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WATCH THIS VIDEO CAREFULLY. FORENSIC ANALYSIS OF A VIDEO CURRENTLY BEING CIRCULATED AND SPREAD ON ARAB TELEGRAM CHANNELS (Mor Edge Insight in conjunction with GAZAWOOD - The Pallywood Saga - BACKUP - July 6) What you are about to see is raw footage of an active arrest operation and...

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Mor Edge Insight

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23,394 просмотров • 1 месяц назад •via X (Twitter)

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AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”
0:10

AI video is remarkably good at imagining historical events. This is a one-shot video from Seedance 2 of Pompeii when Mt. Vesuvius erupted. Prompt is below, you can ask an LLM to rewrite it for any other event 👇 This is handheld documentary footage recorded on an early-2000s consumer DV camcorder from the streets of Pompeii at the moment Mount Vesuvius begins erupting. The footage feels like real, imperfect home video of ordinary people witnessing the beginning of a historic disaster. The recording shows a busy street in Pompeii during the daytime, with merchants, families, children, laborers, and townspeople moving through the city. In the distance, Mount Vesuvius is visible above the rooftops. At first, people are going about normal daily life, but then a strange plume of smoke and ash begins rising from the volcano. The crowd gradually notices it. Some people stop and stare, some point toward the mountain, and others begin shouting to one another in confusion. The camera moves through the street like someone in the crowd trying to capture what is happening. It shows frightened townspeople looking up at the sky, parents pulling children closer, merchants abandoning their stalls, and groups of people beginning to run as ash starts falling. The footage captures the shift from curiosity to fear as the eruption becomes impossible to ignore. There are natural cuts between wider views of the street, the mountain in the distance, and closer views of people reacting in panic. The handheld camera shows natural shake, drifting framing, sudden reactive movement, autofocus mistakes as the person filming swings between the crowd and the volcano, slight exposure problems from bright daylight and ash in the air, and the imperfect look of old DV footage. The movement should feel urgent and unplanned, like someone trying to document the disaster while also staying safe. Natural sound only: the noise of the street, footsteps on stone, people murmuring and then shouting, children crying, distant rumbling from the volcano, debris falling, and the panic of the crowd. No cinematic music added. The result must feel like authentic, raw footage of ordinary people in Pompeii experiencing the beginning of the eruption of Mount Vesuvius, captured on an old DV camcorder.”

Justine Moore

21,009 просмотров • 1 месяц назад

On the 16th of March 2025, Earshot was contacted by activists in Serbia to investigate the potential use of sonic weapons by the government on a crowd of protestors as they were holding a silent vigil for the victims of the Novi Sad railway station canopy collapse. Earshot received 12 videos that document the moments where a weapon was allegedly used against the protestors. 4 of these videos contain a sound consistent with the noise produced by a Vortex Ring Gun or Vortex Cannon. As this weapon pushes gas out of its cylinder at speeds of 185mph, its expulsion produces a howling noise which has been compared to a jet engine, along with vortex rings that may be ionized. This would create electromagnetic interference with devices such as hearing aids, corroborating reports made by witnesses at the protest. Should this be the vortex cannon, these recordings would be more than 700m away. At this distance the combustion of the weapon is no longer audible; only the distinct whistling sound of the pressure wave as it travels away from the shooter location and towards the crowd can be heard, causing mass panic. As Earshot is looking to further investigate this incident, we ask anyone with video footage from that night that captures the specific sound that can be heard in this post to get in touch with us.
0:19

On the 16th of March 2025, Earshot was contacted by activists in Serbia to investigate the potential use of sonic weapons by the government on a crowd of protestors as they were holding a silent vigil for the victims of the Novi Sad railway station canopy collapse. Earshot received 12 videos that document the moments where a weapon was allegedly used against the protestors. 4 of these videos contain a sound consistent with the noise produced by a Vortex Ring Gun or Vortex Cannon. As this weapon pushes gas out of its cylinder at speeds of 185mph, its expulsion produces a howling noise which has been compared to a jet engine, along with vortex rings that may be ionized. This would create electromagnetic interference with devices such as hearing aids, corroborating reports made by witnesses at the protest. Should this be the vortex cannon, these recordings would be more than 700m away. At this distance the combustion of the weapon is no longer audible; only the distinct whistling sound of the pressure wave as it travels away from the shooter location and towards the crowd can be heard, causing mass panic. As Earshot is looking to further investigate this incident, we ask anyone with video footage from that night that captures the specific sound that can be heard in this post to get in touch with us.

earshot.ngo

825,228 просмотров • 1 год назад

Elon Musk gave the entire entertainment industry its expiration date, and he is the one building the thing that kills it. Musk: “My guess is that we see the first compelling half hour, pure AI show next year.” Next year. A complete show generated entirely by AI. No writers. No actors. No cameras. No sets. No crew. No studio. Just a prompt and enough compute to render a reality that never physically existed. And shows are the easy part. Musk: “I say probably we’re maybe three years away from AI does the whole video game.” A show plays the same way every time. A game has to generate a living world that reacts to every decision in real time across every single frame. That is a fundamentally harder class of problem. And Musk put three years on it. Right now a single AAA title takes seven years and half a billion dollars across thousands of engineers and artists just to ship it. Musk is describing a world where one person types a paragraph and gets something comparable. The entire value proposition of a multi-billion dollar industry lives inside that gap. And it closes in thirty-six months. But the prediction is not the story. The person making it is. This is not an analyst speculating from the sidelines. This is the man building the largest AI compute clusters on the planet. The man who built xAI from zero in under two years. The man stacking hundreds of thousands of GPUs into facilities designed to do exactly what he is describing. When Musk says three years, he is not guessing about what someone else might eventually ship. He is reading you a delivery date off his own roadmap. Every media company on Earth is valued on a single assumption. That quality content is expensive and difficult to produce at scale. That one assumption is the structural foundation underneath every studio, every network, and every publisher in existence. Musk is dismantling it with raw compute. The studios still parading thousand-person production teams are not demonstrating strength. They are advertising the exact cost structure that one person with a prompt and a GPU allocation is about to make irrelevant. And it does not stop at entertainment. If AI can generate an interactive world that responds to human input in real time, it can generate anything. Advertising. Architecture. Training simulations. Product design. Every industry built on humans manually constructing visual experiences frame by frame is sitting on the same countdown Musk just read out loud. Now zoom out. Because this is not just an industry story. For the entire history of human civilization, the distance between imagining a world and actually creating one required thousands of people, millions of hours, and billions of dollars. That distance built Hollywood. That distance built the gaming industry. That distance made content scarce and studios powerful. Musk is collapsing that distance to zero. When the gap between imagining something and it existing disappears, every business model built on the difficulty of creation disappears with it. That is not disruption. That is a full inversion of how human beings create. Musk did not make a casual prediction on that podcast. He told you what he is building. He told you the timeline. And he told you which industries do not survive it. The entertainment industry is still debating whether this future is real. Musk is not part of that debate. He is building. And he just told you the delivery date.
0:17

Elon Musk gave the entire entertainment industry its expiration date, and he is the one building the thing that kills it. Musk: “My guess is that we see the first compelling half hour, pure AI show next year.” Next year. A complete show generated entirely by AI. No writers. No actors. No cameras. No sets. No crew. No studio. Just a prompt and enough compute to render a reality that never physically existed. And shows are the easy part. Musk: “I say probably we’re maybe three years away from AI does the whole video game.” A show plays the same way every time. A game has to generate a living world that reacts to every decision in real time across every single frame. That is a fundamentally harder class of problem. And Musk put three years on it. Right now a single AAA title takes seven years and half a billion dollars across thousands of engineers and artists just to ship it. Musk is describing a world where one person types a paragraph and gets something comparable. The entire value proposition of a multi-billion dollar industry lives inside that gap. And it closes in thirty-six months. But the prediction is not the story. The person making it is. This is not an analyst speculating from the sidelines. This is the man building the largest AI compute clusters on the planet. The man who built xAI from zero in under two years. The man stacking hundreds of thousands of GPUs into facilities designed to do exactly what he is describing. When Musk says three years, he is not guessing about what someone else might eventually ship. He is reading you a delivery date off his own roadmap. Every media company on Earth is valued on a single assumption. That quality content is expensive and difficult to produce at scale. That one assumption is the structural foundation underneath every studio, every network, and every publisher in existence. Musk is dismantling it with raw compute. The studios still parading thousand-person production teams are not demonstrating strength. They are advertising the exact cost structure that one person with a prompt and a GPU allocation is about to make irrelevant. And it does not stop at entertainment. If AI can generate an interactive world that responds to human input in real time, it can generate anything. Advertising. Architecture. Training simulations. Product design. Every industry built on humans manually constructing visual experiences frame by frame is sitting on the same countdown Musk just read out loud. Now zoom out. Because this is not just an industry story. For the entire history of human civilization, the distance between imagining a world and actually creating one required thousands of people, millions of hours, and billions of dollars. That distance built Hollywood. That distance built the gaming industry. That distance made content scarce and studios powerful. Musk is collapsing that distance to zero. When the gap between imagining something and it existing disappears, every business model built on the difficulty of creation disappears with it. That is not disruption. That is a full inversion of how human beings create. Musk did not make a casual prediction on that podcast. He told you what he is building. He told you the timeline. And he told you which industries do not survive it. The entertainment industry is still debating whether this future is real. Musk is not part of that debate. He is building. And he just told you the delivery date.

Dustin

22,390 просмотров • 1 месяц назад

Here is the guy and the two ladies stopping traffic in the middle of the street. You can hear him yelling at the person in the white SUV. You can see the border patrol agents parked across the street in front of the place where they were going to arrest the criminal illegal alien and coming out of their cars. You can then see the two women go right towards the agent who was by his car and stand in front of him obstructing an active operation. It can't be seen in this video but we know from other videos that the guy went across the street to the area where the agents were. The two women and the guy all inserted themselves in an active operation. This is dangerous for officers and for the public. These officers have only a few minutes to get in there, execute the warrant, arrest the illegal alien (who may be armed since he is a criminal) and pull him out into their car. These people are going after these officers with loud whistles, blocking traffic, confronting them. The people out there applauding this behavior, saying that it is citizens' right to do that, or instigating it are putting civilians in danger.
0:10

Here is the guy and the two ladies stopping traffic in the middle of the street. You can hear him yelling at the person in the white SUV. You can see the border patrol agents parked across the street in front of the place where they were going to arrest the criminal illegal alien and coming out of their cars. You can then see the two women go right towards the agent who was by his car and stand in front of him obstructing an active operation. It can't be seen in this video but we know from other videos that the guy went across the street to the area where the agents were. The two women and the guy all inserted themselves in an active operation. This is dangerous for officers and for the public. These officers have only a few minutes to get in there, execute the warrant, arrest the illegal alien (who may be armed since he is a criminal) and pull him out into their car. These people are going after these officers with loud whistles, blocking traffic, confronting them. The people out there applauding this behavior, saying that it is citizens' right to do that, or instigating it are putting civilians in danger.

Dr. Maria Peiro 🇺🇸 🐊

158,356 просмотров • 7 месяцев назад

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.
0:15

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.

TechHalla

70,762 просмотров • 1 месяц назад

As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨
0:10

As of this morning, every brand-new Car sold in Europe is mandated by law to watch its “driver”, and the reason to worry is the opposite of what everyone is screaming about. The camera is not filming your face. The law explicitly bans that. It rather tracks your eyes. The danger is not what it does today. It is what it is now physically positioned to do tomorrow. This became binding across all 27 countries today, the 7th of July 2026, and no member state can opt out, because road safety is an EU competence and EU law overrides national law. Every new car and van, roughly 18 million of them a year, must now carry an infrared camera, usually on the steering column, that follows the driver's gaze. Look away too long, six seconds under 50 kilometers an hour, three and a half above it, and the car warns you with a sound, a light, or a buzz in the seat. The stated reason is real. Distraction causes up to 30 percent of crashes, and the Commission projects the wider safety package will save 25,000 lives by 2038. The outrage dissolves on contact with the actual text. The law actually fully forbids facial recognition and any biometric identification of anyone in the car, and the footage is legally barred from leaving the vehicle. No recording, no transmission, no police feed. As written today, this is a safety beeper, not a spy. But look at what already sits beside it. Think about it.. come on!! Europe's cars already run always-on systems that do transmit, the automatic crash caller that dials emergency services, the black-box event recorder, and over-the-air software that rewrites the car remotely overnight. The sensor was just made universal. The wall keeping it private is a single legal paragraph, and the same law already schedules its own review for 2027 to read cognitive state and body movement, while suppliers openly sell using the identical mandated camera to watch the passengers too. So this is the quiet architecture of every threshold. The permanent thing is physical, a camera now bolted into 18 million dashboards a year. The thing protecting you is a mere sentence, and sentences are the easiest part of any system to revise. Europe hardwired the eye. It left what the eye may see as the one part that can still be changed later. Hmm 🤨

Shanaka Anslem Perera ⚡

650,189 просмотров • 1 месяц назад

Strikes on the rear of the Armed Forces of Ukraine (and again, Dnipropetrovsk) - the consequences - what the "objective control" footage shows... The enemy is much better at concealing the results of their strikes than we are, and therefore there is relatively little footage of their effectiveness. Usually, such footage appears from moving vehicles (which is almost impossible for the Security Service of Ukraine to track). And it is precisely such footage that shows the scale of the consequences of today's strikes on Dnipropetrovsk and its surroundings. As we can see from the video, there are THREE major fire outbreaks in the city (they say the main oil depots have been hit). Not to mention smaller ones (like gas stations). By the way, about the gas stations. Judging by the fact that not only footage of burning gas stations is appearing online, but also footage of strikes on them (the latest video), we can see that this is indeed very precise work by our "heroes". And it's almost impossible to cover all the gas stations. And if this becomes a practice for the enemy, they will start having major logistical problems. Subscribe
0:27

Strikes on the rear of the Armed Forces of Ukraine (and again, Dnipropetrovsk) - the consequences - what the "objective control" footage shows... The enemy is much better at concealing the results of their strikes than we are, and therefore there is relatively little footage of their effectiveness. Usually, such footage appears from moving vehicles (which is almost impossible for the Security Service of Ukraine to track). And it is precisely such footage that shows the scale of the consequences of today's strikes on Dnipropetrovsk and its surroundings. As we can see from the video, there are THREE major fire outbreaks in the city (they say the main oil depots have been hit). Not to mention smaller ones (like gas stations). By the way, about the gas stations. Judging by the fact that not only footage of burning gas stations is appearing online, but also footage of strikes on them (the latest video), we can see that this is indeed very precise work by our "heroes". And it's almost impossible to cover all the gas stations. And if this becomes a practice for the enemy, they will start having major logistical problems. Subscribe

🇷🇺 Yuri Podolyaka

15,108 просмотров • 4 месяцев назад

Let’s be absolutely clear with the facts from today’s “march against the far right” which I attended from the start. 🇬🇧🏴󠁧󠁢󠁥󠁮󠁧󠁿 1. These were left-wing organisations from all over the UK. Every union under the sun was in attendance. National Education Union are definitely indoctrinating children within the teacher and school environment, just look at their presence today. It is very concerning. Watch what they teach your kids. They, as an education union, along with Unite the union: join a union, were also fighting over who got to be at the front of the march today, thanks to two lesbian powerhouses not having it. Comedy gold 😂 2. The second video shows over 100 coaches being used to bus in all these so-called “concerned citizens” on organised transport. They are all part of a left-wing narrative which just doesn’t work anymore, we see exactly what they are doing. That was the entire left-wing loony left in attendance. That’s it. That’s them. This is a major point! We have millions who know what’s right, and the left wing in this country is about to get the shock of their lives in the next elections, swept off the map. That was a panic march. They know it’s coming! 3. There was no working class at this march! Fact! It was all middle and upper class people who attend the usual Palestine marches and Palestine Action events. They hate the Union Jack flag and they hate the working class. This was a stunt by the well-organised unions to pretend the country is behind them which it is not. And that was clear as day to witness today. Also a clear panic march. 4. We don’t have much to worry about. These people are not in the real world. They are privileged and wealthy. And as I said, that’s the crowd, that’s them. They are in total fantasy land, and it’s now time for the adults to get back in charge. 5. Long live England 🏴󠁧󠁢󠁥󠁮󠁧󠁿✝️🇬🇧
0:18

Let’s be absolutely clear with the facts from today’s “march against the far right” which I attended from the start. 🇬🇧🏴󠁧󠁢󠁥󠁮󠁧󠁿 1. These were left-wing organisations from all over the UK. Every union under the sun was in attendance. National Education Union are definitely indoctrinating children within the teacher and school environment, just look at their presence today. It is very concerning. Watch what they teach your kids. They, as an education union, along with Unite the union: join a union, were also fighting over who got to be at the front of the march today, thanks to two lesbian powerhouses not having it. Comedy gold 😂 2. The second video shows over 100 coaches being used to bus in all these so-called “concerned citizens” on organised transport. They are all part of a left-wing narrative which just doesn’t work anymore, we see exactly what they are doing. That was the entire left-wing loony left in attendance. That’s it. That’s them. This is a major point! We have millions who know what’s right, and the left wing in this country is about to get the shock of their lives in the next elections, swept off the map. That was a panic march. They know it’s coming! 3. There was no working class at this march! Fact! It was all middle and upper class people who attend the usual Palestine marches and Palestine Action events. They hate the Union Jack flag and they hate the working class. This was a stunt by the well-organised unions to pretend the country is behind them which it is not. And that was clear as day to witness today. Also a clear panic march. 4. We don’t have much to worry about. These people are not in the real world. They are privileged and wealthy. And as I said, that’s the crowd, that’s them. They are in total fantasy land, and it’s now time for the adults to get back in charge. 5. Long live England 🏴󠁧󠁢󠁥󠁮󠁧󠁿✝️🇬🇧

Danny Tommo

84,224 просмотров • 5 месяцев назад

Let me give everyone just a little common sense test. It may be that I retired from the United States Air Force, that the answer is crystal clear to me and maybe a bit more challenging for others. So the guy on the left is claiming to be the president of the United States of America. He claims his name is Joe Biden but we know Joe Biden is dead. He faced a military tribunal and was executed. So really do you really think that a president of the United States of America gets off a plane and gets into some random dudes vehicle? Only someone that doesn't know anything about the military would think such nonsense. Or are you someone that has a great deal of common Sense and critical thinking ability and can see this motorcade on the right and know that that's what a presidential motorcade looks like and that means the president is really in there. This so happened to be president Trump on his way to South Carolina rally. So is the real president on the left side or is the real president on the right side? This really should be a no-brainer but of course we know liberals absolutely beyond a shadow of a doubt or no brainers they have no brains, they have no common sense, there are cognitive dissonance is all messed up, and they have zero critical thinking capabilities. By the way even former presidents don't have motorcades that look like that for anybody thinking that the excuse for it. So-called president gets in an Uber carrying his own luggage and people can't wake the hell up.
1:01

Let me give everyone just a little common sense test. It may be that I retired from the United States Air Force, that the answer is crystal clear to me and maybe a bit more challenging for others. So the guy on the left is claiming to be the president of the United States of America. He claims his name is Joe Biden but we know Joe Biden is dead. He faced a military tribunal and was executed. So really do you really think that a president of the United States of America gets off a plane and gets into some random dudes vehicle? Only someone that doesn't know anything about the military would think such nonsense. Or are you someone that has a great deal of common Sense and critical thinking ability and can see this motorcade on the right and know that that's what a presidential motorcade looks like and that means the president is really in there. This so happened to be president Trump on his way to South Carolina rally. So is the real president on the left side or is the real president on the right side? This really should be a no-brainer but of course we know liberals absolutely beyond a shadow of a doubt or no brainers they have no brains, they have no common sense, there are cognitive dissonance is all messed up, and they have zero critical thinking capabilities. By the way even former presidents don't have motorcades that look like that for anybody thinking that the excuse for it. So-called president gets in an Uber carrying his own luggage and people can't wake the hell up.

Truth Awakening

1,755,701 просмотров • 2 лет назад

These are clips culled from the videos we all watched. You people and the man have lied that the girl said, "Who does this man think he is?" Meanwhile, the video evidence in the first frame shows that all she said was,"Can you imagine? What is this?" Video evidence in the second frame shows that the man was holding onto the neck of her dress and pulling it towards himself; a dress with a low neckline, which means that by pulling it away from her, he exposed her breasts to full public view. Anyone with a height higher than that neckline would have a clear view of that girl's breasts. That same video evidence shows that all the girl did initially was try to get his hands off her dress, and only swung at him and pulled his own clothing when he refused to let go. Twist this issue all you like. It does not change the facts on video. You people expected the girl to cower and accept to be treated like an animal just because the man is an elder and a lecturer.
0:12

These are clips culled from the videos we all watched. You people and the man have lied that the girl said, "Who does this man think he is?" Meanwhile, the video evidence in the first frame shows that all she said was,"Can you imagine? What is this?" Video evidence in the second frame shows that the man was holding onto the neck of her dress and pulling it towards himself; a dress with a low neckline, which means that by pulling it away from her, he exposed her breasts to full public view. Anyone with a height higher than that neckline would have a clear view of that girl's breasts. That same video evidence shows that all the girl did initially was try to get his hands off her dress, and only swung at him and pulled his own clothing when he refused to let go. Twist this issue all you like. It does not change the facts on video. You people expected the girl to cower and accept to be treated like an animal just because the man is an elder and a lecturer.

KWEKU THE HUSTLER NWA PETER OBI

31,653 просмотров • 1 год назад

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.
0:13

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,389 просмотров • 3 месяцев назад

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

björk

54,602 просмотров • 1 год назад

Alaska. Putin and Trump. The meeting that was both awaited and feared. The outcome. By Roman Alekhin To discuss this further, the key point to understand is this: Two and a half hours behind closed doors is too little for leaders of nuclear powers if they are just starting a conversation—but too much if they were merely posing for cameras. This means the real work happened earlier—quiet, working discussions “behind the door” that never made it into the official communiqué. These are what stopped Trump from imposing secondary sanctions; this is where the exchange of conditions took place, terms that won’t be disclosed until both leaders decide the time is right. I suspect Syria was discussed, as well as the “Trump Bridge” (instead of Zangezur), the Middle East, and much more that isn’t yet visible to the naked eye. The public part? Pure theater. The point wasn’t to negotiate in front of the world or sign something, like Trump did with Armenia and Azerbaijan—minor players, important only tactically. The point was to send a signal: the presidents of Russia and the U.S. are shaking hands and smiling again, no knives behind their backs. This signals that a new reality has arrived, one that Europe, Ukraine, and everyone accustomed to building their worldview around the idea of “Russia’s isolation” will now have to reckon with—including those within our own countries. Trump’s comments on Fox News were deliberately vague—he’s a master at leaving room for maneuver. But the key takeaway is clear: the pressure will now shift from Moscow to Kyiv and Brussels. This is evident even in the final format—not a word about a “no-conditions” ceasefire, which was Europe and Zelensky’s main demand. This means the discussion on a final peace has been postponed, but within a clear framework: Zelensky must exit the war in a way that lets Europe save face. Russia’s red lines have long been clear: non-aligned status for Ukraine, return of Kherson, Zaporizhzhia, Donetsk, and Luhansk regions within their administrative borders (not the frontlines), lifting of sanctions, and real democracy in Ukraine without persecution of the Russian language or the Orthodox Church. These conditions will prolong the conflict for some time. Zelensky will need to stage a fighting retreat to the administrative borders—this will allow Europe to save face. But the logic is already visible: Ukraine’s defeat will be framed not as a “crushing” but as a “peaceful settlement.” Six months—that’s the timeframe in which we’ll see the dynamics. If the front accelerates, the deal is working. If it stalls, not all pieces are in place yet. But the main thing is already done: Russia is back in the game, not through gray negotiating formats but through a handshake on American soil—even if it’s chilly Alaska. (Though we have warm ties to the region, as seen in the wreath-laying for the “Heroes of ALSIB” and the meeting with Archbishop Alexy of Sitka and Alaska.) For the world, this is an image where smiles are worth more than signatures. For Trump—a chance to show he’s the only one who can “make peace.” For Putin—a symbolic victory: Russia is not a besieged enemy but an equal player. For Europe and Ukraine—the beginning of a painful new phase where they’ll have to accept the inevitable. In these talks, there were no winners or losers in Alaska. In Alaska, both presidents won, while those who weren’t there—lost, or at the very least, didn’t win.
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Alaska. Putin and Trump. The meeting that was both awaited and feared. The outcome. By Roman Alekhin To discuss this further, the key point to understand is this: Two and a half hours behind closed doors is too little for leaders of nuclear powers if they are just starting a conversation—but too much if they were merely posing for cameras. This means the real work happened earlier—quiet, working discussions “behind the door” that never made it into the official communiqué. These are what stopped Trump from imposing secondary sanctions; this is where the exchange of conditions took place, terms that won’t be disclosed until both leaders decide the time is right. I suspect Syria was discussed, as well as the “Trump Bridge” (instead of Zangezur), the Middle East, and much more that isn’t yet visible to the naked eye. The public part? Pure theater. The point wasn’t to negotiate in front of the world or sign something, like Trump did with Armenia and Azerbaijan—minor players, important only tactically. The point was to send a signal: the presidents of Russia and the U.S. are shaking hands and smiling again, no knives behind their backs. This signals that a new reality has arrived, one that Europe, Ukraine, and everyone accustomed to building their worldview around the idea of “Russia’s isolation” will now have to reckon with—including those within our own countries. Trump’s comments on Fox News were deliberately vague—he’s a master at leaving room for maneuver. But the key takeaway is clear: the pressure will now shift from Moscow to Kyiv and Brussels. This is evident even in the final format—not a word about a “no-conditions” ceasefire, which was Europe and Zelensky’s main demand. This means the discussion on a final peace has been postponed, but within a clear framework: Zelensky must exit the war in a way that lets Europe save face. Russia’s red lines have long been clear: non-aligned status for Ukraine, return of Kherson, Zaporizhzhia, Donetsk, and Luhansk regions within their administrative borders (not the frontlines), lifting of sanctions, and real democracy in Ukraine without persecution of the Russian language or the Orthodox Church. These conditions will prolong the conflict for some time. Zelensky will need to stage a fighting retreat to the administrative borders—this will allow Europe to save face. But the logic is already visible: Ukraine’s defeat will be framed not as a “crushing” but as a “peaceful settlement.” Six months—that’s the timeframe in which we’ll see the dynamics. If the front accelerates, the deal is working. If it stalls, not all pieces are in place yet. But the main thing is already done: Russia is back in the game, not through gray negotiating formats but through a handshake on American soil—even if it’s chilly Alaska. (Though we have warm ties to the region, as seen in the wreath-laying for the “Heroes of ALSIB” and the meeting with Archbishop Alexy of Sitka and Alaska.) For the world, this is an image where smiles are worth more than signatures. For Trump—a chance to show he’s the only one who can “make peace.” For Putin—a symbolic victory: Russia is not a besieged enemy but an equal player. For Europe and Ukraine—the beginning of a painful new phase where they’ll have to accept the inevitable. In these talks, there were no winners or losers in Alaska. In Alaska, both presidents won, while those who weren’t there—lost, or at the very least, didn’t win.

🅰pocalypsis 🅰pocalypseos 🇷🇺 🇨🇳 🅉

13,487 просмотров • 1 год назад

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.
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This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.

Blaze

38,242 просмотров • 3 месяцев назад

Can a handcuff made of paper really lock your heart in place? 回帖里还有另一版，哪个更好？ Seedance prompt: 👉👉👊👊Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated. The footage features noticeable handheld shake and operator breathing sounds. Autofocus operates quickly in dim environments, frequently searching for targets among colored lights, with delays. Automatic white balance changes dramatically with the shift between purple-blue lighting on the stage and skin highlights. The image is generally dark and noisy, but retains real lens flares, overexposure in high-light areas, motion blur, and severe background blurring. Only in-built environmental sounds are used: low-frequency electronic music from the nightclub (severely distorted through the phone microphone), noise from crowds, and drumbeats with a sense of vibration. The microphone also has significant distortion at low frequencies. The footage is captured from the perspective of real people/audience members. The composition is occasionally imperfect, with slight tilts or cropping at the edges. A young Asian woman is used as a reference for the appearance of the character. She has long black wavy hair, and she is wearing… She wore a golden sequined dress, standing on the stage of the nightclub. At 0-3 seconds, the camera pans slightly within the crowd at the nightclub, with the image being slightly dark, focusing on the stage. In front of her, a black-clothed person wearing a mask handed her several folded white strips of paper. She took the papers, then slowly wrapped them around her wrists, simulating the effect of being tied with ropes. Her movements were deliberate and slow. The white paper left obvious marks on her wrists. From time to time, she would look up at the camera, with a playful smile on her lips. The stage was illuminated by purple-blue lights, with the camera adjusting its exposure between the lights and the person in front of it, resulting in slight overexposure and noise in the image. In the background, we could see the stage lights reflecting off the crowd and equipment, with noisy environmental sounds in the background. At 3-7 seconds, the camera moves forward, switching to a closer handheld perspective.She wore white strips around her wrists (simulating ropes), and began to perform in a seductive dance pose before the first-person camera. Her body moved slowly, with her hands “bound” by the strips, either overlapping or raised forward. Her waist and hips swayed gently to the rhythm of the music, her eyes fixed straight at the camera, with a hint of teasing and inviting gaze. Occasionally, she would look down at her wrists, then raise her head again, her eyes casting an even more suggestive light toward the camera. She leaned forward, her movements full of seduction yet elegant. The golden sequin dress shimmered under the colored lights, and the camera quickly locked onto her image. The male singer and stage lighting in the background were heavily blurred, creating a strong mobile phone-style background blur and light spots. The low-frequency music was severely distorted through the microphone, and the camera shook slightly due to the operator’s proximity, along with the sound of breathing.The entire scene depicts a dark, noisy, and unstable environment, reminiscent of a real nightclub setting. At the end of the scene, the camera focuses on her hands, wrapped in white paper, as she maintains a seductive dancing posture. Her eyes are fixed straight ahead, and the camera moves slightly back and forth.
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Can a handcuff made of paper really lock your heart in place? 回帖里还有另一版，哪个更好？ Seedance prompt: 👉👉👊👊Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated. The footage features noticeable handheld shake and operator breathing sounds. Autofocus operates quickly in dim environments, frequently searching for targets among colored lights, with delays. Automatic white balance changes dramatically with the shift between purple-blue lighting on the stage and skin highlights. The image is generally dark and noisy, but retains real lens flares, overexposure in high-light areas, motion blur, and severe background blurring. Only in-built environmental sounds are used: low-frequency electronic music from the nightclub (severely distorted through the phone microphone), noise from crowds, and drumbeats with a sense of vibration. The microphone also has significant distortion at low frequencies. The footage is captured from the perspective of real people/audience members. The composition is occasionally imperfect, with slight tilts or cropping at the edges. A young Asian woman is used as a reference for the appearance of the character. She has long black wavy hair, and she is wearing… She wore a golden sequined dress, standing on the stage of the nightclub. At 0-3 seconds, the camera pans slightly within the crowd at the nightclub, with the image being slightly dark, focusing on the stage. In front of her, a black-clothed person wearing a mask handed her several folded white strips of paper. She took the papers, then slowly wrapped them around her wrists, simulating the effect of being tied with ropes. Her movements were deliberate and slow. The white paper left obvious marks on her wrists. From time to time, she would look up at the camera, with a playful smile on her lips. The stage was illuminated by purple-blue lights, with the camera adjusting its exposure between the lights and the person in front of it, resulting in slight overexposure and noise in the image. In the background, we could see the stage lights reflecting off the crowd and equipment, with noisy environmental sounds in the background. At 3-7 seconds, the camera moves forward, switching to a closer handheld perspective.She wore white strips around her wrists (simulating ropes), and began to perform in a seductive dance pose before the first-person camera. Her body moved slowly, with her hands “bound” by the strips, either overlapping or raised forward. Her waist and hips swayed gently to the rhythm of the music, her eyes fixed straight at the camera, with a hint of teasing and inviting gaze. Occasionally, she would look down at her wrists, then raise her head again, her eyes casting an even more suggestive light toward the camera. She leaned forward, her movements full of seduction yet elegant. The golden sequin dress shimmered under the colored lights, and the camera quickly locked onto her image. The male singer and stage lighting in the background were heavily blurred, creating a strong mobile phone-style background blur and light spots. The low-frequency music was severely distorted through the microphone, and the camera shook slightly due to the operator’s proximity, along with the sound of breathing.The entire scene depicts a dark, noisy, and unstable environment, reminiscent of a real nightclub setting. At the end of the scene, the camera focuses on her hands, wrapped in white paper, as she maintains a seductive dancing posture. Her eyes are fixed straight ahead, and the camera moves slightly back and forth.

John

16,065 просмотров • 2 месяцев назад

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡
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wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

TechHalla

34,084 просмотров • 1 месяц назад

I want to believe, but there's too much evidence that not only tells me but shows me that they lied. I feel like low Earth orbit is as far as we can go... 1. The van Allen radiation belt. 2. The disgusted, unexciting, ashamed post moon landing conference with the three astronauts. Their body language, mannerisms, and answers scream that they're lying. 3. The lack of noise of the jet engines in the "videos." 4. How did they get the lunar rover on the spaceship? 5. No craters or dust underneath the spaceship. 6. How did the film the spaceship take off perfectly if nobody was left on the moon to operate the camera, and how was it so perfect if there was a delay? 7. The rockets and the spaceship look like a model. 8. The video of them saying that they are 130,000 miles away from Earth when all they really did was cover up the windows when they are in low earth orbit and film a small portion of Earth from low Earth orbit to simulate that they were far away, but then you find out that they're only in low Earth orbit when they uncover the windows. (Shown in the video below) 9. How we have to redesign the space suits to be able to handle the atmosphere on the moon. 10. The lack of talk and missions to the moon ever since. 11. The numerous blacked out photos from NASA. 12. How an older smartphone has way more technology than the entire spaceship back in 1969, and how we were able to even communicate with them in the spaceship as the one astronaut who passed away before the moon launch specified that they had trouble communicating between buildings and the shuttle on the ground. 13. Not one single astronaut would put their hand on the Bible and say they went to the moon. Why? 14. All the CGI and bubbles caught on NASA videos. 15. All the green screen captures and astronauts on wires in the "shuttle" and on the "ISS." There are so many bloopers and outtakes of astronauts and shuttle hatches malfunctioning, people appearing in the background of videos of the shuttle, people fading in and out, I could go on forever... How would you convince me against the evidence or prove me wrong from the arguments that I have provided?
0:18

I want to believe, but there's too much evidence that not only tells me but shows me that they lied. I feel like low Earth orbit is as far as we can go... 1. The van Allen radiation belt. 2. The disgusted, unexciting, ashamed post moon landing conference with the three astronauts. Their body language, mannerisms, and answers scream that they're lying. 3. The lack of noise of the jet engines in the "videos." 4. How did they get the lunar rover on the spaceship? 5. No craters or dust underneath the spaceship. 6. How did the film the spaceship take off perfectly if nobody was left on the moon to operate the camera, and how was it so perfect if there was a delay? 7. The rockets and the spaceship look like a model. 8. The video of them saying that they are 130,000 miles away from Earth when all they really did was cover up the windows when they are in low earth orbit and film a small portion of Earth from low Earth orbit to simulate that they were far away, but then you find out that they're only in low Earth orbit when they uncover the windows. (Shown in the video below) 9. How we have to redesign the space suits to be able to handle the atmosphere on the moon. 10. The lack of talk and missions to the moon ever since. 11. The numerous blacked out photos from NASA. 12. How an older smartphone has way more technology than the entire spaceship back in 1969, and how we were able to even communicate with them in the spaceship as the one astronaut who passed away before the moon launch specified that they had trouble communicating between buildings and the shuttle on the ground. 13. Not one single astronaut would put their hand on the Bible and say they went to the moon. Why? 14. All the CGI and bubbles caught on NASA videos. 15. All the green screen captures and astronauts on wires in the "shuttle" and on the "ISS." There are so many bloopers and outtakes of astronauts and shuttle hatches malfunctioning, people appearing in the background of videos of the shuttle, people fading in and out, I could go on forever... How would you convince me against the evidence or prove me wrong from the arguments that I have provided?

The SCIF

32,347 просмотров • 1 год назад

Some inconsistencies between official reports and eyewitness accounts of the terrorist attack in Crocus City Hall. ⬛️ Millions of video surveillance cameras are installed in Moscow. At the same time, terrorists, armed to the teeth, are easily moving around the city in cars with fake license plates. ⬛️ Crocus has a contract with the Okhrana Federal State Unitary Enterprise of the National Guard. But the video from the lobby and other rooms where terrorists are shooting people shows no resistance from the guards. There are no guards among the dead or wounded either. ⬛️ Survivors report that the guards did not check bags and clothes before entering Crocus, and the metal detectors were turned off. Even without taking into account warnings about possible terrorist attacks from foreign embassies, the Russian authorities are already constantly reporting about increased vigilance. ⬛️ Terrorists leave a "lead" in the form of a car in which they arrived and about which everything is already known. ⬛️ It is reported that the very same white Renault with terrorists was detained in the Bryansk region on the way to the Ukrainian border. Why didn't the attackers change the car the whole country was looking for? Even if they were on their way to Ukraine, why through Bryansk, where the border zone is maximally fortified and protected? ⬛️ It is claimed that the building was set on fire using gasoline from canisters. Was it really enough for a fire of this magnitude in a building built to all fire safety requirements? ⬛️ Why are there no signs of automatic fire extinguishing systems working? They were checked so thoroughly after the tragedy in Kemerovo's Zimnyaya Vishnya shopping mall. ⬛️ Spetsnaz drove for over an hour, even though the OMON military base is 8 minutes from Crocus. The firefighters did not put out the fire before Spetsnaz arrived. Spetsnaz waited until they finished putting out the fire to start the assault. As if someone was interested in more casualties or the escape of terrorists. At the moment, it is reported that the number of victims of the terrorist attack in Crocus has reached 143 people. The video shows the completely collapsed dome of the Crocus City Hall concert venue.
0:10

Some inconsistencies between official reports and eyewitness accounts of the terrorist attack in Crocus City Hall. ⬛️ Millions of video surveillance cameras are installed in Moscow. At the same time, terrorists, armed to the teeth, are easily moving around the city in cars with fake license plates. ⬛️ Crocus has a contract with the Okhrana Federal State Unitary Enterprise of the National Guard. But the video from the lobby and other rooms where terrorists are shooting people shows no resistance from the guards. There are no guards among the dead or wounded either. ⬛️ Survivors report that the guards did not check bags and clothes before entering Crocus, and the metal detectors were turned off. Even without taking into account warnings about possible terrorist attacks from foreign embassies, the Russian authorities are already constantly reporting about increased vigilance. ⬛️ Terrorists leave a "lead" in the form of a car in which they arrived and about which everything is already known. ⬛️ It is reported that the very same white Renault with terrorists was detained in the Bryansk region on the way to the Ukrainian border. Why didn't the attackers change the car the whole country was looking for? Even if they were on their way to Ukraine, why through Bryansk, where the border zone is maximally fortified and protected? ⬛️ It is claimed that the building was set on fire using gasoline from canisters. Was it really enough for a fire of this magnitude in a building built to all fire safety requirements? ⬛️ Why are there no signs of automatic fire extinguishing systems working? They were checked so thoroughly after the tragedy in Kemerovo's Zimnyaya Vishnya shopping mall. ⬛️ Spetsnaz drove for over an hour, even though the OMON military base is 8 minutes from Crocus. The firefighters did not put out the fire before Spetsnaz arrived. Spetsnaz waited until they finished putting out the fire to start the assault. As if someone was interested in more casualties or the escape of terrorists. At the moment, it is reported that the number of victims of the terrorist attack in Crocus has reached 143 people. The video shows the completely collapsed dome of the Crocus City Hall concert venue.

Anton Gerashchenko

3,783,986 просмотров • 2 лет назад

What happens when Europeans find out how poor they are? The Europoor? Nothing. That’s what happens. Americans ring the White House every morning to ask what the GDP is today, the way the rest of us check the weather. The trouble is that GDP is what you get when you stick Jeff Bezos and a man sleeping in a Walmart car park into a spreadsheet and take the average. It tells you the country is rich. It does not tell you that a hundred million people inside it are quietly not. GDP measures how much money sloshes around. It does not measure whether any of it ever reaches you, or what sort of life you get to live once it does. It also, rather conveniently, doesn’t mention the bill. Because the whole American miracle is being run on a credit card that has been on fire since the Reagan administration. The federal government owes nearly forty trillion dollars. The households owe another eighteen. Car loans, student loans, medical debt, a mortgage the size of a small principality, and a Visa bill that arrives in an envelope you have to open with tongs. This is the country lecturing the rest of us about prosperity. This is a man pulling up to valet parking in a leased Lamborghini and calling himself rich because nobody at the table has yet asked to see his bank statement. Run any household like that and the bailiffs would be through the door by Thursday. Run a country like that and apparently you get to be on the cover of The Economist. And this is where the whole sermon falls apart. Because on every single thing that actually makes a life worth getting out of bed for, Europe wins. Not by a bit. By a humiliating distance. The food. The streets. The holidays. The pavements you can walk on without being flattened by a Dodge the size of a small barn. The cities built before the invention of the strip mall. The Tuesday afternoon that contains an actual lunch, rather than a protein bar eaten standing up over a keyboard. The summer that contains an actual summer. Pick any parameter that matters to a human being who is alive and would like to remain so in reasonable spirits, and Europe is ahead. Often by a mile. Sometimes by an ocean. So no. Europeans are not about to find out how poor they are. We found out years ago, had a long hard look at the alternative, the debt, the diabetes, the drive-thru funerals, and decided we’d really rather not.​​​​​​​​​​​​​​​​ If you like what you read, follow Gandalv on X: Gandalv
0:13

What happens when Europeans find out how poor they are? The Europoor? Nothing. That’s what happens. Americans ring the White House every morning to ask what the GDP is today, the way the rest of us check the weather. The trouble is that GDP is what you get when you stick Jeff Bezos and a man sleeping in a Walmart car park into a spreadsheet and take the average. It tells you the country is rich. It does not tell you that a hundred million people inside it are quietly not. GDP measures how much money sloshes around. It does not measure whether any of it ever reaches you, or what sort of life you get to live once it does. It also, rather conveniently, doesn’t mention the bill. Because the whole American miracle is being run on a credit card that has been on fire since the Reagan administration. The federal government owes nearly forty trillion dollars. The households owe another eighteen. Car loans, student loans, medical debt, a mortgage the size of a small principality, and a Visa bill that arrives in an envelope you have to open with tongs. This is the country lecturing the rest of us about prosperity. This is a man pulling up to valet parking in a leased Lamborghini and calling himself rich because nobody at the table has yet asked to see his bank statement. Run any household like that and the bailiffs would be through the door by Thursday. Run a country like that and apparently you get to be on the cover of The Economist. And this is where the whole sermon falls apart. Because on every single thing that actually makes a life worth getting out of bed for, Europe wins. Not by a bit. By a humiliating distance. The food. The streets. The holidays. The pavements you can walk on without being flattened by a Dodge the size of a small barn. The cities built before the invention of the strip mall. The Tuesday afternoon that contains an actual lunch, rather than a protein bar eaten standing up over a keyboard. The summer that contains an actual summer. Pick any parameter that matters to a human being who is alive and would like to remain so in reasonable spirits, and Europe is ahead. Often by a mile. Sometimes by an ocean. So no. Europeans are not about to find out how poor they are. We found out years ago, had a long hard look at the alternative, the debt, the diabetes, the drive-thru funerals, and decided we’d really rather not.​​​​​​​​​​​​​​​​ If you like what you read, follow Gandalv on X: Gandalv

Gandalv

225,559 просмотров • 3 месяцев назад

As I sit here in DC this week, we are closer to something I was not sure I would ever see. I have been working in this industry since 2015. For most of those years, the defining feature of crypto in Washington was not policy. It was the absence of it. A gray zone where serious people built serious things under a constant cloud, never quite sure which rules applied or whether the ground would move beneath them. This week the CLARITY Act sits on the Senate calendar. A federal framework for digital asset market structure, the thing this industry has wanted for the better part of a decade, is closer than it has ever been. It is not law yet, and there are real hurdles left. But the distance between where we stood a few years ago and where we are sitting today is hard to put into words. I keep thinking about the work that got us here. Over the past year I watched Chainlink move from outside these conversations to inside them. Sergey at the White House for the signing of the GENIUS Act. The Department of Commerce putting government economic data onchain. Meetings with the SEC that became real interpretive guidance. Conversations with the lawmakers now writing the rules. None of that happens by accident. It happens because people keep showing up, year after year, and make the case in rooms where it is not yet obvious. And there is something fitting in it. The entire premise of what we build is verification. Making truth provable. Removing the question of what is real. The work here in DC is the same thing in a different form. Trading a decade of ambiguity for something the industry has never actually had. We are not at the finish line. But sitting here, it is hard not to feel the weight of it. The gray zone is ending. What comes next is something this industry has never had. Clarity.
0:10

As I sit here in DC this week, we are closer to something I was not sure I would ever see. I have been working in this industry since 2015. For most of those years, the defining feature of crypto in Washington was not policy. It was the absence of it. A gray zone where serious people built serious things under a constant cloud, never quite sure which rules applied or whether the ground would move beneath them. This week the CLARITY Act sits on the Senate calendar. A federal framework for digital asset market structure, the thing this industry has wanted for the better part of a decade, is closer than it has ever been. It is not law yet, and there are real hurdles left. But the distance between where we stood a few years ago and where we are sitting today is hard to put into words. I keep thinking about the work that got us here. Over the past year I watched Chainlink move from outside these conversations to inside them. Sergey at the White House for the signing of the GENIUS Act. The Department of Commerce putting government economic data onchain. Meetings with the SEC that became real interpretive guidance. Conversations with the lawmakers now writing the rules. None of that happens by accident. It happens because people keep showing up, year after year, and make the case in rooms where it is not yet obvious. And there is something fitting in it. The entire premise of what we build is verification. Making truth provable. Removing the question of what is real. The work here in DC is the same thing in a different form. Trading a decade of ambiguity for something the industry has never actually had. We are not at the finish line. But sitting here, it is hard not to feel the weight of it. The gray zone is ending. What comes next is something this industry has never had. Clarity.

Chris Barrett

14,798 просмотров • 2 месяцев назад