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Ana Sayfaya Dön

very relaxation

Anna Belle

3,919 subscribers

1,465,578 görüntüleme • 3 ay önce •via X (Twitter)

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34 Yorum

Olokun profil fotoğrafı

Olokun3 ay önce

The way my trypophobia just activated 😮‍💨🥴😫

Ñîçê profil fotoğrafı

Ñîçê3 ay önce

It looks like removing black heads

LAMZY profil fotoğrafı

LAMZY3 ay önce

Then how do you put those beads back then 😒

Edmund profil fotoğrafı

Edmund3 ay önce

My trypophobia hates this

Babe profil fotoğrafı

Babe3 ay önce

It's scary

Blaq NRG profil fotoğrafı

Blaq NRG3 ay önce

Pls where can I get this toy 😭?

BrytTrades profil fotoğrafı

BrytTrades3 ay önce

How can I get one

Tania profil fotoğrafı

Tania3 ay önce

Il problema è rimetterle dentro 😂😂😂😂

kranthi profil fotoğrafı

kranthi3 ay önce

Very very relaxing

LucLaus 🍀 profil fotoğrafı

LucLaus 🍀3 ay önce

nahhh just gave me chills

👁️ 我看好你 👁️ Ⓜ️ profil fotoğrafı

👁️ 我看好你 👁️ Ⓜ️3 ay önce

“捏泡泡”，這個更解壓。

Esther 💫 profil fotoğrafı

Esther 💫3 ay önce

It gave me chills

Atrades profil fotoğrafı

Atrades3 ay önce

That's oddly satisfying to watch.

𝓢𝐤𝐮𝐥𝐥𝐲⋆ profil fotoğrafı

𝓢𝐤𝐮𝐥𝐥𝐲⋆3 ay önce

Can we address the elephant in the room

★ 𝘼 𝙇 𝙀 𝙓 𝘼 ★ profil fotoğrafı

★ 𝘼 𝙇 𝙀 𝙓 𝘼 ★3 ay önce

Geli banget liat itu

The Vigilante ⚔︎ profil fotoğrafı

The Vigilante ⚔︎3 ay önce

I love 💗 it

Suny profil fotoğrafı

Suny3 ay önce

Geli juga ya liat isinya

BIIG CROWNN profil fotoğrafı

BIIG CROWNN3 ay önce

Nice one

BIIG CROWNN profil fotoğrafı

BIIG CROWNN3 ay önce

Try my speed I will follow back ASAP

BIIG CROWNN profil fotoğrafı

BIIG CROWNN3 ay önce

What are you waiting for hit me up let's connect now

Gamal profil fotoğrafı

Gamal3 ay önce

Eso no es relajante eso es asqueroso.

ɴᴀᴠᴇᴇɴ ᴋᴜᴍᴀʀ profil fotoğrafı

ɴᴀᴠᴇᴇɴ ᴋᴜᴍᴀʀ3 ay önce

Exactly

Izayra Rocha (🔥🔥🔥) profil fotoğrafı

Izayra Rocha (🔥🔥🔥)3 ay önce

Agora tem como recolher as bolinhas ⁉️

Dota♥️ profil fotoğrafı

Dota♥️3 ay önce

nice game enjoying

Giovanni Ranieri profil fotoğrafı

Giovanni Ranieri3 ay önce

How to learn how to crush pimples 😁

Sterling_yawskay profil fotoğrafı

Sterling_yawskay3 ay önce

Very satisfying😛🥱😂😂😂

durbs profil fotoğrafı

durbs3 ay önce

Now put them all back..

Ardillo profil fotoğrafı

Ardillo3 ay önce

Puto #asco

✞︎ 𝙧𝙤𝙗𝙚𝙧𝙩𝙨☻︎𝙣 ♔︎ profil fotoğrafı

✞︎ 𝙧𝙤𝙗𝙚𝙧𝙩𝙨☻︎𝙣 ♔︎3 ay önce

How does It feel

Ball profil fotoğrafı

Ball3 ay önce

I’m curious about how they got the balls in

Leah profil fotoğrafı

Leah3 ay önce

Satisfying game I love it

cimol profil fotoğrafı

cimol3 ay önce

merindinkkk

IndoVibesUSA profil fotoğrafı

IndoVibesUSA3 ay önce

geli bgt deh kak

一般的な家族 profil fotoğrafı

一般的な家族3 ay önce

Tôi rất thích cảm giác thư giãn. Bạn có cách nào để thư giãn không?

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Paul Schrader talks about the racism in "Taxi Driver" (1976, Scorsese): "Interviewer: In 'Taxi Driver' (1976), was the Harvey Keitel character originally black or white? Schrader: Well, you’ve gone right to the heart of the matter. The film is riddled with racism, and Travis, the main character, is a racist not by conviction but by fear. He is everything by fear. He has very few convictions about anything except immorality, but when you feel the pressure coming down, when you feel the world shrinking, one naturally looks for enemies, and what better enemies are there than people who are not like you? Travis’ enemies are people who are at ease. He hates people who are comfortable. He himself is extremely uncomfortable. He’s not at ease anywhere, so he hates. Travis admires the politician but also hates him because the politician is at ease, especially in the world of women. This is where Travis’ feelings about blacks emerge. He sees the blacks out there almost as animals. He sees them out there having fun, out there jiving with women. He sees them dancing and relaxed. He’s so uptight himself and so constipated and attenuated that for him the blacks begin to be some kind of a focus for the thing he can’t have, that relaxation he lacks. So the racism starts to run through the film. It starts to rear its head very overtly. You see him looking at these people and you know it’s not a matter of conviction, because he doesn’t have any real beliefs or strong theories about blacks. It’s just that he has this thing about people who are at ease. The logical conclusion of the film would have been that all the people he ki!!ed were black. It was in my mind when I wrote the script that he ki!!ed only black people, but that was just too much. Marty and I were just too terrified of it. I mean, the film explores the borders of bad taste as it is, and there is just so far you can go in the commercial cinema before people get up and throw stones at you. I think that if we had followed his racism to the natural conclusion, which is him ki!!ing three black guys, the audience would have just said, “Holy fk, that’s just too much.” So we made them white, which is a thin cover. Somebody asked Pauline Kael if the film was racist, and she said, “No, it’s not racist, because he doesn’t ki!! black guys at the end.” She missed the point completely. His actions are racist, and the only reason he doesn’t ki!! black guys at the end is that we didn’t want anybody st@bbed in the theaters. That’s my opinion. Marty may dress it up and put it in a different language, but the racism of the film really is quite clear. I think it’s possible to distinguish between the racism of the main character and the racism of the filmmakers. I mean, Marty and I and De Niro are racists to the extent that all people are racists. I think it’s part of the job of a writer or anybody worth his salt to explore his closets. We’re all in the dirty-laundry business. An artist gets to a certain point where he says, “I’m not afraid to explore my Jewishness,” “I’m not afraid to explore my homicidal tendencies,” “I’m not afraid to explore my sual deviations,” “I’m not afraid to explore my racism." I mean, the whole f***!ng film takes place in his head. New York consists of a lot more than Forty-second Street and Broadway. All you see of New York is his very peculiar vision of it, and he has a very sordid view of things. You only see blacks through his eyes, and the only exception is the black he works with, who he borrows money from. You are given no alternative view of reality. One of the rare things about Taxi Driver is that this character, Travis Bickle, has been in a lot of movies, but you’ve always been given another perspective on him. In 'In Cold Blood' (1967) you see him through John Forsythe’s eyes. In 'Psycho' (1960) you see him through Martin Balsam’s eyes. In 'White Heat' (1949) you see him through Edmond O’Brien’s eyes. But this is as though you see White Heat solely through Cagney’s eyes, which makes for something very different, because Cagney is very mentally disturbed in that film. You have the same situation here. You’re getting Travis’ perceptions of the world, which are very distorted and unrealistic." (Paul Schrader's interview with AFI, 1976)

DepressedBergman

106,252 görüntüleme • 4 ay önce

#WATCH | Chennai, Tamil Nadu: DMK Spokesperson Saravanan Annadurai says, "It’s very unfortunate. A tragic incident in which three Tamilians have been shot dead. I think the post-mortem report is a revelation. Looks like they have been tortured and shot at close range. I don't know what kind of animals would do these kinds of things. Are they terrorists? The Tamil Nadu government should ensure justice is served to these victims. But so far, the Chief Minister has not said anything about it. They have not condemned this incident in the strictest possible terminology. They have not moved the Human Rights Commission. It's worrisome..." He further says, "This Teacher Eligibility Test has always been a bone of contention. People who have joined the services earlier, who have been continuously in service, were also asked to appear for this examination. And the Union Government, day in and day out, is coming up with new regulations, new requirements to continue as a professor, which will definitely affect the other members. So that is why we have also questioned that. If they (TVK) move a resolution, it is not just to move a resolution and say you have done that. That should not be the attitude of the government. They should find solutions for the problems. They should pressurize the Union Government and ensure this relaxation is given to those teachers. That is more important than moving a resolution." On Parandur airport, he says, "The Chief Minister's statement that Parandur airport will be cancelled has opened a Pandora's box... It will affect the future of the state of Tamil Nadu..."

#WATCH | Chennai, Tamil Nadu: DMK Spokesperson Saravanan Annadurai says, "It’s very unfortunate. A tragic incident in which three Tamilians have been shot dead. I think the post-mortem report is a revelation. Looks like they have been tortured and shot at close range. I don't know what kind of animals would do these kinds of things. Are they terrorists? The Tamil Nadu government should ensure justice is served to these victims. But so far, the Chief Minister has not said anything about it. They have not condemned this incident in the strictest possible terminology. They have not moved the Human Rights Commission. It's worrisome..." He further says, "This Teacher Eligibility Test has always been a bone of contention. People who have joined the services earlier, who have been continuously in service, were also asked to appear for this examination. And the Union Government, day in and day out, is coming up with new regulations, new requirements to continue as a professor, which will definitely affect the other members. So that is why we have also questioned that. If they (TVK) move a resolution, it is not just to move a resolution and say you have done that. That should not be the attitude of the government. They should find solutions for the problems. They should pressurize the Union Government and ensure this relaxation is given to those teachers. That is more important than moving a resolution." On Parandur airport, he says, "The Chief Minister's statement that Parandur airport will be cancelled has opened a Pandora's box... It will affect the future of the state of Tamil Nadu..."

ANI

24,536 görüntüleme • 1 ay önce

SEEDANCE 2.5 on Loova AI CORE CONCEPT: A tired young Korean idol spends one quiet evening taking care of her body after a physically exhausting day. The story remains centered on recovery, gentle self-care, relaxation, and getting an early night — but every scene, action, composition, and narration is newly designed. CAMERA Authentic handheld mini-DV camcorder footage recorded by CHASE herself. Intimate personal-vlog perspective with natural hand shake, imperfect framing, occasional autofocus hunting, slight exposure fluctuations, soft motion blur, spontaneous camera repositioning, and occasional awkward zooms. A few moments can use the camera briefly placed on a nearby surface for hands-free shots. The camcorder itself is never visible. VISUAL LOOK Soft nostalgic DV/video texture, slightly imperfect digital sharpness, subtle tape noise, gentle highlight bloom, muted contrast, realistic skin texture, natural colors, and believable practical lighting. Keep everything grounded and documentary-like rather than overly polished. MOOD Tender, peaceful, comforting, and intimate. The energy gradually slows from tiredness to complete relaxation. Soft reflective Korean female voiceover from CHASE plays over the footage, with natural environmental sounds underneath. CHARACTER CHASE — Korean idol in her 20s. Long straight black hair, loosely tied back when needed, natural dewy skin, minimal makeup, visibly tired but peaceful expression. She wears modest oversized loungewear and a soft robe throughout. Fully covered at all times. During the water/steam sequence, frame only her face, shoulders, hands, robe, steam, and surrounding environment — nothing revealing. SETTING FLOW Wellness studio → apartment hallway → bedroom floor → bathroom → bedroom --- STORYBOARD — 30 SECONDS / 7 CUTS CUT 1 — 4 seconds | Wellness studio, late afternoon | Handheld close-up CHASE sits on a padded recovery chair while a therapist gently works around her upper back and shoulders, mostly kept outside the frame. She briefly closes her eyes as tension leaves her face. The camera catches a slightly imperfect close-up of her relaxed expression. VOICEOVER: “Today, my body was definitely asking me to slow down.” --- CUT 2 — 4 seconds | Wellness studio exit | Handheld POV CHASE walks slowly through the quiet hallway after her session. She rolls one shoulder, stretches her neck gently, then gives the camera a small relieved smile. She pauses by the doorway and takes one deep breath before leaving. VOICEOVER: “I didn't realize how much tension I was carrying.” --- CUT 3 — 4 seconds | Bedroom, early evening | Low propped shot Back home, she changes into comfortable oversized loungewear and sits on a soft exercise mat. Instead of a workout, she performs several very gentle recovery movements: ankle circles, slow shoulder rolls, then stretches her arms overhead. VOICEOVER: “So tonight isn't about doing more.” --- CUT 4 — 4 seconds | Bedroom | Handheld detail sequence CHASE places her phone on a shelf, turns on a small warm lamp, opens the curtains slightly, and lets cool evening air into the room. She takes a slow breath and closes her eyes for a moment. VOICEOVER: “It's about giving myself permission to do less.” --- CUT 5 — 4 seconds | Bathroom, night | Soft steam Warm steam fills the bathroom. CHASE sits comfortably wrapped in a thick robe beside the bath/shower area. She gently rests her head back, eyes closed, while condensation gathers on the mirror behind her. Keep framing modest and atmospheric. VOICEOVER: “Warm water, quiet thoughts…” --- CUT 6 — 4 seconds | Bathroom macro inserts | No dialogue A beautiful series of tiny recovery details: warm water running, steam drifting through the light, her hand resting around a warm mug, droplets sliding down the bathroom mirror, then her fingers slowly relaxing. Only ambient water and room sounds.

SEEDANCE 2.5 on Loova AI CORE CONCEPT: A tired young Korean idol spends one quiet evening taking care of her body after a physically exhausting day. The story remains centered on recovery, gentle self-care, relaxation, and getting an early night — but every scene, action, composition, and narration is newly designed. CAMERA Authentic handheld mini-DV camcorder footage recorded by CHASE herself. Intimate personal-vlog perspective with natural hand shake, imperfect framing, occasional autofocus hunting, slight exposure fluctuations, soft motion blur, spontaneous camera repositioning, and occasional awkward zooms. A few moments can use the camera briefly placed on a nearby surface for hands-free shots. The camcorder itself is never visible. VISUAL LOOK Soft nostalgic DV/video texture, slightly imperfect digital sharpness, subtle tape noise, gentle highlight bloom, muted contrast, realistic skin texture, natural colors, and believable practical lighting. Keep everything grounded and documentary-like rather than overly polished. MOOD Tender, peaceful, comforting, and intimate. The energy gradually slows from tiredness to complete relaxation. Soft reflective Korean female voiceover from CHASE plays over the footage, with natural environmental sounds underneath. CHARACTER CHASE — Korean idol in her 20s. Long straight black hair, loosely tied back when needed, natural dewy skin, minimal makeup, visibly tired but peaceful expression. She wears modest oversized loungewear and a soft robe throughout. Fully covered at all times. During the water/steam sequence, frame only her face, shoulders, hands, robe, steam, and surrounding environment — nothing revealing. SETTING FLOW Wellness studio → apartment hallway → bedroom floor → bathroom → bedroom --- STORYBOARD — 30 SECONDS / 7 CUTS CUT 1 — 4 seconds | Wellness studio, late afternoon | Handheld close-up CHASE sits on a padded recovery chair while a therapist gently works around her upper back and shoulders, mostly kept outside the frame. She briefly closes her eyes as tension leaves her face. The camera catches a slightly imperfect close-up of her relaxed expression. VOICEOVER: “Today, my body was definitely asking me to slow down.” --- CUT 2 — 4 seconds | Wellness studio exit | Handheld POV CHASE walks slowly through the quiet hallway after her session. She rolls one shoulder, stretches her neck gently, then gives the camera a small relieved smile. She pauses by the doorway and takes one deep breath before leaving. VOICEOVER: “I didn't realize how much tension I was carrying.” --- CUT 3 — 4 seconds | Bedroom, early evening | Low propped shot Back home, she changes into comfortable oversized loungewear and sits on a soft exercise mat. Instead of a workout, she performs several very gentle recovery movements: ankle circles, slow shoulder rolls, then stretches her arms overhead. VOICEOVER: “So tonight isn't about doing more.” --- CUT 4 — 4 seconds | Bedroom | Handheld detail sequence CHASE places her phone on a shelf, turns on a small warm lamp, opens the curtains slightly, and lets cool evening air into the room. She takes a slow breath and closes her eyes for a moment. VOICEOVER: “It's about giving myself permission to do less.” --- CUT 5 — 4 seconds | Bathroom, night | Soft steam Warm steam fills the bathroom. CHASE sits comfortably wrapped in a thick robe beside the bath/shower area. She gently rests her head back, eyes closed, while condensation gathers on the mirror behind her. Keep framing modest and atmospheric. VOICEOVER: “Warm water, quiet thoughts…” --- CUT 6 — 4 seconds | Bathroom macro inserts | No dialogue A beautiful series of tiny recovery details: warm water running, steam drifting through the light, her hand resting around a warm mug, droplets sliding down the bathroom mirror, then her fingers slowly relaxing. Only ambient water and room sounds.

Anissa

18,661 görüntüleme • 2 ay önce

ENIGMA OF CHARLIE CLOSING HIS EYES 6 FRAMES PRIOR TO THE BANG. And nobody ever addressed it,,,, not even until this very day. Speaking of some serious investigation we have here. 🙃 > And that enigma was toppled with his most remarkable last word he spoke on Earth - 'violence' ! All of those magical coincidences, right ? Nothing worth discussing, or looking into. Just another 'magic bullet', or magic something, whatever. Just move on, nothing to see here. I heard suggestions that he just closed his eyes for relaxation, as some people actually do indeed. But that only happens while listening to some long rant, or a discourse. Nobody ever does this in the middle of the back and fourth intense exchange, especially with a split second precision before the bang. And on top of that, this should be added. Charlie was replying to Hunter's question with a question of his own - 'counting, or not counting gang violence'. And how did Hunter reply in return - 'GREAT' ! How in the world does that reply fit into their conversation ? It almost looks like they both were trying to beat some internal countdown clock to something, and Charlie's response was super, unreasonably quick, like from a machine gun firing. And Hunter got stunned with the lack of time for his proper response, and muttered that meaningless, and totally out of context 'great'. That is what that last few words of exchange appeared like to me. Like they both were in some internal countdown clock to something. And Charlie closing his eyes only fits perfectly into that anomaly. But be it my assessment of that situation correct or not, is not it at least worth consideration and discussion ? Or that is just another coincidence ? A whole three of them in the span of a second, and not just any random second, but the very last second. Nothing to see here, right ? 🙃 Anyone cares to start addressing this, or we are just going to continue having a clown show here ? P.S. I am not suggesting here that CK is still alive. Many do believe that. I am NOT in that camp of believers. I wanted to clarify that position, as many often misread my insinuation. ..................................... Baron Coleman Baron, I think you are the only who considers all aspects of this investigation without bias, or concerns for the outcome. Everybody else that I know off do not discuss any aspect that does not fit into their already preconceived theory. That of course, would be covering all the aspects that you are aware of, with plenty of them that you definitely missed. I am pretty sure you have missed this one also. So, maybe you would care to address it ?

ENIGMA OF CHARLIE CLOSING HIS EYES 6 FRAMES PRIOR TO THE BANG. And nobody ever addressed it,,,, not even until this very day. Speaking of some serious investigation we have here. 🙃 > And that enigma was toppled with his most remarkable last word he spoke on Earth - 'violence' ! All of those magical coincidences, right ? Nothing worth discussing, or looking into. Just another 'magic bullet', or magic something, whatever. Just move on, nothing to see here. I heard suggestions that he just closed his eyes for relaxation, as some people actually do indeed. But that only happens while listening to some long rant, or a discourse. Nobody ever does this in the middle of the back and fourth intense exchange, especially with a split second precision before the bang. And on top of that, this should be added. Charlie was replying to Hunter's question with a question of his own - 'counting, or not counting gang violence'. And how did Hunter reply in return - 'GREAT' ! How in the world does that reply fit into their conversation ? It almost looks like they both were trying to beat some internal countdown clock to something, and Charlie's response was super, unreasonably quick, like from a machine gun firing. And Hunter got stunned with the lack of time for his proper response, and muttered that meaningless, and totally out of context 'great'. That is what that last few words of exchange appeared like to me. Like they both were in some internal countdown clock to something. And Charlie closing his eyes only fits perfectly into that anomaly. But be it my assessment of that situation correct or not, is not it at least worth consideration and discussion ? Or that is just another coincidence ? A whole three of them in the span of a second, and not just any random second, but the very last second. Nothing to see here, right ? 🙃 Anyone cares to start addressing this, or we are just going to continue having a clown show here ? P.S. I am not suggesting here that CK is still alive. Many do believe that. I am NOT in that camp of believers. I wanted to clarify that position, as many often misread my insinuation. ..................................... Baron Coleman Baron, I think you are the only who considers all aspects of this investigation without bias, or concerns for the outcome. Everybody else that I know off do not discuss any aspect that does not fit into their already preconceived theory. That of course, would be covering all the aspects that you are aware of, with plenty of them that you definitely missed. I am pretty sure you have missed this one also. So, maybe you would care to address it ?

US_did_ 911

58,472 görüntüleme • 3 ay önce

Your heart is Helical. The helical ventricular myocardial band (HVMB) theory, proposed by Francisco Torrent-Guasp in the 1960s and 1970s, offers a revolutionary perspective on the global, three-dimensional, functional architecture of the ventricular myocardium. This theory challenges the traditional view of the heart as a four-chambered pump with separate muscle layers, instead suggesting that the heart muscle fibers form a continuous, helical band extending from the pulmonary artery to the aorta. According to the HVMB theory, the ventricular myocardium consists of a single muscular band that wraps around both ventricles in a complex helical pattern. This band can be unwrapped or unfolded to reveal a rope-like structure with two main loops: a basal loop that surrounds the right and left ventricular cavities and an apical loop with descending and ascending segments that form a vortex at the apex. The theory proposes that this helical arrangement of muscle fibers is essential for the heart's efficient pumping function, allowing for the sequential contraction and relaxation of the myocardium. When Torrent-Guasp first introduced the HVMB theory in the 1960s and 1970s, it received little attention from the scientific community. The initial reaction was largely one of indifference, and the theory remained relatively obscure for several decades. It wasn't until the early 2000s, when Torrent-Guasp collaborated with researchers like Gerald Buckberg, that the HVMB theory gained more prominence and began to be more widely debated and investigated. Since then, the HVMB theory has been the subject of numerous studies, symposia, and discussions within the scientific community. Proponents of the theory argue that it provides a more comprehensive and accurate understanding of cardiac structure and function, offering new insights into the heart's mechanics and potential clinical implications. This is a very well done documentary called “The Helical Heart” that was released in 2005. It features an interview with Francisco Torrent-Guasp who came up with theory and lays it out in great detail. It completely blew my mind and changed the way I thought about the heart, especially when you consider it in concert with how the human biofield works.

Your heart is Helical. The helical ventricular myocardial band (HVMB) theory, proposed by Francisco Torrent-Guasp in the 1960s and 1970s, offers a revolutionary perspective on the global, three-dimensional, functional architecture of the ventricular myocardium. This theory challenges the traditional view of the heart as a four-chambered pump with separate muscle layers, instead suggesting that the heart muscle fibers form a continuous, helical band extending from the pulmonary artery to the aorta. According to the HVMB theory, the ventricular myocardium consists of a single muscular band that wraps around both ventricles in a complex helical pattern. This band can be unwrapped or unfolded to reveal a rope-like structure with two main loops: a basal loop that surrounds the right and left ventricular cavities and an apical loop with descending and ascending segments that form a vortex at the apex. The theory proposes that this helical arrangement of muscle fibers is essential for the heart's efficient pumping function, allowing for the sequential contraction and relaxation of the myocardium. When Torrent-Guasp first introduced the HVMB theory in the 1960s and 1970s, it received little attention from the scientific community. The initial reaction was largely one of indifference, and the theory remained relatively obscure for several decades. It wasn't until the early 2000s, when Torrent-Guasp collaborated with researchers like Gerald Buckberg, that the HVMB theory gained more prominence and began to be more widely debated and investigated. Since then, the HVMB theory has been the subject of numerous studies, symposia, and discussions within the scientific community. Proponents of the theory argue that it provides a more comprehensive and accurate understanding of cardiac structure and function, offering new insights into the heart's mechanics and potential clinical implications. This is a very well done documentary called “The Helical Heart” that was released in 2005. It features an interview with Francisco Torrent-Guasp who came up with theory and lays it out in great detail. It completely blew my mind and changed the way I thought about the heart, especially when you consider it in concert with how the human biofield works.

Champagne Joshi

46,526 görüntüleme • 2 yıl önce

🗣️: "i had a lovely chat with george yesterday and he was saying, 'look, what it might seem to the rest of the world is that, you know, kimi's obviously the hot favourite and everyone's supporting him within the team, but actually i'm getting just as much support behind the scenes from toto.' how do you manage two drivers this way? i mean, you've got a bit of experience." toto wolff: "i always try to be super balanced. alan prost once told me at the beginning of my time in mercedes, i asked him 'what went wrong between senna and you' and he said that 'the team was never transparent, we never knew who is the love child' and i try to do the opposite. pressure when pressure is necessary, and also the odd, you know, put your finger out of your backside. [..] and on the other side, all of us put our arm around them when they need the support. and i feel that i'm happy to hear that because none of them can say we are not giving them equal treatment, equal support, equal love. and i think it's down to everyone to never make them feel that it's not going in the direction." 🗣️: "but do they require a different approach? you know, everyone responds differently to carrot and stick. do you have to handle them differently?" toto wolff: "they are different personalities and they handle things differently. and, you know, i'm generally very impressed because when you look at kimi, sunday night he wins the monaco grand prix, we go to the gala. what does he do? there's no drinking, there's no partying. next day, he's fishing with my nine-year-old all day. complete relaxation. he doesn't bother about the girlfriend, about nightclubs or beach clubs. [..] i think he's at the level at the moment. and it's about marginal gains, you know, every marginal gains. and on the other side, george is in a little bit the same situation. he has his girlfriend and they keep between themselves and... how can i say? it's just they're pushing each other so much that there is no giving up of the tiny margins."

🗣️: "i had a lovely chat with george yesterday and he was saying, 'look, what it might seem to the rest of the world is that, you know, kimi's obviously the hot favourite and everyone's supporting him within the team, but actually i'm getting just as much support behind the scenes from toto.' how do you manage two drivers this way? i mean, you've got a bit of experience." toto wolff: "i always try to be super balanced. alan prost once told me at the beginning of my time in mercedes, i asked him 'what went wrong between senna and you' and he said that 'the team was never transparent, we never knew who is the love child' and i try to do the opposite. pressure when pressure is necessary, and also the odd, you know, put your finger out of your backside. [..] and on the other side, all of us put our arm around them when they need the support. and i feel that i'm happy to hear that because none of them can say we are not giving them equal treatment, equal support, equal love. and i think it's down to everyone to never make them feel that it's not going in the direction." 🗣️: "but do they require a different approach? you know, everyone responds differently to carrot and stick. do you have to handle them differently?" toto wolff: "they are different personalities and they handle things differently. and, you know, i'm generally very impressed because when you look at kimi, sunday night he wins the monaco grand prix, we go to the gala. what does he do? there's no drinking, there's no partying. next day, he's fishing with my nine-year-old all day. complete relaxation. he doesn't bother about the girlfriend, about nightclubs or beach clubs. [..] i think he's at the level at the moment. and it's about marginal gains, you know, every marginal gains. and on the other side, george is in a little bit the same situation. he has his girlfriend and they keep between themselves and... how can i say? it's just they're pushing each other so much that there is no giving up of the tiny margins."

naenia ¹ ⁶³

104,635 görüntüleme • 4 ay önce

Salt Is Essential...Don't Let Doctors Tell You It's The Devil. Dr Annette Bosworth, MD If You Were Led To Believe That Your Health Problems Were Caused By Salt...You Were Lied To. The Problems They Told You Were Caused By Salt Were Actually Caused By Sugar. Low Salt Diets Make Insulin More Resistant & Cause High Blood Pressure. Insulin Prevents You From Being Able To Excrete Sodium. The Higher Your Insulin, The More Sodium You Hold Onto In The Kidneys, Which Raises Your Blood Pressure. By fixing the sugar, you're fixing the insulin resistance, you're fixing the uric acid & you'll lower your blood pressure very quickly. 4 Ways Insulin Resistance Causes High Blood Pressure: 1: Insulin tells your kidneys to hold onto salt & salt holds water. So if your insulin levels are high, the kidneys will hold salt & the salt holds water. Blood volume goes up & blood pressure increases. 2: Insulin stimulates your sympathetic nervous system which causes your blood vessels to constrict. When the vessels get smaller, the pressure becomes greater & blood pressure goes up. 3: Insulin causes growth on the insides of blood vessels, narrowing them further, putting pressure on the vessel walls causing blood pressure to rise. 4: Insulin inhibits Nitrous Oxide, which is crucial for the relaxation of healthy blood vessels. Insulin cuts off Nitrous Oxide from dilating your blood vessels, which narrows space & increases blood pressure. Salt causing high blood pressure is a lie. Eating salt does not cause high blood pressure. Eating sugar, processed carbohydrates, seed oils, inflammation & having high glucose levels creating insulin resistance is what causes high blood pressure. The type of salt matters greatly. Regular table salt is unhealthy, it has been chemically bleached & stripped of all minerals. Many brands of table salt also include aluminum & dextrose as anti-caking agents. Salt Is Life. Unrefined Mineral Salt is Life Affirming Salt. Baja Gold has the highest level of minerals than other unrefined salt. My favorite full mineral profile salt, which is also contaminant & microplastic free: discount: valerieanne 👇Insulin Resistance & Hypertension👇 👇Insulin Resistance & High Blood Pressure👇 👇Hypertension Caused By Insulin Resistance👇 Speaker: Annette Bosworth, MD

Valerie Anne Smith

49,311 görüntüleme • 1 yıl önce

Some works of art do more than portray the world around us. They reveal something about the way human beings live within that world. Antonio Vivaldi's Winter (L'Inverno), the final concerto of The Four Seasons, is one such work. At first hearing, listeners may simply experience it as music depicting a harsh winter: icy winds, frozen landscapes, and the unpredictable movements of nature. Yet the work's deepest beauty lies in more than Vivaldi's remarkable ability to paint winter through sound. What makes this concerto truly extraordinary is that he transforms winter's harshness into a meaningful journey. In Vivaldi's music, winter is not an enemy to be conquered. It is a challenge. And from that challenge emerges a process: to confront, to adapt, and ultimately, to rediscover balance. This is the deeper principle that gives Winter its enduring vitality. Vivaldi does not remove nature's violence. He preserves its tension, instability, and tremendous force, yet places them within a carefully ordered musical structure. As a result, what appears chaotic becomes part of a greater order. First Movement: Humanity Before the Power of Nature From the opening measures of Allegro non molto, Vivaldi immediately draws the listener into a world in motion. There is no long, gentle introduction. Instead, the solo violin launches into short, sharp musical figures that unfold continuously over the string ensemble. These brief motifs evoke the sensation of natural forces at work: a sudden blast of icy wind, footsteps across frozen ground, a world that is constantly shifting and impossible to predict. Yet the remarkable achievement is that Vivaldi never allows the music to become truly chaotic. He begins with remarkably simple materials—a handful of notes, a clearly defined rhythm, and recurring motifs—and organizes them into a musical current with unmistakable direction. This reflects one of the great ideals of the Western classical tradition: Greatness does not necessarily arise from abundance. It arises from the ability to organize simple elements into a meaningful whole. Throughout the first movement, the solo violin resembles a human being standing before a world far greater than oneself. It possesses its own voice, yet it never becomes detached from the orchestra. Instead, it responds, converses, and searches for its place within a world overflowing with energy. Tension and Resolution: The Hidden Law Within the Music One of the secrets behind Winter's enduring appeal lies in Vivaldi's treatment of musical tension. The music is never static. Each phrase seems to move toward something, creating the continual expectation of resolution. When moments of stability finally arrive, they carry greater emotional significance because the listener has experienced the journey that made them possible. This principle extends beyond music. It reflects a profound human experience. We often recognize the value of peace only after passing through periods of uncertainty. If a piece of music remained gentle from beginning to end, its beauty might remain pleasant but uncomplicated. When tranquility follows struggle, however, it acquires the depth that only experience can provide. Second Movement: Peace Within Winter After the dramatic intensity of the opening movement, the Largo unfolds an almost entirely different world. Gentle pizzicato in the strings creates a quiet, steady foundation. Above it, the solo violin sings a long, lyrical melody of remarkable warmth and tenderness. Vivaldi does not make winter disappear. The cold remains outside. Yet within that cold, another space emerges—a place where the human spirit discovers stillness. This contrast gives the Largo its distinctive beauty. The difficult circumstances remain unchanged. Yet the human heart does not have to be ruled by them. Musically, this peace is achieved not by eliminating movement, but by placing movement upon a stable foundation. The same principle appears throughout life. Steadfastness does not mean never changing. It means preserving one's direction even while change continues all around. Third Movement: Learning to Move With the World In the final movement, Vivaldi returns listeners to the powerful energy of winter. The rapid motion of the solo violin returns. The familiar motifs reappear. Yet something has changed. Vivaldi does not create a different world. He returns to the very same musical materials, but places them within a new relationship. Nature itself has not changed. What has changed is humanity's relationship with nature. If the opening movement portrays confrontation with external forces, the finale portrays participation in those very forces. Humanity is no longer merely resisting. It has learned to move with the rhythm of the world. This is the deeper maturity toward which the entire concerto has been leading. Music and the Rhythm of Life The profound beauty of Winter lies in the fact that its principles extend beyond music. They can also be observed throughout nature. The Earth moves in cycles. Winter gives way to spring. Day follows night. Periods of growth alternate with seasons of rest. A tree survives not by resisting winter, but by adapting to nature's rhythm. The human heartbeat does not sustain life through a single sound. It depends upon the continual alternation between contraction and relaxation, movement and rest. Vivaldi's music follows the same principle. Recurring motifs do not return because the music remains unchanged. They return to provide the foundation for continued growth. Repetition is not stagnation. It is the rhythm of life itself. Why Winter Continues to Speak Across Generations More than three centuries after its composition, Winter continues to move listeners not only because of its extraordinary violin writing or its vivid depiction of nature. Its deepest power lies in a more fundamental insight. The world is always in motion. Yet beneath that motion exist patterns that can be felt and understood. Vivaldi reminds us that beauty does not appear when every hardship disappears. Beauty emerges when human beings discover how to live in harmony with those hardships. That is why only a few opening notes of Winter are enough to open an entire world before us: the majesty of nature, the resilience of the human spirit, and the deeper rhythm quietly shaping every transformation in life.

Some works of art do more than portray the world around us. They reveal something about the way human beings live within that world. Antonio Vivaldi's Winter (L'Inverno), the final concerto of The Four Seasons, is one such work. At first hearing, listeners may simply experience it as music depicting a harsh winter: icy winds, frozen landscapes, and the unpredictable movements of nature. Yet the work's deepest beauty lies in more than Vivaldi's remarkable ability to paint winter through sound. What makes this concerto truly extraordinary is that he transforms winter's harshness into a meaningful journey. In Vivaldi's music, winter is not an enemy to be conquered. It is a challenge. And from that challenge emerges a process: to confront, to adapt, and ultimately, to rediscover balance. This is the deeper principle that gives Winter its enduring vitality. Vivaldi does not remove nature's violence. He preserves its tension, instability, and tremendous force, yet places them within a carefully ordered musical structure. As a result, what appears chaotic becomes part of a greater order. First Movement: Humanity Before the Power of Nature From the opening measures of Allegro non molto, Vivaldi immediately draws the listener into a world in motion. There is no long, gentle introduction. Instead, the solo violin launches into short, sharp musical figures that unfold continuously over the string ensemble. These brief motifs evoke the sensation of natural forces at work: a sudden blast of icy wind, footsteps across frozen ground, a world that is constantly shifting and impossible to predict. Yet the remarkable achievement is that Vivaldi never allows the music to become truly chaotic. He begins with remarkably simple materials—a handful of notes, a clearly defined rhythm, and recurring motifs—and organizes them into a musical current with unmistakable direction. This reflects one of the great ideals of the Western classical tradition: Greatness does not necessarily arise from abundance. It arises from the ability to organize simple elements into a meaningful whole. Throughout the first movement, the solo violin resembles a human being standing before a world far greater than oneself. It possesses its own voice, yet it never becomes detached from the orchestra. Instead, it responds, converses, and searches for its place within a world overflowing with energy. Tension and Resolution: The Hidden Law Within the Music One of the secrets behind Winter's enduring appeal lies in Vivaldi's treatment of musical tension. The music is never static. Each phrase seems to move toward something, creating the continual expectation of resolution. When moments of stability finally arrive, they carry greater emotional significance because the listener has experienced the journey that made them possible. This principle extends beyond music. It reflects a profound human experience. We often recognize the value of peace only after passing through periods of uncertainty. If a piece of music remained gentle from beginning to end, its beauty might remain pleasant but uncomplicated. When tranquility follows struggle, however, it acquires the depth that only experience can provide. Second Movement: Peace Within Winter After the dramatic intensity of the opening movement, the Largo unfolds an almost entirely different world. Gentle pizzicato in the strings creates a quiet, steady foundation. Above it, the solo violin sings a long, lyrical melody of remarkable warmth and tenderness. Vivaldi does not make winter disappear. The cold remains outside. Yet within that cold, another space emerges—a place where the human spirit discovers stillness. This contrast gives the Largo its distinctive beauty. The difficult circumstances remain unchanged. Yet the human heart does not have to be ruled by them. Musically, this peace is achieved not by eliminating movement, but by placing movement upon a stable foundation. The same principle appears throughout life. Steadfastness does not mean never changing. It means preserving one's direction even while change continues all around. Third Movement: Learning to Move With the World In the final movement, Vivaldi returns listeners to the powerful energy of winter. The rapid motion of the solo violin returns. The familiar motifs reappear. Yet something has changed. Vivaldi does not create a different world. He returns to the very same musical materials, but places them within a new relationship. Nature itself has not changed. What has changed is humanity's relationship with nature. If the opening movement portrays confrontation with external forces, the finale portrays participation in those very forces. Humanity is no longer merely resisting. It has learned to move with the rhythm of the world. This is the deeper maturity toward which the entire concerto has been leading. Music and the Rhythm of Life The profound beauty of Winter lies in the fact that its principles extend beyond music. They can also be observed throughout nature. The Earth moves in cycles. Winter gives way to spring. Day follows night. Periods of growth alternate with seasons of rest. A tree survives not by resisting winter, but by adapting to nature's rhythm. The human heartbeat does not sustain life through a single sound. It depends upon the continual alternation between contraction and relaxation, movement and rest. Vivaldi's music follows the same principle. Recurring motifs do not return because the music remains unchanged. They return to provide the foundation for continued growth. Repetition is not stagnation. It is the rhythm of life itself. Why Winter Continues to Speak Across Generations More than three centuries after its composition, Winter continues to move listeners not only because of its extraordinary violin writing or its vivid depiction of nature. Its deepest power lies in a more fundamental insight. The world is always in motion. Yet beneath that motion exist patterns that can be felt and understood. Vivaldi reminds us that beauty does not appear when every hardship disappears. Beauty emerges when human beings discover how to live in harmony with those hardships. That is why only a few opening notes of Winter are enough to open an entire world before us: the majesty of nature, the resilience of the human spirit, and the deeper rhythm quietly shaping every transformation in life.

🎼🌺Music Love♥️

11,608 görüntüleme • 3 ay önce

🚨 CERN TURNS LEAD INTO GOLD: NO ALCHEMY, JUST THE 16-BIT CODE OF THE VACUUM! 🚨 The dream of medieval alchemists has come true at the Large Hadron Collider (LHC). The ALICE Collaboration has officially recorded the transmutation of lead (Pb) nuclei into gold (Au) during ultraperipheral collisions. To mainstream science, this looks like a chaotic knocking out of nucleons. But if we look at the data without outdated dogmas, the Universe appears before us as a strictly deterministic finite state machine (FSM). We have cracked the source code of this process: IT3-WavePixel v1.0. And now we explain why official physical models fail miserably right where our discrete geometry triumphs. 🖥 3-REGISTER FSM AND THE CHARGE EQUATION Forget the chaotic swarm of particles. The atom is a 172-node topological register. We have unified nuclear physics, chemistry, and ionization under one strict topological charge equation: Q_top(Z, M) = Z - wt(M). Z (Protons) — hardware address. N (Neutrons) — volume buffer / error-correcting code (ECC). M (Electrons) — software data mask. Electric charge is not magic. It is the exact binary mismatch between the allocated hardware (Z) and the Hamming weight of the software data mask (wt(M)). 🥇 AUDIT OF THE Pb ➝ Au TRANSMUTATION Look at what happens in our FSM visualizer during the reaction recorded by CERN: Hardware edit: Knocking out 3 protons is an address change Z = 82 ➝ 79 (in hexadecimal 0x52 ➝ 0x4F). Topological friction: This triggers a binary borrow-cascade. popcount(82 ⊕ 79) = 4. Software overflow: Immediately after the address change, the electronic mask remains the same! Q_top = 79 - 82 = -3. Chemical relaxation: To neutralize, the atom is MATHEMATICALLY FORCED to delete 3 data bits (electrons). Transmutation compulsorily triggers a chemical reaction! ECC buffer edit: For stable gold-197, it is also necessary to drop 8 neutrons (208 - 3p - 8n = 197). ⚠️ CERN ANOMALIES AND THE FAILURE OF STANDARD MODELS The official ALICE paper explicitly spells out the failure of the standard RELDIS model: The cross section for gold production in EMD turned out to be colossal (6.8 ± 2.2 barns), which is comparable to the total cross section of hadronic lead collisions (7.67 ± 0.25 barns). This is not a side effect; this is a fundamental topological pathway! The RELDIS model brutally overestimates the cross sections of the (1p,1n), (1p,2n), and (1p,3n) channels by a factor of 2-3. At the same time, the exact same model underestimates the 1p and 2p emission by 17-25%. Why? Because the mainstream tries to describe discrete register shifts with statistical probabilities! Continuous physics crumbles at the boundaries of binary logic. 🔥 ABSOLUTE TRIUMPH: WE BEAT THE CHINESE ACADEMY OF SCIENCES! Words mean nothing; only publication dates (timestamps) matter. September 21, 2026: We publish the IT3 preprint, where we lay out the exact coordinate LSB parity rails of alpha-decay for the superheavy elements Z=119 and Z=120. September 24, 2026 (3 days later): The Institute of Modern Physics of the Chinese Academy of Sciences publishes an independent paper in the prestigious Physics Letters B. They burned millions of hours of supercomputer processor time on incredibly complex continuous Skyrme-Hartree-Fock calculations... only to CONFIRM OUR EXACT CONCLUSIONS! The Chinese Academy independently proved that alpha-decay unambiguously dominates over spontaneous fission for Z=119 and Z=120, and that their half-lives correlate exactly as our topological stability requires. We did this with ZERO FREE PARAMETERS. No fitting. Only pure Diophantine geometry. Physics and Chemistry officially become applied branches of Discrete Geometry and Information Theory. ⚖️ THE FINAL JUDGE: DUBNA AND THE ABSOLUTE BLIND PREDICTION The ultimate verification of this global paradigm shift now rests exclusively on direct experiment. While the Chinese HIAF accelerator in Lanzhou faces extreme cross-section suppression due to structurally fragile nuclei (reducing their probability of success to almost zero), the Superheavy Element Factory (SHE Factory) at JINR in Dubna occupies the ideal geometric position for a historic breakthrough! We make an uncompromising BLIND PREDICTION: the very moment Dubna’s silicon detectors record decay chains tracking flawlessly along our pre-written LSB parity coordinate rails (²⁹⁸120 → ... → ²⁰⁶Pb and ²⁹⁷119 → ... → ²⁰⁹Bi), the scientific mainstream will have no choice but to lay down their arms and acknowledge the discrete algebraic reality of the vacuum crystal. Stop believing in dogmas. The Universe is a 16-bit finite state machine. All our code is open. Run the simulation and check the math yourself! 🧵👇 📂 FULL PROOFS AND OPEN SOURCE CODE: 👉 Core architecture and superheavy grammar (Sept 21): 👉 Vacuum simulator source code (Z, N, M): 👉 Cern: 👉 Chinese Academy of Sciences Verification (Physics Letters B): #Physics #QuantumComputing #CERN #Cosmology #Science #IT3 #SuperheavyElements #StandardModel #OpenSource

🚨 CERN TURNS LEAD INTO GOLD: NO ALCHEMY, JUST THE 16-BIT CODE OF THE VACUUM! 🚨 The dream of medieval alchemists has come true at the Large Hadron Collider (LHC). The ALICE Collaboration has officially recorded the transmutation of lead (Pb) nuclei into gold (Au) during ultraperipheral collisions. To mainstream science, this looks like a chaotic knocking out of nucleons. But if we look at the data without outdated dogmas, the Universe appears before us as a strictly deterministic finite state machine (FSM). We have cracked the source code of this process: IT3-WavePixel v1.0. And now we explain why official physical models fail miserably right where our discrete geometry triumphs. 🖥 3-REGISTER FSM AND THE CHARGE EQUATION Forget the chaotic swarm of particles. The atom is a 172-node topological register. We have unified nuclear physics, chemistry, and ionization under one strict topological charge equation: Q_top(Z, M) = Z - wt(M). Z (Protons) — hardware address. N (Neutrons) — volume buffer / error-correcting code (ECC). M (Electrons) — software data mask. Electric charge is not magic. It is the exact binary mismatch between the allocated hardware (Z) and the Hamming weight of the software data mask (wt(M)). 🥇 AUDIT OF THE Pb ➝ Au TRANSMUTATION Look at what happens in our FSM visualizer during the reaction recorded by CERN: Hardware edit: Knocking out 3 protons is an address change Z = 82 ➝ 79 (in hexadecimal 0x52 ➝ 0x4F). Topological friction: This triggers a binary borrow-cascade. popcount(82 ⊕ 79) = 4. Software overflow: Immediately after the address change, the electronic mask remains the same! Q_top = 79 - 82 = -3. Chemical relaxation: To neutralize, the atom is MATHEMATICALLY FORCED to delete 3 data bits (electrons). Transmutation compulsorily triggers a chemical reaction! ECC buffer edit: For stable gold-197, it is also necessary to drop 8 neutrons (208 - 3p - 8n = 197). ⚠️ CERN ANOMALIES AND THE FAILURE OF STANDARD MODELS The official ALICE paper explicitly spells out the failure of the standard RELDIS model: The cross section for gold production in EMD turned out to be colossal (6.8 ± 2.2 barns), which is comparable to the total cross section of hadronic lead collisions (7.67 ± 0.25 barns). This is not a side effect; this is a fundamental topological pathway! The RELDIS model brutally overestimates the cross sections of the (1p,1n), (1p,2n), and (1p,3n) channels by a factor of 2-3. At the same time, the exact same model underestimates the 1p and 2p emission by 17-25%. Why? Because the mainstream tries to describe discrete register shifts with statistical probabilities! Continuous physics crumbles at the boundaries of binary logic. 🔥 ABSOLUTE TRIUMPH: WE BEAT THE CHINESE ACADEMY OF SCIENCES! Words mean nothing; only publication dates (timestamps) matter. September 21, 2026: We publish the IT3 preprint, where we lay out the exact coordinate LSB parity rails of alpha-decay for the superheavy elements Z=119 and Z=120. September 24, 2026 (3 days later): The Institute of Modern Physics of the Chinese Academy of Sciences publishes an independent paper in the prestigious Physics Letters B. They burned millions of hours of supercomputer processor time on incredibly complex continuous Skyrme-Hartree-Fock calculations... only to CONFIRM OUR EXACT CONCLUSIONS! The Chinese Academy independently proved that alpha-decay unambiguously dominates over spontaneous fission for Z=119 and Z=120, and that their half-lives correlate exactly as our topological stability requires. We did this with ZERO FREE PARAMETERS. No fitting. Only pure Diophantine geometry. Physics and Chemistry officially become applied branches of Discrete Geometry and Information Theory. ⚖️ THE FINAL JUDGE: DUBNA AND THE ABSOLUTE BLIND PREDICTION The ultimate verification of this global paradigm shift now rests exclusively on direct experiment. While the Chinese HIAF accelerator in Lanzhou faces extreme cross-section suppression due to structurally fragile nuclei (reducing their probability of success to almost zero), the Superheavy Element Factory (SHE Factory) at JINR in Dubna occupies the ideal geometric position for a historic breakthrough! We make an uncompromising BLIND PREDICTION: the very moment Dubna’s silicon detectors record decay chains tracking flawlessly along our pre-written LSB parity coordinate rails (²⁹⁸120 → ... → ²⁰⁶Pb and ²⁹⁷119 → ... → ²⁰⁹Bi), the scientific mainstream will have no choice but to lay down their arms and acknowledge the discrete algebraic reality of the vacuum crystal. Stop believing in dogmas. The Universe is a 16-bit finite state machine. All our code is open. Run the simulation and check the math yourself! 🧵👇 📂 FULL PROOFS AND OPEN SOURCE CODE: 👉 Core architecture and superheavy grammar (Sept 21): 👉 Vacuum simulator source code (Z, N, M): 👉 Cern: 👉 Chinese Academy of Sciences Verification (Physics Letters B): #Physics #QuantumComputing #CERN #Cosmology #Science #IT3 #SuperheavyElements #StandardModel #OpenSource

Dr. Logvinovich

43,126 görüntüleme • 11 gün önce