robot’s fee. And, if she wants a discount on fees, she can bid for a special 24-hour discount slot using her LP Tokens. Conclusion In this example, the AMM robot helped Alice earn extra money by providing a convenient way for Bob to swap his USD for XRP. Alice took on some risk by putting her money into the pot, but she earned fees from Bob’s and others’ trades as a reward. Bob enjoyed the convenience of instant, hassle-free trading. And the AMM robot managed it all automatically!
6:08

What is an Automated Market Maker (AMM)? ************* Notes: The video is attached. Links to the shorts on other platforms are in the second Tweet. Voting on fees using your LP tokens is limited to the 8 biggest LP holders. For auctions, the discount gets you close to 0% but not effectively 0%. The math example couldn’t exist in reality based on G3M. It is just an example to explain the process. ************* Imagine a robot (AMM) that's always ready to help you trade your money (assets) with others on a special online platform (the XRP Ledger's decentralised exchange). This robot doesn’t need to find someone else to take the other side of your trade; it just makes the trade happen using a big pot of money (pool) it manages. How Does it Work? Trading: You can swap one type of money (asset) for another anytime you want, using the robot’s pot of money. The robot uses a special formula to decide the swap rate. Creating a Pool: Anyone can create a new pot of money for two different types of assets if it doesn’t exist yet, or add to an existing one. Rewards for Pool Creators: People who add money to the pot (liquidity providers) get special tokens (LP Tokens) as a thank-you. These tokens can be used to: • Get a share of the money in the pot back, along with some extra (fees collected). • Have a say in changing the robot’s settings, like trading fees. • Bid to get a temporary discount on trading fees. Risks and Rewards: If many people are swapping money and the pot stays balanced, the people who added money to the pot earn some passive income from the fees. But, if the value of the assets changes a lot, they might lose some money. More Technical Bits: Exchange Rate: The robot adjusts the swap rate based on how much each asset has in its pot. If it has a lot of one asset, that asset becomes cheaper to swap. Trading Fees: The robot charges a small fee for each swap, which goes to the people who added money to the pot. Voting on Fees: People with LP Tokens can vote to change the trading fee; the more tokens you have, the more your vote counts. Auction Slot: There’s a special feature where you can bid to get a discount on trading fees for a day. You bid with LP Tokens, and if you win, you (and up to 4 friends) pay no trading fees for 24 hours. LP Tokens: These are special tokens you get for adding money to the pot. They can be traded, used to vote on fees, or redeemed to pull your money out of the pot. Deleting an AMM: If all the money gets pulled out of the pot, the robot (AMM) gets deleted. But, it can be recreated by adding money to the pot again. In a Nutshell: An AMM is like a robot banker that helps people easily swap different types of money using a big shared pot. People who add money to the pot get special tokens and can earn fees from the swaps, but there are some risks if the market changes a lot. They can also vote on settings and bid for fee discounts. If the pot empties, the robot goes away but can be brought back by refilling the pot. Let’s look at an Example: Step 1: Creating a Money Pot with the AMM Robot Alice creates a new money pot (AMM) using the robot. She chooses two types of money: US Dollars (USD) and XRP. She puts in: 1000 USD 10 XRP In this example, we assume an exchange rate of $1 per XRP for easy math. Alice gets special tokens (LP Tokens) from the robot as a thank-you for adding money to the pot. These tokens prove she added money and can be used later to get her money back, plus some extra if the robot earns fees. Step 2: Bob Makes a Swap Bob wants to swap his 100 USD for XRP. He doesn’t have to wait for someone to take his offer; the robot does it instantly using the money in the pot. The robot uses a formula to decide how much XRP Bob gets for his 100 USD, ensuring it's a fair rate based on how much USD and XRP are in the pot. Step 3: Earning Fees The robot charges Bob a small fee, let’s say 1%, for convenience. So, Bob pays 1 USD as a fee, which stays in the pot. Now, the pot has more money than it started with, which is good for Alice because she can earn that extra when she uses her LP Tokens. Step 4: Alice Withdraws Her Money After some time, Alice decides to take her money out of the pot. Thanks to the fees the robot earned from Bob and others, the pot has grown to: 1101 USD 9 XRP Alice uses her LP Tokens to claim her share of the money in the pot. If she puts in 100% of the original money, she gets 100% of what’s in the pot now, including the extra earned from fees. Step 5: Voting and Discounts Alice can also use her LP Tokens to vote on things, like changing the robot’s fee. And, if she wants a discount on fees, she can bid for a special 24-hour discount slot using her LP Tokens. Conclusion In this example, the AMM robot helped Alice earn extra money by providing a convenient way for Bob to swap his USD for XRP. Alice took on some risk by putting her money into the pot, but she earned fees from Bob’s and others’ trades as a reward. Bob enjoyed the convenience of instant, hassle-free trading. And the AMM robot managed it all automatically!

Daniel "CEO of the XRPL" Keller

238,486 просмотров • 2 лет назад

🚨 EPSTEIN COVERUP (keep reading) Below is a video of Attorney General Pamela Bondi Pam Bondi saying on television that Krasnov Donald Trump "directed" her to review the Epstien "client list" so it can be released to the public. Added to the end of that video, you'll see footage of right-wing influencers with binders labeled "The Epstein Files: Phase 1" given to them by Attorney General Pamela Bondi at the White House on Thursday, February 27, 2025. Also below is a memo released by the U.S. Department of Justice and FBI FBIDirectorKash FBIDDBongino **all of a sudden** declaring that their is no "client list" after all - you know, the same client list Bondi said she was sitting on her desk and reviewing in this video. Not only is this Krasnov Trump's administration trying to now admit there's no "client list," they are trying to USE THE VICTIMS as an excuse for not releasing any more information regarding the Epstein files. They aren't blaming the perpetrators for these grotesque pedophilia acts, or using the perpetrators as a reason to RELEASE these Epstein files — THEY ARE USING THE VICTIMS AS AN EXCUSE TO COVER IT UP!! So, in my personal opinion, this leads me to believe that Krasnov Donald J. Trump name is all over these Epstein files, and all over that client list. Bcos let's be honest and realistic — if Krasnov Trump's name WASN'T in these files, those files would have already been released. ESPECIALLY, if they contained Bill Clinton's name, or Joe Biden’s name (as some have alleged). THEY ARE PERPETRATING A COVER UP!! 👇👇👇👇
0:36

🚨 EPSTEIN COVERUP (keep reading) Below is a video of Attorney General Pamela Bondi Pam Bondi saying on television that Krasnov Donald Trump "directed" her to review the Epstien "client list" so it can be released to the public. Added to the end of that video, you'll see footage of right-wing influencers with binders labeled "The Epstein Files: Phase 1" given to them by Attorney General Pamela Bondi at the White House on Thursday, February 27, 2025. Also below is a memo released by the U.S. Department of Justice and FBI FBIDirectorKash FBIDDBongino **all of a sudden** declaring that their is no "client list" after all - you know, the same client list Bondi said she was sitting on her desk and reviewing in this video. Not only is this Krasnov Trump's administration trying to now admit there's no "client list," they are trying to USE THE VICTIMS as an excuse for not releasing any more information regarding the Epstein files. They aren't blaming the perpetrators for these grotesque pedophilia acts, or using the perpetrators as a reason to RELEASE these Epstein files — THEY ARE USING THE VICTIMS AS AN EXCUSE TO COVER IT UP!! So, in my personal opinion, this leads me to believe that Krasnov Donald J. Trump name is all over these Epstein files, and all over that client list. Bcos let's be honest and realistic — if Krasnov Trump's name WASN'T in these files, those files would have already been released. ESPECIALLY, if they contained Bill Clinton's name, or Joe Biden’s name (as some have alleged). THEY ARE PERPETRATING A COVER UP!! 👇👇👇👇

Gene Trevino

48,818 просмотров • 1 год назад

🚨 Liberals are ramming through a surveillance bill — and they’re doing it in pure bad faith. Conservative MPs Frank Caputo and Jacob Mantle just exposed exactly how this government operates. Bill C-22 (Lawful Access) gives the state sweeping new powers over your data, metadata retention, and service provider obligations. Instead of proper debate, the Liberals dropped a programming motion that: - Retroactively slammed the door on amendments (only they got to sneak theirs in after the deadline) - Gutted committee time - Skipped real clause-by-clause scrutiny - Ignored concerns from civil liberties groups, tech companies, and even some police They’ve had **11 years** in power. They could have done this thoughtfully. Instead they’re using the same tired false choice (“you’re either with the police or with criminals”) while shutting down the opposition’s job — which is to actually scrutinize the bill. This isn’t how you pass legislation that affects every Canadian’s privacy and charter rights. This is how you ram something through before people notice what’s in it. Same pattern as everything else: ram it, limit debate, then accuse anyone who objects of being “soft on crime.” Your data. Your privacy. Your rights. They’re treating them like an inconvenience. Do you trust this government with lawful access to your digital life? Tell me below 👇 #cdnpoli #BillC22 #LiberalFail
2:50

🚨 Liberals are ramming through a surveillance bill — and they’re doing it in pure bad faith. Conservative MPs Frank Caputo and Jacob Mantle just exposed exactly how this government operates. Bill C-22 (Lawful Access) gives the state sweeping new powers over your data, metadata retention, and service provider obligations. Instead of proper debate, the Liberals dropped a programming motion that: - Retroactively slammed the door on amendments (only they got to sneak theirs in after the deadline) - Gutted committee time - Skipped real clause-by-clause scrutiny - Ignored concerns from civil liberties groups, tech companies, and even some police They’ve had **11 years** in power. They could have done this thoughtfully. Instead they’re using the same tired false choice (“you’re either with the police or with criminals”) while shutting down the opposition’s job — which is to actually scrutinize the bill. This isn’t how you pass legislation that affects every Canadian’s privacy and charter rights. This is how you ram something through before people notice what’s in it. Same pattern as everything else: ram it, limit debate, then accuse anyone who objects of being “soft on crime.” Your data. Your privacy. Your rights. They’re treating them like an inconvenience. Do you trust this government with lawful access to your digital life? Tell me below 👇 #cdnpoli #BillC22 #LiberalFail

JayGen 𝕏 er🇨🇦

10,768 просмотров • 1 месяц назад

Lenz Law "Eddy Current" Experiments 2 of 3 - Ring Magnets and a Spinning Copper Rod (YouTube deleted this experiment as well, labeling it as "medical misinformation.") Around 2010, I wrote a Facebook note titled "Frictionless Flywheel". (Facebook deleted my page of 15 years). In that write-up, I speculated and predicted that... ... if a magnet falls in slow motion down a copper tube... then what would happen if you did the inverse? Drop a magnet ring around a copper rod? It's the same relative motion between the magnet and the copper. So the magnet would tilt at an angle while slightly rotating as it falls in slow motion around the copper. But then I said... "Let's take it one step further... I predict that if you have magnet rings around a copper rod... and then you spin the rod... that the magnet rings would stabilize around the rod from eddy currents." I said, there will be a magnetic bearing effect where the magnet ring will levitate and spin. Because it's following in the wake of the eddy currents produced by the rotating copper. So the magnet should catch up to speed of the copper and match it like the moon to the Earth. Essentially remaining fixed relative to the copper rod... but since the copper is spinning at a high RPM, then the magnet should spin at a high RPM; albeit, with a slight lag. So, abiding by the scientific method, I make an observation of the magnet falling in slow motion. I thought critically about. I get a new idea. Once the new idea passes muster, I allow my self to make a prediction for a scenario that hasn't been tried yet. Worked it out in my mind to see if it was viable. But then I needed to test it. I didn't have the ability to spin a copper rod at a high enough RPM that I theorized would be needed. So I communicated with my friend Josh Toms We had been talking about different experiments for quite a while. Josh is a real experimenter and a good man. He tests things before he speaks on them and when he speaks, it's with an informed opinion. He sent me a copper sphere about 2 inches in diameter and taught me some cool stuff about eddy currents I hadn't seen when sending each other clips of experiments we were working on. I explained the concept of the "frictionless flywheel" and my prediction that the magnets would levitate and stabilize around the copper rod if it was fast enough. So Josh built a platform using an angle grinder as a motor to spin a copper rod. He put very strong NdFeB magnets around the 1 inch diameter copper rod. IT WORKED! Josh brought this platform to the Tesla Technology Conference in Albuquerque, NM in 2010 where we met up. I filmed the demonstration of the platform you see in this video. There was a young boy who was fascinated by some of the magnet demonstrations I and others were giving at the conference. So I was explaining the process of what was happening to the inquisitive kid. Again.. what you notice here is that the eddy currents act as a force field to prevent friction between the magnets and copper. There is a stable gap and "magnetic cushion" that forms after a certain RPM. (Dependent upon the mass/gauss of the magnet in relation to the diamagnetic quality/mass of the copper or material in motion.) And what is super interesting to me is that once again... you can violently shake the entire platform and it WILL NOT disturb the magnets. The will not touch that copper after a certain RPM. You could make violent 90˚ turns and from the perspective of the magnets... it's just moving in slow motion relative to the copper. Just like how the magnet falls in slow motion relative to the copper down the tube. But this is just at a higher velocity relative to a stationary observer viewing the rotating system. But it doesn't matter if it's a centripetally rotating system at a constant velocity or linear acceleration in a particular direction... those eddy currents act as a force field to protect whatever is relative to the magnets and/or copper in those moments. So the claim and prediction that a frictionless flywheel effect and magnetic bearing would take place between a ring magnet and spinning copper rod DEMONSTRATED to be true. Now "PROVING" this scenario means to derive mathematical equations to justify an explanation of how the end results arise. Spinning magnets on a copper rod doesn't prove anything. In science... proof is math. Experiments can never prove anything. Experiments never provide equations or numbers or variables. Experiments provide evidence. You collect the evidence FIRST... AFTER doing real-world, hands-on experimentation. Anything else is just armchair research and talk. You write the proofs on paper to describe how you think things happen. And your proofs must abide by the constraints of the model you use. Sure... you can use a mathematical artifice like Lorentz invariance (relativity) to prove the end results arise because of: dark matter accumulating between the magnet and copper. Or that it must be space-time curvature bending... Or that it must be because of the aether rippling and vortexing... Or because of the dynamic casimir effect or zero point energy. Or anti-gravity. NOPE! None of those things are needed in the explanations I offer for any experiments and real-world data collected. I use the framework of what I call GALILEAN VARIANCE. Good ol' classical physics in 3D Euclidean space. No 4th dimension. No space-time. No aether. No nonsense. Only Newtonian Mechanics and elementary math.... but with a twist! ... and under.. "a new light". I have a completely different interpretation as to what gravity is and the mechanism of how it arises. Issac Newton never claimed to have a theory for the CAUSE of gravity. Newton's brilliant work and optics describes the behavior of matter and energy within a gravitational field. But he never claimed to know what causes gravity. "I have not as yet been able to discover the reason for these properties of gravity from phenomena, and I do not form any hypotheses." - Newton However... I do claim to have an explanation for the cause and mechanism of gravity. And it means a total abandonment of relativity and half of QED. Gravity IS a force! (and an emission) Eddy currents are not gravity. Magnetism is not gravity. And the kicker... gravity is not electric either. It's an illusion. Gravity is not an illusion. But the illusion is that people think gravity is electric. It's not. I have a completely different take. And boy has it gotten me in a lot of trouble and banned from speaking time and time again. But... if the information is valid... then trying to suppress it is like trying to hold an inflated basketball under water. Your arms are gonna get tired eventually and things are gonna come up to the surface with spring-loaded force. Equal to the amount people tried holding it back. The Rebirth of Classical Physics: Time, Light & Gravity
2:36

Lenz Law "Eddy Current" Experiments 2 of 3 - Ring Magnets and a Spinning Copper Rod (YouTube deleted this experiment as well, labeling it as "medical misinformation.") Around 2010, I wrote a Facebook note titled "Frictionless Flywheel". (Facebook deleted my page of 15 years). In that write-up, I speculated and predicted that... ... if a magnet falls in slow motion down a copper tube... then what would happen if you did the inverse? Drop a magnet ring around a copper rod? It's the same relative motion between the magnet and the copper. So the magnet would tilt at an angle while slightly rotating as it falls in slow motion around the copper. But then I said... "Let's take it one step further... I predict that if you have magnet rings around a copper rod... and then you spin the rod... that the magnet rings would stabilize around the rod from eddy currents." I said, there will be a magnetic bearing effect where the magnet ring will levitate and spin. Because it's following in the wake of the eddy currents produced by the rotating copper. So the magnet should catch up to speed of the copper and match it like the moon to the Earth. Essentially remaining fixed relative to the copper rod... but since the copper is spinning at a high RPM, then the magnet should spin at a high RPM; albeit, with a slight lag. So, abiding by the scientific method, I make an observation of the magnet falling in slow motion. I thought critically about. I get a new idea. Once the new idea passes muster, I allow my self to make a prediction for a scenario that hasn't been tried yet. Worked it out in my mind to see if it was viable. But then I needed to test it. I didn't have the ability to spin a copper rod at a high enough RPM that I theorized would be needed. So I communicated with my friend Josh Toms We had been talking about different experiments for quite a while. Josh is a real experimenter and a good man. He tests things before he speaks on them and when he speaks, it's with an informed opinion. He sent me a copper sphere about 2 inches in diameter and taught me some cool stuff about eddy currents I hadn't seen when sending each other clips of experiments we were working on. I explained the concept of the "frictionless flywheel" and my prediction that the magnets would levitate and stabilize around the copper rod if it was fast enough. So Josh built a platform using an angle grinder as a motor to spin a copper rod. He put very strong NdFeB magnets around the 1 inch diameter copper rod. IT WORKED! Josh brought this platform to the Tesla Technology Conference in Albuquerque, NM in 2010 where we met up. I filmed the demonstration of the platform you see in this video. There was a young boy who was fascinated by some of the magnet demonstrations I and others were giving at the conference. So I was explaining the process of what was happening to the inquisitive kid. Again.. what you notice here is that the eddy currents act as a force field to prevent friction between the magnets and copper. There is a stable gap and "magnetic cushion" that forms after a certain RPM. (Dependent upon the mass/gauss of the magnet in relation to the diamagnetic quality/mass of the copper or material in motion.) And what is super interesting to me is that once again... you can violently shake the entire platform and it WILL NOT disturb the magnets. The will not touch that copper after a certain RPM. You could make violent 90˚ turns and from the perspective of the magnets... it's just moving in slow motion relative to the copper. Just like how the magnet falls in slow motion relative to the copper down the tube. But this is just at a higher velocity relative to a stationary observer viewing the rotating system. But it doesn't matter if it's a centripetally rotating system at a constant velocity or linear acceleration in a particular direction... those eddy currents act as a force field to protect whatever is relative to the magnets and/or copper in those moments. So the claim and prediction that a frictionless flywheel effect and magnetic bearing would take place between a ring magnet and spinning copper rod DEMONSTRATED to be true. Now "PROVING" this scenario means to derive mathematical equations to justify an explanation of how the end results arise. Spinning magnets on a copper rod doesn't prove anything. In science... proof is math. Experiments can never prove anything. Experiments never provide equations or numbers or variables. Experiments provide evidence. You collect the evidence FIRST... AFTER doing real-world, hands-on experimentation. Anything else is just armchair research and talk. You write the proofs on paper to describe how you think things happen. And your proofs must abide by the constraints of the model you use. Sure... you can use a mathematical artifice like Lorentz invariance (relativity) to prove the end results arise because of: dark matter accumulating between the magnet and copper. Or that it must be space-time curvature bending... Or that it must be because of the aether rippling and vortexing... Or because of the dynamic casimir effect or zero point energy. Or anti-gravity. NOPE! None of those things are needed in the explanations I offer for any experiments and real-world data collected. I use the framework of what I call GALILEAN VARIANCE. Good ol' classical physics in 3D Euclidean space. No 4th dimension. No space-time. No aether. No nonsense. Only Newtonian Mechanics and elementary math.... but with a twist! ... and under.. "a new light". I have a completely different interpretation as to what gravity is and the mechanism of how it arises. Issac Newton never claimed to have a theory for the CAUSE of gravity. Newton's brilliant work and optics describes the behavior of matter and energy within a gravitational field. But he never claimed to know what causes gravity. "I have not as yet been able to discover the reason for these properties of gravity from phenomena, and I do not form any hypotheses." - Newton However... I do claim to have an explanation for the cause and mechanism of gravity. And it means a total abandonment of relativity and half of QED. Gravity IS a force! (and an emission) Eddy currents are not gravity. Magnetism is not gravity. And the kicker... gravity is not electric either. It's an illusion. Gravity is not an illusion. But the illusion is that people think gravity is electric. It's not. I have a completely different take. And boy has it gotten me in a lot of trouble and banned from speaking time and time again. But... if the information is valid... then trying to suppress it is like trying to hold an inflated basketball under water. Your arms are gonna get tired eventually and things are gonna come up to the surface with spring-loaded force. Equal to the amount people tried holding it back. The Rebirth of Classical Physics: Time, Light & Gravity

TheRealVerbz (Jason Verbelli)

45,879 просмотров • 1 год назад