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"Visual intensification: Focus," the latest Exosphere piece from XO/Art Contributor Felipe Pantone, explores perception at the scale of total visual immersion, where acceleration, excess, and continuous motion reshape how we see. Music by @selecta33 (IG) Motion design: @rozmerel (IG)

Sphere

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11,516 次观看 • 6 个月前 •via X (Twitter)

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$Mesmerized by the melt 🤩🌈 Jen Stark is a multidisciplinary visual artist whose work draws inspiration from sacred geometry, fractals, and organic growth patterns. Her XO/Art piece, 'Cosmic Cascade', is now live on the Exosphere! 🤝: David Lewandowski (Animation), eric epstein (Animation), jgvex (Sound Design), Joshua Liner (Creative Consultant)$

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$Example-based Motion Synthesis via Generative Motion Matching paper page: present GenMM, a generative model that "mines" as many diverse motions as possible from a single or few example sequences. In stark contrast to existing data-driven methods, which typically require long offline training time, are prone to visual artifacts, and tend to fail on large and complex skeletons, GenMM inherits the training-free nature and the superior quality of the well-known Motion Matching method. GenMM can synthesize a high-quality motion within a fraction of a second, even with highly complex and large skeletal structures. At the heart of our generative framework lies the generative motion matching module, which utilizes the bidirectional visual similarity as a generative cost function to motion matching, and operates in a multi-stage framework to progressively refine a random guess using exemplar motion matches. In addition to diverse motion generation, we show the versatility of our generative framework by extending it to a number of scenarios that are not possible with motion matching alone, including motion completion, key frame-guided generation, infinite looping, and motion reassembly.$

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Your brain doesn't simply record reality - it interprets it. In this video, the Ferris wheel (the large rotating wheel seen at amusement parks) can appear to spin in two different directions even though the image never changes. This happens because the brain is a prediction machine. Your visual cortex receives the same visual information, but the prefrontal cortex helps decide how to interpret the motion. If you focus on one cabin and imagine it moving the opposite way, your brain can flip the direction of the wheel. Nothing in the video changes - only your brain's prediction does. This is how perception works: the world stays the same, but the brain's internal model can completely change what you experience. capiomind

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Kling AI Cannes Showcase — Technical Discussion on Born of the Tide AI-driven animation across the full industrial creative workflow. Set against the historical and cultural backdrop of the Tanka people, Born of the Tide explores a new way of bringing local stories to the screen through AI-powered animation. From art direction and environment design to character movement and cinematic shot planning, Kling AI helps streamline the animation process, making high-quality, epic-scale visual storytelling more accessible, efficient, and scalable. By lowering production barriers and reducing reliance on large teams and long production cycles, the project points to a more agile and creatively open future for original animation.

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Excited to share our latest work on 🎧spatial audio-driven human motion generation. We aim to tackle a largely underexplored yet important problem of enabling virtual humans to move naturally in response to spatial audio—capturing not just what is heard, but also where the sound is coming from. To this end, we introduce the Spatial Audio-Driven Human Motion (SAM) dataset—the first comprehensive dataset featuring paired high-quality human motion and spatial audio recordings. For benchmarking, we develop a generative framework for human MOtion generation driven by SPAtial audio, termed MOSPA, which learns to synthesize realistic and diverse human motions conditioned on spatial audio input. We hope this research could provide a foundation for future research in spatial perception, virtual characters, and embodied AI. The dataset and model will be open-sourced soon. A big thank you to our intern, Shuyang Xu, for the wonderful collaboration! Congratulations, Shuyang! Project page: Paper: Video: #Animation #CG #CV #AIGC #DL #Deeplearning #Motion #Graphics #AI #GenerativeAI

Excited to share our latest work on 🎧spatial audio-driven human motion generation. We aim to tackle a largely underexplored yet important problem of enabling virtual humans to move naturally in response to spatial audio—capturing not just what is heard, but also where the sound is coming from. To this end, we introduce the Spatial Audio-Driven Human Motion (SAM) dataset—the first comprehensive dataset featuring paired high-quality human motion and spatial audio recordings. For benchmarking, we develop a generative framework for human MOtion generation driven by SPAtial audio, termed MOSPA, which learns to synthesize realistic and diverse human motions conditioned on spatial audio input. We hope this research could provide a foundation for future research in spatial perception, virtual characters, and embodied AI. The dataset and model will be open-sourced soon. A big thank you to our intern, Shuyang Xu, for the wonderful collaboration! Congratulations, Shuyang! Project page: Paper: Video: #Animation #CG #CV #AIGC #DL #Deeplearning #Motion #Graphics #AI #GenerativeAI

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Happy New Year from The Met! 🪩 Start 2025 with a closer look at Awol Erizku's dazzling "Nefertiti–Miles Davis," a mirrored tile bust of the Egyptian queen inspired by Miles Davis’s 1968 album Nefertiti. Suspended from the ceiling and rotating like a disco ball, this work explores the intersection of music and visual art, highlighting diasporic connections to ancient Egypt. Erizku frequently features Nefertiti in his work, blending references from culture coded as "urban" and the art-historical canon to examine themes of race, identity, and history. 🎨 Awol Erizku (Ethiopian American, 1988). Nefertiti–Miles Davis, 2017. Hand-coated foam and mirrored tile.

Happy New Year from The Met! 🪩 Start 2025 with a closer look at Awol Erizku's dazzling "Nefertiti–Miles Davis," a mirrored tile bust of the Egyptian queen inspired by Miles Davis’s 1968 album Nefertiti. Suspended from the ceiling and rotating like a disco ball, this work explores the intersection of music and visual art, highlighting diasporic connections to ancient Egypt. Erizku frequently features Nefertiti in his work, blending references from culture coded as "urban" and the art-historical canon to examine themes of race, identity, and history. 🎨 Awol Erizku (Ethiopian American, 1988). Nefertiti–Miles Davis, 2017. Hand-coated foam and mirrored tile.

The Metropolitan Museum of Art

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' "AETHER" : THE LOST TECHNOLOGY OF THE MILLENNIAL REIGN 🌎 🔎🎑🏞🎑 🌍 (02h : 30min : 08sec) Watch & Share : for those that have been blessed with enquiring minds.👇👇👇👁️👁️👁️‼️‼️‼️ This visual movie /work by Marcia Ramalho is one of the clearest collections of Old World evidence. Explores the architecture and electromagnetic design of cathedrals, star forts, airships, and “White Star Cities”, showing how sound, resonance of course and light once powered the world. As always, take what’s true and leave what’s not. The “Previous Civilization”, when the world was filled with divine order, radiant technology, and harmonious design, later destroyed and buried during the Little Season. A visual testimony of the forgotten beauty of the Millennial Reign, when heavenly designs covered the earth, leaving fingerprints we can still see , feel and touch today. #advancedHistory #hiddenHistory #mudflood #history #subvertedHistory

' "AETHER" : THE LOST TECHNOLOGY OF THE MILLENNIAL REIGN 🌎 🔎🎑🏞🎑 🌍 (02h : 30min : 08sec) Watch & Share : for those that have been blessed with enquiring minds.👇👇👇👁️👁️👁️‼️‼️‼️ This visual movie /work by Marcia Ramalho is one of the clearest collections of Old World evidence. Explores the architecture and electromagnetic design of cathedrals, star forts, airships, and “White Star Cities”, showing how sound, resonance of course and light once powered the world. As always, take what’s true and leave what’s not. The “Previous Civilization”, when the world was filled with divine order, radiant technology, and harmonious design, later destroyed and buried during the Little Season. A visual testimony of the forgotten beauty of the Millennial Reign, when heavenly designs covered the earth, leaving fingerprints we can still see , feel and touch today. #advancedHistory #hiddenHistory #mudflood #history #subvertedHistory

GP Q

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How Experiencing awe affects the brain and body: "When your visual aperture is small, your perception of time is different. You're fine slicing." "If I'm in line at the store and I have some place to be, my visual aperture shrinks and it feels like the person in front of me is taking forever." "When we see a horizon and our aperture opens up, we relax, but we also are taking fewer time bit snapshots." "It's not about having a small aperture or a big aperture per se, it's the process of going from one aperture to the next." "With awe we have a sense of self, and then we connect to vast things out there. It changes the neurophysiology of the mind." Dr. Dacher Keltner on Andrew D. Huberman, Ph.D.

How Experiencing awe affects the brain and body: "When your visual aperture is small, your perception of time is different. You're fine slicing." "If I'm in line at the store and I have some place to be, my visual aperture shrinks and it feels like the person in front of me is taking forever." "When we see a horizon and our aperture opens up, we relax, but we also are taking fewer time bit snapshots." "It's not about having a small aperture or a big aperture per se, it's the process of going from one aperture to the next." "With awe we have a sense of self, and then we connect to vast things out there. It changes the neurophysiology of the mind." Dr. Dacher Keltner on Andrew D. Huberman, Ph.D.

Huberman Lab Clips

33,355 次观看 • 22 天前

In Second Fiddle (1939), Sonja Henie—three-time Olympic gold medalist—turns figure skating into pure cinematic art. What makes this scene special isn’t just the romance with Tyrone Power, but the way the ice performance is filmed: real Olympic-level skating, no doubles, no tricks of modern CGI—just precision, speed, and control captured in long, elegant camera movements. The rink becomes a stage, and every spin and glide is choreographed like ballet for the lens. 1930s Hollywood transforms sport into visual poetry—where skating isn’t shown as competition, but as fluid motion, music, and emotion merged into one continuous flow. ❄️🎬

In Second Fiddle (1939), Sonja Henie—three-time Olympic gold medalist—turns figure skating into pure cinematic art. What makes this scene special isn’t just the romance with Tyrone Power, but the way the ice performance is filmed: real Olympic-level skating, no doubles, no tricks of modern CGI—just precision, speed, and control captured in long, elegant camera movements. The rink becomes a stage, and every spin and glide is choreographed like ballet for the lens. 1930s Hollywood transforms sport into visual poetry—where skating isn’t shown as competition, but as fluid motion, music, and emotion merged into one continuous flow. ❄️🎬

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

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Agile Continuous Jumping in Discontinuous Terrains discuss: We focus on agile, continuous, and terrain-adaptive jumping of quadrupedal robots in discontinuous terrains such as stairs and stepping stones. Unlike single-step jumping, continuous jumping requires accurately executing highly dynamic motions over long horizons, which is challenging for existing approaches. To accomplish this task, we design a hierarchical learning and control framework, which consists of a learned heightmap predictor for robust terrain perception, a reinforcement-learning-based centroidal-level motion policy for versatile and terrain-adaptive planning, and a low-level model-based leg controller for accurate motion tracking. In addition, we minimize the sim-to-real gap by accurately modeling the hardware characteristics. Our framework enables a Unitree Go1 robot to perform agile and continuous jumps on human-sized stairs and sparse stepping stones, for the first time to the best of our knowledge. In particular, the robot can cross two stair steps in each jump and completes a 3.5m long, 2.8m high, 14-step staircase in 4.5 seconds. Moreover, the same policy outperforms baselines in various other parkour tasks, such as jumping over single horizontal or vertical discontinuities.

Agile Continuous Jumping in Discontinuous Terrains discuss: We focus on agile, continuous, and terrain-adaptive jumping of quadrupedal robots in discontinuous terrains such as stairs and stepping stones. Unlike single-step jumping, continuous jumping requires accurately executing highly dynamic motions over long horizons, which is challenging for existing approaches. To accomplish this task, we design a hierarchical learning and control framework, which consists of a learned heightmap predictor for robust terrain perception, a reinforcement-learning-based centroidal-level motion policy for versatile and terrain-adaptive planning, and a low-level model-based leg controller for accurate motion tracking. In addition, we minimize the sim-to-real gap by accurately modeling the hardware characteristics. Our framework enables a Unitree Go1 robot to perform agile and continuous jumps on human-sized stairs and sparse stepping stones, for the first time to the best of our knowledge. In particular, the robot can cross two stair steps in each jump and completes a 3.5m long, 2.8m high, 14-step staircase in 4.5 seconds. Moreover, the same policy outperforms baselines in various other parkour tasks, such as jumping over single horizontal or vertical discontinuities.

AK

35,794 次观看 • 1 年前

At the 4th edition of #UMAGINETN2026, we turn the spotlight on a domain where Tamil Nadu has long led—the creative industries. This year’s programme brings together industry veterans and the next generation of creative leaders across Cinema & Storytelling, Music & Digital Creativity, Visual Effects & Animation, Gaming & Interactive Media, and Language Technology, examining how innovation is reshaping art, culture, and creative expression. Together, these conversations highlight Tamil Nadu’s expanding role in the global creative-tech ecosystem. Join us on January 8–9 at the Chennai Trade Centre as we come together to imagine, create, and build the future at Umagine TN.

At the 4th edition of #UMAGINETN2026, we turn the spotlight on a domain where Tamil Nadu has long led—the creative industries. This year’s programme brings together industry veterans and the next generation of creative leaders across Cinema & Storytelling, Music & Digital Creativity, Visual Effects & Animation, Gaming & Interactive Media, and Language Technology, examining how innovation is reshaping art, culture, and creative expression. Together, these conversations highlight Tamil Nadu’s expanding role in the global creative-tech ecosystem. Join us on January 8–9 at the Chennai Trade Centre as we come together to imagine, create, and build the future at Umagine TN.

Dr P Thiaga Rajan (PTR)

23,918 次观看 • 7 个月前

I believe that the interfaces of the future will disappear. Instead of buttons and menus, we will interact with objects. The process itself becomes the feedback. Building software is always a complex craft, but spatial computing is a different beast entirely. It demands a fusion of visual art, logic, and spatial UI where every interaction happens in the air around you. With OPERATOR, built for Apple Vision Pro, we explored this by turning music into a sculpture. The music track isn't a timeline anymore; it’s a 3D object you can walk around, touch, and modify from any angle.

I believe that the interfaces of the future will disappear. Instead of buttons and menus, we will interact with objects. The process itself becomes the feedback. Building software is always a complex craft, but spatial computing is a different beast entirely. It demands a fusion of visual art, logic, and spatial UI where every interaction happens in the air around you. With OPERATOR, built for Apple Vision Pro, we explored this by turning music into a sculpture. The music track isn't a timeline anymore; it’s a 3D object you can walk around, touch, and modify from any angle.

maxim zhestkov

102,825 次观看 • 6 个月前

Choreography Checkpoints: When Dance Becomes Living Art 👯‍♀️✨ These are the choreography checkpoints — the exact moments where dance transforms into pure art. Every sharp pose, every frozen frame, every synchronized breath… it’s not just movement. It’s a painting come to life. A sculpture in motion. A masterpiece made of muscle, timing, and soul. From powerful group formations to stunning solo freezes, watch how these dancers don’t just perform — they create. Art has officially become… 👯‍♀️ Who else gets chills when choreography hits these perfect visual peaks? Drop your favorite dance-art moment below! 🔥

Choreography Checkpoints: When Dance Becomes Living Art 👯‍♀️✨ These are the choreography checkpoints — the exact moments where dance transforms into pure art. Every sharp pose, every frozen frame, every synchronized breath… it’s not just movement. It’s a painting come to life. A sculpture in motion. A masterpiece made of muscle, timing, and soul. From powerful group formations to stunning solo freezes, watch how these dancers don’t just perform — they create. Art has officially become… 👯‍♀️ Who else gets chills when choreography hits these perfect visual peaks? Drop your favorite dance-art moment below! 🔥

NancyH

110,765 次观看 • 3 个月前

The next frontier in protein design will not be defined by structure alone, but by the capacity to engineer motion as a first-class principle of function. This is because dynamics is where the real biology lives. Foundational work by Karplus, Levitt & Warshel made clear that chemistry cannot be understood without motion, mechanism, and scale. Gō, Brooks & others showed that proteins possess characteristic collective motions - low-frequency normal modes that capture how whole molecules bend, breathe, and fluctuate. Frauenfelder then sharpened the picture further: proteins are not static objects occupying a single minimum, but dynamic ensembles traversing rugged energy landscapes. And yet the modern AI revolution in protein science has been, above all, a revolution in structure. In our new paper in Matter, Bo Ni and I ask a different question: not what structure will this sequence adopt? but what sequence will realize a prescribed pattern of motion? VibeGen inverts the conventional design paradigm. Rather than treating dynamics as a consequence to be analyzed after the fact, it makes dynamics the design objective from the outset. Using a language diffusion model with two cooperating agents - a designer that proposes sequences and a predictor that critiques them against the target motion profile - the system converges on de novo proteins with tailored vibrational behavior. One of the most intriguing results is a form of functional degeneracy - distinct sequences and distinct folds can satisfy the same target dynamical specification. For a given functional pattern of motion, evolution may have sampled only a small region of the physically realizable design space. The space of viable molecular mechanics may be far larger than the repertoire biology happened to discover. We have made "vibe" into a cultural metaphor - something intuitive, affective, subjective. But at the molecular scale, vibe is not metaphor: It is physics. For a protein, the vibe is the pattern of motion itself; the fluctuations, resonances, and collective displacements that determine what the molecule can do.

Markus J. Buehler

89,829 次观看 • 4 个月前