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this is the only way i keep up with my adobe subscription istg (PART TWO) Editing & VA 💻/🎙️: @JunoTheGoblin Intro VA 🎙️: JJJuicy🔞 Art 🎨: Dross🔞 SFX Pack 🎵: HentAudio 🇺🇦 🟢COMMS OPEN🟢 #gay #bottom #femboy #yaoi #NSFW

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Fumio Bukita 🔞 (COMMS OPEN)

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42,854 Aufrufe • vor 2 Jahren •via X (Twitter)

NSFW#gay#bottom#femboy#yaoi#NSFW
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I failed to make a web app on both Replit & Lovable (and I code). I still think every PM should try this at least once. Bottom line: • I didn't need to "code," but at some point I was definitely doing engineering. • Building a complex web application takes babysitting • These tools are amazing for expressing ideas and visualizing data • PMs, try this out! It builds intuition for being on the other side of an agent (and now you don't have to be afraid of failing) My background: I can build web apps (though I became a PM because I was pretty bad at it) What I wanted to build: I wanted to replicate Graphtreon (unofficial patreon scraper and public revenue dashboard), but for Maven (where my course is hosted). How it went for me: 🟢 ChatGPT/Claude helped me iterate to a great prompt (literally, "help me write a prompt for an AI LLM prototyping tool to build a web app that...") 🟢 I pasted that into both Lovable and Replit (why not open two tabs) 🟢 Iterating on the UI was awesome. If I kept feedback high-level, it would think of all the little flow details on its own (confirmation dialogs, errors) 🟡 It had backend powers, but needed *a lot* of obvious help on setting up simple backend web scraping (not nobel prize type work) 🟡 I tried to "empower" it with higher-level goals, but kept getting dragged back down to troubleshooting 🔴 I found myself babysitting every error, and building features solely for the purpose of observability and debugging 🔴 I was having fun, but for the wrong reasons (breaking through frustrating walls rather than for outcomes, insights, or innovation) That said, my friend succeeded. A former PM colleague (now founder) successfully built a web app using Lovable, and reported the same experience. He succeeded because he was way more persistent (spent many days fully focused on this) and also smarter. These tools are in a weird, adolescent neither-here-nor-there stage. That said, I'm still super impressed, and can't believe this even exists. Most importantly for product managers: I recommend trying this hands-on ✓ Timebox yourself to an hour ✓ What's a piece of software you didn't get approval to buy? ✓ Allow yourself to get in the weeds, if only as an exercise ✓ Build intuition for what it's like to be on the other side of an agent doing something really complex. Now you don't have to feel bad if you fail :)

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250811 #ATEEZ #Mingi TOKTOQ pop live (rough translation): 💬 I study 🐥 Yeah, I study too, always. I think I have to study for my whole life, anything. Lately I keep watching on YouTube, you know, those history and geography professors having debates - I watch that every day. Originally… uh… there’s this… I don’t know the title, but… So Yi Seonggye founded Joseon, and then at that time Yi Bangwon and the Prince’s Rebellion happened - there’s a drama set in that period. Ah, I don’t remember the drama’s name - with Jang Hyuk sunbaenim - no, no, not that one. The recent one. About two years ago. The one with Woo Dohwan-nim. My Country… right… My Country - that one. So I was watching clips of it on YouTube, and then I got curious because it was interesting, so I ended up watching it on Netflix. And then I got curious about the actual historical details, so I looked up the process of going from Goryeo to Joseon. While watching that, I found the concept of nations interesting, but then suddenly I ended up moving on to Egypt. It’s not like I have some high level of academic rigor or anything - I just watch whatever I get curious about. So like that I ended up on Egypt. It was a YouTube channel where they debate Egyptian geography. The thing is, I always… I don’t really think about what my problem is, but if I had to say, my problem is I’m bad at remembering titles. For example, even for songs I listen to… I’m kind of - how should I say this - I recognize the art style sometimes. Is it okay if I say that? Why is it okay? Like, I remember the album cover. So I actually don’t really remember song titles. So… I guess I tend to remember things more as images or shapes. 💬 Mingi, are you good at remembering people’s faces? 🐥 Honestly, I wouldn’t say I’m particularly good at remembering faces, because my personality isn’t the kind that can stay deeply immersed in a lot of different things at once. Anyway, while watching that, I just went past it, and then today - what did I watch? Ah, there was someone talking about space. And it wasn’t me saying this - it was a professor. He said the evidence that the universe is expanding, and the theories that it could keep stretching out after the Big Bang - those can, in a way, be seen as the same as the theory that the Earth is flat. Why? Because with something like the Big Bang theory, we’ve only looked at - what - a few hundred million years, and from our current point in time, we’ve made a hypothesis. So you could feel that way. That’s what he was saying. So that was about the universe’s past - he was talking about it in that kind of analogy. And since the part of the universe we’ve seen is still limited, I think he was using that comparison to explain it.

Irene | AhgaTiny

21,408 Aufrufe • vor 1 Jahr

My fox shooting garden defending AI robot is finally done and WORKING! 🤩 (Don’t worry it only shoots 💦 water) After months of slowly moving forward with each part I finished the last step to train a TensorFlow model on the footage of the 🦊 fox I collected hours of footage 📹 with the fox roaming around my garden, from this I labeled around 2000 images with the fox by hand ✋ Honestly, I was quite skeptical training the model was actually gonna work, maybe this was partly the reason I avoided working on this until the very end. If I couldn’t train a model to detect the fox, this whole robot would never be able to function properly. On the flipside though, with no previous experience in hardware or electronics there was a bit of a learning curve and I didn’t want to end up labeling thousands of images, training a TensorFlow model, only to fail on building the hardware. As I started building, I realized that mixing hardware and software adds quite another dimension to debugging things. At times I wasted hours debugging code in my IDE, only to realize the issue was somewhere in the electronics. Furthermore, combining this side project with a full time job and a young family, is not always easy. It can be quite frustrating, to know you only need 4 hours of concentrated effort for a small task, having to spread it out across a week of 20min increments. Then, a few months into the build I noticed the fox had stopped coming to my garden, in fact one day, I recorded her walking with 3 cute little 🐶 pups, and the next day I saw her moving out of my garden completely. Did she know I was building a robot? I had this strange mix of feelings, happy my garden was safe from poop and digging, happy she was safe with her pups, but how was I gonna finish this project if my robot had no fox to detect? For sure they would be back next year, I figured I could postpone the whole thing until next winter, but I also knew it was gonna be much harder to pick up momentum if I did let it sit there for six months. So I decided to keep working, hoping the fox would reappear,.. but she never did. As I finished labeling the footage and started training my model, I could finally see the mAP results, quantifying the precision of my object detection model. It was measuring at 78% across different metrics on detecting my fox. I quickly ran the model on some of the video footage I got from my fox. Inference speed took a hit, but it did a near perfect job detecting the fox, even when she was deep down in the grass or wizzing past in a motion blur. It took me by surprise how well it worked. With the default model I had to drop my confidence threshold way down to 15%, to recognize the fox as 🦜“bird” in one or two frames, with my custom model it followed the fox all the way down to the back of the garden! Still this didn’t solve the issue of there being no actual fox in my garden and how was I gonna wrap this project in a short timeframe. I played with the idea of putting a fox toy 🧸 on an RC 🚗 car, or borrowing a dog to run around the garden to test. Friends suggested I run around the garden in a fox costume.. what a ridiculous idea. I wasn’t really feeling the idea of running around the garden in a floppy cloth fox 🎭 costume, but had a look anyway. I came across these self inflating costumes. This actually could be perfect. Since it’s inflated, it would hold its shape super well, making it much easier to label, train and be recognized by my robot. So I got the costume and shot a time lapse of myself as a fox walking around the garden. I labeled it to around 600 images. Ran the model training again and got a mAP result of 82%. This was even better than my real fox! At this point I knew this was gonna work. So here’s the final 🎥 video, just having some fun with it. I’ll update here whenever the real fox does come back. On a final note, I’m looking for (remote) jobs in these fields of AI now: - object detection - visual generative AI - 3D (nerfs + gaussian splats) So if you know anything let me know! My DMs are open 😊
2:05

My fox shooting garden defending AI robot is finally done and WORKING! 🤩 (Don’t worry it only shoots 💦 water) After months of slowly moving forward with each part I finished the last step to train a TensorFlow model on the footage of the 🦊 fox I collected hours of footage 📹 with the fox roaming around my garden, from this I labeled around 2000 images with the fox by hand ✋ Honestly, I was quite skeptical training the model was actually gonna work, maybe this was partly the reason I avoided working on this until the very end. If I couldn’t train a model to detect the fox, this whole robot would never be able to function properly. On the flipside though, with no previous experience in hardware or electronics there was a bit of a learning curve and I didn’t want to end up labeling thousands of images, training a TensorFlow model, only to fail on building the hardware. As I started building, I realized that mixing hardware and software adds quite another dimension to debugging things. At times I wasted hours debugging code in my IDE, only to realize the issue was somewhere in the electronics. Furthermore, combining this side project with a full time job and a young family, is not always easy. It can be quite frustrating, to know you only need 4 hours of concentrated effort for a small task, having to spread it out across a week of 20min increments. Then, a few months into the build I noticed the fox had stopped coming to my garden, in fact one day, I recorded her walking with 3 cute little 🐶 pups, and the next day I saw her moving out of my garden completely. Did she know I was building a robot? I had this strange mix of feelings, happy my garden was safe from poop and digging, happy she was safe with her pups, but how was I gonna finish this project if my robot had no fox to detect? For sure they would be back next year, I figured I could postpone the whole thing until next winter, but I also knew it was gonna be much harder to pick up momentum if I did let it sit there for six months. So I decided to keep working, hoping the fox would reappear,.. but she never did. As I finished labeling the footage and started training my model, I could finally see the mAP results, quantifying the precision of my object detection model. It was measuring at 78% across different metrics on detecting my fox. I quickly ran the model on some of the video footage I got from my fox. Inference speed took a hit, but it did a near perfect job detecting the fox, even when she was deep down in the grass or wizzing past in a motion blur. It took me by surprise how well it worked. With the default model I had to drop my confidence threshold way down to 15%, to recognize the fox as 🦜“bird” in one or two frames, with my custom model it followed the fox all the way down to the back of the garden! Still this didn’t solve the issue of there being no actual fox in my garden and how was I gonna wrap this project in a short timeframe. I played with the idea of putting a fox toy 🧸 on an RC 🚗 car, or borrowing a dog to run around the garden to test. Friends suggested I run around the garden in a fox costume.. what a ridiculous idea. I wasn’t really feeling the idea of running around the garden in a floppy cloth fox 🎭 costume, but had a look anyway. I came across these self inflating costumes. This actually could be perfect. Since it’s inflated, it would hold its shape super well, making it much easier to label, train and be recognized by my robot. So I got the costume and shot a time lapse of myself as a fox walking around the garden. I labeled it to around 600 images. Ran the model training again and got a mAP result of 82%. This was even better than my real fox! At this point I knew this was gonna work. So here’s the final 🎥 video, just having some fun with it. I’ll update here whenever the real fox does come back. On a final note, I’m looking for (remote) jobs in these fields of AI now: - object detection - visual generative AI - 3D (nerfs + gaussian splats) So if you know anything let me know! My DMs are open 😊

Jeroen Pixel

55,797 Aufrufe • vor 2 Jahren

VIVIZ WORLD TOUR: NEW LEGACY VIVIZ Performance team : 🎬 Artistic Director / Head Choreographer: kany choreography: LALALOVE ME •Intro / Shhh + Shhh Dance Break •Cliché •Love or Die •Hipnotic •Love Language •Milky Way •Untie •Tweet Tweet •Flashback •Maniac 💫 Assistant & Contributing Choreographer @janghyolynn — ( lalalove me , Cliché, Hipnotic, Love Language, Milky Way, Tweet Tweet, Love or Die, Flashback, Shhh) ✨ Additional choreography: ً — (Blue Clue, Overflow, Full Moon) noname — (Love Love Love, Bop Bop Bop) MR.PIYO — (Party Pop) Dancers : @daom_ing_ , 👾 @_sim_sky @hanabias_ 배한꿈 @_ash_sso @janghyolynn ⸻ Watching VIVIZ grow — not just as artists but as women, as storytellers, as performers — has been one of the most fulfilling experiences of my life. I remember the very first time we met, and now, two years later, here we are… standing on the other side of something so powerful. Thank you for trusting me with your art, your bodies, your stories. Thank you for letting me be part of this legacy. You moved with such grace, fire, and fearlessness — I love y’all more than words can say. To my dancers: I know I pushed you hard. I know momma kany put you through some though times … And for those moments, I’m sorry — truly. But please believe me when I say: every drop of sweat, every ounce of effort — it mattered. You shined and yall killed it !!! . You made this show what it is. You gave it your all, and I saw every bit of it. Thank you. I love you deeply. 💕 @janghyolynn — my partner in creative chaos — thank you for the countless sleepless nights, for showing up over and over again with your heart wide open. You are magic, and I’m always thankful for you. This might’ve been the quickest tour I’ve ever directed… and easily the most intense. But wow — the way it came together? Proof that when love, grit, and purpose meet, anything is possible. To the entire BPM crew, staff, and concert team — 수고하셨습니다. Special thank you to Jiwon @dlwlxn_1 and the concert + performance planning team — your support, patience, and hard work held this all together. #viviz #newlegacy #worldtour #kanychoreography
3:03

VIVIZ WORLD TOUR: NEW LEGACY VIVIZ Performance team : 🎬 Artistic Director / Head Choreographer: kany choreography: LALALOVE ME •Intro / Shhh + Shhh Dance Break •Cliché •Love or Die •Hipnotic •Love Language •Milky Way •Untie •Tweet Tweet •Flashback •Maniac 💫 Assistant & Contributing Choreographer @janghyolynn — ( lalalove me , Cliché, Hipnotic, Love Language, Milky Way, Tweet Tweet, Love or Die, Flashback, Shhh) ✨ Additional choreography: ً — (Blue Clue, Overflow, Full Moon) noname — (Love Love Love, Bop Bop Bop) MR.PIYO — (Party Pop) Dancers : @daom_ing_ , 👾 @_sim_sky @hanabias_ 배한꿈 @_ash_sso @janghyolynn ⸻ Watching VIVIZ grow — not just as artists but as women, as storytellers, as performers — has been one of the most fulfilling experiences of my life. I remember the very first time we met, and now, two years later, here we are… standing on the other side of something so powerful. Thank you for trusting me with your art, your bodies, your stories. Thank you for letting me be part of this legacy. You moved with such grace, fire, and fearlessness — I love y’all more than words can say. To my dancers: I know I pushed you hard. I know momma kany put you through some though times … And for those moments, I’m sorry — truly. But please believe me when I say: every drop of sweat, every ounce of effort — it mattered. You shined and yall killed it !!! . You made this show what it is. You gave it your all, and I saw every bit of it. Thank you. I love you deeply. 💕 @janghyolynn — my partner in creative chaos — thank you for the countless sleepless nights, for showing up over and over again with your heart wide open. You are magic, and I’m always thankful for you. This might’ve been the quickest tour I’ve ever directed… and easily the most intense. But wow — the way it came together? Proof that when love, grit, and purpose meet, anything is possible. To the entire BPM crew, staff, and concert team — 수고하셨습니다. Special thank you to Jiwon @dlwlxn_1 and the concert + performance planning team — your support, patience, and hard work held this all together. #viviz #newlegacy #worldtour #kanychoreography

Kany

37,681 Aufrufe • vor 1 Jahr

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.
0:20

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.

Biwald

73,168 Aufrufe • vor 1 Monat

On Zero 10 at Art Basel 2026 When I heard Zero 10 was coming to Art Basel, the first thing I felt wasn't curiosity about the art. It was the chance to finally stand in a room with people I'd only ever known through a screen and talk about where our space actually is right now. I went in wearing two hats and trying to keep both on at once. One was the curious visitor: how does digital art even get communicated inside an institution like this? The other I can't take off. Someone who comes from the underground core of this scene. I made myself a promise on the way in. No "fuck this, it's all cringe." Neutral. Open. Give it everything before I judge anything. And for a while, it earned that. The first thing Zero 10 gets right is that it doesn't feel like a side fair, even though that's exactly what it is. Visually it holds the moment. Without saying it out loud, it tells you Art Basel is serious about this now. Not dabbling, not hedging its bets. The first works I saw were John Gerrard's triptych of flags, and they set the tone instantly. They're gorgeous. Someone walking in cold might not even clock them as simulations. They might think they're looking at a live feed. That's the point. The room opens by declaring, in the most aesthetic way possible: *this is the zeitgeist of digital art.* Hold onto that sentence. I'll come back to it. Walking through, I slowly understood what Eli Scheinman and Trevor Paglen were actually doing. This wasn't Miami, where every phone in the room was pointed at Beeple's robot dogs and the whole thing tipped into spectacle, which, to be fair, worked exactly as intended. Basel was something else. Didactic in the good sense. A guided walk through the history of digital art, screens and physical works, old and new, woven together until the seams disappeared. For someone like me, who has been pushing back on the flattening, the lazy reflex that files Autoglyphs and Fidenza in the same drawer as 10k flip projects, this was genuinely moving to see. Someone built a room that takes this work seriously enough to give it a lineage. That matters. I don't want to undersell how much it matters. Then I hit Avery Singer's *Shit Coin Maxi*, hung by Hauser & Wirth, and that's the exact moment something turned. It's a good title, or it was. That's almost the problem. "Shit coin" is already dead vocabulary. That word had its currency back in Cobie's peak era, and nobody current talks like that anymore. So a painting made in 2025 reaching for it reads less like the present than like nostalgia for a moment that already passed. I'm not mad at the work. I'm noting what it represents. A blue-chip painter borrowing a word that signaled "now" a couple of cycles ago, hung in the room that's claiming to show us the actual now. The strongest culture of the last few years got made by people with no institutional cover, and what makes it onto a blue-chip wall is the part already legible to the institution, smoothed down into something sellable. So the present wasn't absent from the room. It was here, absorbed, translated into a dialect the fair already understands. Which made me start looking for the other version of it. The one that hasn't been translated yet. The thing that's still hot to the touch. It wasn't there. Not a single artist or movement in the room represented the current moment on its own terms. Someone will say that's just my perspective, and fine. But let's be real. The wildest movement of the last cycle happened on Solana, through meme coins, and out of that chaos came an NFT scene with its own dynamic and a handful of genuinely outstanding artists building a language that deserves a place in the canon. Avant NFTs, Gay NFTs, tongue-licking-the-flame NFTs, whatever you want to call them. That language isn't a footnote. Read properly, it throws new light backward. It's what finally lets the 2021 work and everything before it be seen as something other than cartoon monkeys. The current scene is the key to the historical one. Leave it out and the history you're telling is missing the part that shows the conversation has moved past 2021 bag holders praying for the mass adoption where the world wakes up and decides Tyler Hobbs is sexier than Ida Ekblad. And before anyone reads this as an NFT guy asking for more NFTs: that's the reduction, and the reduction is the whole problem. What's missing isn't a market category. It's a way of working. Artists using the blockchain like a studio, not to mint jpegs but to build whole worlds, weaving AI, physical objects, writing, and community into one continuous practice instead of separate outputs. That is digital art. That is AI art. The two things this show says it's about. Which is what makes the omission strange. Zero 10 sorts everything into clean bins, AI over here, generative over there, a physical piece on the wall, exactly when the work that's most alive is the work dissolving those bins. The filing system is the tell. It organizes the present with the categories of the past. Which brings me back to that opening declaration. *This is the zeitgeist of digital art.* Except those flags weren't new. *Western Flag* dates to 2017. The newest of the three is 2023. The works chosen to announce the present were themselves already the past. Fellowship framed the triptych as a nine-year body of work, the oldest piece nearly a decade old. A zeitgeist on a delay. None of this makes the work bad, but digital culture doesn't run on museum time, and work that felt current when it was made can read as historical by the time it's framed as the now. Is it even one, then? I mean that as a real question, not a gotcha. A zeitgeist is the spirit of a time, and a spirit can only belong to the people living inside it. So what happens when the previous generation is the one interpreting what the current generation's culture looks like? Does it stay a zeitgeist, or quietly become a retrospective wearing the zeitgeist's clothes? You named the whole platform after Malevich's *0,10*, the show where Suprematism reduced everything to zero and started over. You set your own bar at rupture. And the one thing the room didn't show me was the rupture happening outside its walls. This isn't sentiment, either. The last Art Basel and UBS survey put it plainly: Millennials and Gen Z now make up roughly three-quarters of high-net-worth collectors, and more than half of those collectors bought a digital work in the past year. The new generation isn't the future of this market. It's the present tense. Defining their culture for them, from above, doesn't just feel off. It misreads the room it's standing in. So let me end where my excitement actually lives. For years, the part of Art Basel I loved most wasn't the main fair. It was Liste. The young galleries, the disruptive positions, the work that hadn't been sorted or priced or canonized yet. That's where you went to feel something. Zero 10 could be that. It has the bones to become the room that hits you awake before the main halls lull you back to sleep. The cold water before the warm bath. The place you walk through first, get rattled, feel your pulse, and only then go get comfortable. That's the highest thing I can imagine for it, and it's within reach. The frame is right. The seriousness is right. What's missing is the nerve to let the people making the present define what it looks like. Get that part right, and Zero 10 won't be showing us the zeitgeist. It'll be where the zeitgeist is.
0:20

On Zero 10 at Art Basel 2026 When I heard Zero 10 was coming to Art Basel, the first thing I felt wasn't curiosity about the art. It was the chance to finally stand in a room with people I'd only ever known through a screen and talk about where our space actually is right now. I went in wearing two hats and trying to keep both on at once. One was the curious visitor: how does digital art even get communicated inside an institution like this? The other I can't take off. Someone who comes from the underground core of this scene. I made myself a promise on the way in. No "fuck this, it's all cringe." Neutral. Open. Give it everything before I judge anything. And for a while, it earned that. The first thing Zero 10 gets right is that it doesn't feel like a side fair, even though that's exactly what it is. Visually it holds the moment. Without saying it out loud, it tells you Art Basel is serious about this now. Not dabbling, not hedging its bets. The first works I saw were John Gerrard's triptych of flags, and they set the tone instantly. They're gorgeous. Someone walking in cold might not even clock them as simulations. They might think they're looking at a live feed. That's the point. The room opens by declaring, in the most aesthetic way possible: *this is the zeitgeist of digital art.* Hold onto that sentence. I'll come back to it. Walking through, I slowly understood what Eli Scheinman and Trevor Paglen were actually doing. This wasn't Miami, where every phone in the room was pointed at Beeple's robot dogs and the whole thing tipped into spectacle, which, to be fair, worked exactly as intended. Basel was something else. Didactic in the good sense. A guided walk through the history of digital art, screens and physical works, old and new, woven together until the seams disappeared. For someone like me, who has been pushing back on the flattening, the lazy reflex that files Autoglyphs and Fidenza in the same drawer as 10k flip projects, this was genuinely moving to see. Someone built a room that takes this work seriously enough to give it a lineage. That matters. I don't want to undersell how much it matters. Then I hit Avery Singer's *Shit Coin Maxi*, hung by Hauser & Wirth, and that's the exact moment something turned. It's a good title, or it was. That's almost the problem. "Shit coin" is already dead vocabulary. That word had its currency back in Cobie's peak era, and nobody current talks like that anymore. So a painting made in 2025 reaching for it reads less like the present than like nostalgia for a moment that already passed. I'm not mad at the work. I'm noting what it represents. A blue-chip painter borrowing a word that signaled "now" a couple of cycles ago, hung in the room that's claiming to show us the actual now. The strongest culture of the last few years got made by people with no institutional cover, and what makes it onto a blue-chip wall is the part already legible to the institution, smoothed down into something sellable. So the present wasn't absent from the room. It was here, absorbed, translated into a dialect the fair already understands. Which made me start looking for the other version of it. The one that hasn't been translated yet. The thing that's still hot to the touch. It wasn't there. Not a single artist or movement in the room represented the current moment on its own terms. Someone will say that's just my perspective, and fine. But let's be real. The wildest movement of the last cycle happened on Solana, through meme coins, and out of that chaos came an NFT scene with its own dynamic and a handful of genuinely outstanding artists building a language that deserves a place in the canon. Avant NFTs, Gay NFTs, tongue-licking-the-flame NFTs, whatever you want to call them. That language isn't a footnote. Read properly, it throws new light backward. It's what finally lets the 2021 work and everything before it be seen as something other than cartoon monkeys. The current scene is the key to the historical one. Leave it out and the history you're telling is missing the part that shows the conversation has moved past 2021 bag holders praying for the mass adoption where the world wakes up and decides Tyler Hobbs is sexier than Ida Ekblad. And before anyone reads this as an NFT guy asking for more NFTs: that's the reduction, and the reduction is the whole problem. What's missing isn't a market category. It's a way of working. Artists using the blockchain like a studio, not to mint jpegs but to build whole worlds, weaving AI, physical objects, writing, and community into one continuous practice instead of separate outputs. That is digital art. That is AI art. The two things this show says it's about. Which is what makes the omission strange. Zero 10 sorts everything into clean bins, AI over here, generative over there, a physical piece on the wall, exactly when the work that's most alive is the work dissolving those bins. The filing system is the tell. It organizes the present with the categories of the past. Which brings me back to that opening declaration. *This is the zeitgeist of digital art.* Except those flags weren't new. *Western Flag* dates to 2017. The newest of the three is 2023. The works chosen to announce the present were themselves already the past. Fellowship framed the triptych as a nine-year body of work, the oldest piece nearly a decade old. A zeitgeist on a delay. None of this makes the work bad, but digital culture doesn't run on museum time, and work that felt current when it was made can read as historical by the time it's framed as the now. Is it even one, then? I mean that as a real question, not a gotcha. A zeitgeist is the spirit of a time, and a spirit can only belong to the people living inside it. So what happens when the previous generation is the one interpreting what the current generation's culture looks like? Does it stay a zeitgeist, or quietly become a retrospective wearing the zeitgeist's clothes? You named the whole platform after Malevich's *0,10*, the show where Suprematism reduced everything to zero and started over. You set your own bar at rupture. And the one thing the room didn't show me was the rupture happening outside its walls. This isn't sentiment, either. The last Art Basel and UBS survey put it plainly: Millennials and Gen Z now make up roughly three-quarters of high-net-worth collectors, and more than half of those collectors bought a digital work in the past year. The new generation isn't the future of this market. It's the present tense. Defining their culture for them, from above, doesn't just feel off. It misreads the room it's standing in. So let me end where my excitement actually lives. For years, the part of Art Basel I loved most wasn't the main fair. It was Liste. The young galleries, the disruptive positions, the work that hadn't been sorted or priced or canonized yet. That's where you went to feel something. Zero 10 could be that. It has the bones to become the room that hits you awake before the main halls lull you back to sleep. The cold water before the warm bath. The place you walk through first, get rattled, feel your pulse, and only then go get comfortable. That's the highest thing I can imagine for it, and it's within reach. The frame is right. The seriousness is right. What's missing is the nerve to let the people making the present define what it looks like. Get that part right, and Zero 10 won't be showing us the zeitgeist. It'll be where the zeitgeist is.

VVV.SO

15,724 Aufrufe • vor 1 Monat

Pioneers Build Up Society Good Example Global Pioneers, how are you doing? Today is Saturday. I feel very good. From yesterday, I started to change my routine. I don’t use my phone as often, because if we always use the phone, we cannot focus on our daily life. From the monk’s teaching about mindfulness, starting from the morning, I began to practice this, and I feel very good. When I wake up, I have more time. I do massage, clean my home—daily cleaning—do laundry, work out, practice yoga and meditation, and I also have time with my daughter. We go outside together. Actually, outside is very cold. The weather is around 20 degrees centigrade right now. It is about 6:20–6:30 in the evening, and you can see it is very beautiful outside. What I want to share with you is that it is very important to manage our daily life and our priorities. Right now, we really need to focus on our current life, not always put all our time on the phone. For me, before, I spent most of my time on the phone. I read a lot of information, I wrote a lot, and I answered many questions in the groups. But now, you may notice I didn’t post much these two days. This is not because I don’t care. It is because I am busy with my daily life and also spending family time with my daughter. And I think this is what we should pay attention for all pioneers as a good family member and society good example. Because for our GCV community and the Pi Network community, we have many pioneers—10 million, 20 million, 30 million, 40 million, 50 million, 60 million, even 70 million right now. Every pioneer has their own daily life. So how should we think about Pi Network and GCV? As I said before, GCV has already succeeded. But right now, what everyone is waiting for is the Pi Network full open success. How can we reach that? Actually, the infrastructure is ready. The technology is ready. GCV is ready. So what is next? I believe the Core Team is still working on compliance and regulation. That part is their responsibility. But for our community, what is most important is unity. Pioneers need to calm down and be patient. If you can participate in building GCV value or the ecosystem, that is very great. If you cannot, it is still okay. Please focus on your daily life and keep yourself healthy and positive. Being healthy, being happy, and having a good relationship with your family is very important. When your family supports you, they support you as a pioneer. And if you do very well as a good example in your family, maybe they will also join as pioneers. This is very important, because in this way we also get support from society to support Pi Network. Right now our goal is Pi Network success soon and long term safety. If you can, please try to repost our educational information and our activities. We have many activities. We have very good pioneers, great ambassadors, and special envoys from many countries. They are doing a very amazing job. Please take some time to repost. But you don’t need to spend a long time on your phone. Just read the important information. As I said, it is not good to read too much information, because some information is fake and can make you confused. You don’t need to read a lot. For example, you can read my articles, Mr. Jojo's articles, and also information from Ms. Lumari, Ms. Donny Padaja, and Mr. Jason Wong. I think 20 minutes every day is enough. Then spend 10 minutes to repost. If we can do this, we can reach full open very fast. Pioneers will become calm and settled. There will be less negative energy in our community. Our community should be dynamic and positive, and that positive energy can accelerate our progress toward fully OM. When that happens, investors will have confidence in us. Please remember, we must have a long-term vision. Pioneers are people should have a long-term vision. This is not just about going to exchange market selling Pi in the market. This is not our destination. This is only a bridge to our destination. Please remember that. Now, it is dinner time for me. I need to have my dinner, and I hope everyone is enjoying your weekend. Please pay attention to your health—do some workout, meditation, maybe yoga because they can motivate you have good energy. Keeping healthy is very important, because we will have financial freedom in the future. You must have a good body to enjoy it, and also good relationships and a happy family to truly enjoy life. So it is very important to focus on your current life. Thank you so much. Have a nice day. Doris Yin 🪷🪷🪷 Jan 31st 2026
6:17

Pioneers Build Up Society Good Example Global Pioneers, how are you doing? Today is Saturday. I feel very good. From yesterday, I started to change my routine. I don’t use my phone as often, because if we always use the phone, we cannot focus on our daily life. From the monk’s teaching about mindfulness, starting from the morning, I began to practice this, and I feel very good. When I wake up, I have more time. I do massage, clean my home—daily cleaning—do laundry, work out, practice yoga and meditation, and I also have time with my daughter. We go outside together. Actually, outside is very cold. The weather is around 20 degrees centigrade right now. It is about 6:20–6:30 in the evening, and you can see it is very beautiful outside. What I want to share with you is that it is very important to manage our daily life and our priorities. Right now, we really need to focus on our current life, not always put all our time on the phone. For me, before, I spent most of my time on the phone. I read a lot of information, I wrote a lot, and I answered many questions in the groups. But now, you may notice I didn’t post much these two days. This is not because I don’t care. It is because I am busy with my daily life and also spending family time with my daughter. And I think this is what we should pay attention for all pioneers as a good family member and society good example. Because for our GCV community and the Pi Network community, we have many pioneers—10 million, 20 million, 30 million, 40 million, 50 million, 60 million, even 70 million right now. Every pioneer has their own daily life. So how should we think about Pi Network and GCV? As I said before, GCV has already succeeded. But right now, what everyone is waiting for is the Pi Network full open success. How can we reach that? Actually, the infrastructure is ready. The technology is ready. GCV is ready. So what is next? I believe the Core Team is still working on compliance and regulation. That part is their responsibility. But for our community, what is most important is unity. Pioneers need to calm down and be patient. If you can participate in building GCV value or the ecosystem, that is very great. If you cannot, it is still okay. Please focus on your daily life and keep yourself healthy and positive. Being healthy, being happy, and having a good relationship with your family is very important. When your family supports you, they support you as a pioneer. And if you do very well as a good example in your family, maybe they will also join as pioneers. This is very important, because in this way we also get support from society to support Pi Network. Right now our goal is Pi Network success soon and long term safety. If you can, please try to repost our educational information and our activities. We have many activities. We have very good pioneers, great ambassadors, and special envoys from many countries. They are doing a very amazing job. Please take some time to repost. But you don’t need to spend a long time on your phone. Just read the important information. As I said, it is not good to read too much information, because some information is fake and can make you confused. You don’t need to read a lot. For example, you can read my articles, Mr. Jojo's articles, and also information from Ms. Lumari, Ms. Donny Padaja, and Mr. Jason Wong. I think 20 minutes every day is enough. Then spend 10 minutes to repost. If we can do this, we can reach full open very fast. Pioneers will become calm and settled. There will be less negative energy in our community. Our community should be dynamic and positive, and that positive energy can accelerate our progress toward fully OM. When that happens, investors will have confidence in us. Please remember, we must have a long-term vision. Pioneers are people should have a long-term vision. This is not just about going to exchange market selling Pi in the market. This is not our destination. This is only a bridge to our destination. Please remember that. Now, it is dinner time for me. I need to have my dinner, and I hope everyone is enjoying your weekend. Please pay attention to your health—do some workout, meditation, maybe yoga because they can motivate you have good energy. Keeping healthy is very important, because we will have financial freedom in the future. You must have a good body to enjoy it, and also good relationships and a happy family to truly enjoy life. So it is very important to focus on your current life. Thank you so much. Have a nice day. Doris Yin 🪷🪷🪷 Jan 31st 2026

Doris Yin 东方紫莲🪷

10,151 Aufrufe • vor 6 Monaten