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🧠 When turning the head causes a stroke… think beyond the brain. A fascinating case of Bow Hunter Syndrome (rotational vertebral artery occlusion): 🔹 Recurrent posterior circulation strokes 🔹 Occipitalization of C1 🔹 C1–C2 bony anomaly with an osteophyte at the C2 transverse foramen 🔹 Routine static angiography was...

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Dr Sharath Kumar G

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42,375 görüntüleme • 2 gün önce •via X (Twitter)

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Serious concerns continue to be raised about officiating at the AFCON with host nation Morocco particularly feeling hard done by, following several controversial incidents now circulating with video evidence. 🚨🇲🇦 🔹 Ezzalzouli incident: A clear foul inside the box, with a potential penalty that was never reviewed by VAR. 🔹 Saibari incident: The goalkeeper collides with Saibari’s head instead of playing the ball while the attacker is facing goal yet again, no VAR intervention. 🔹 El Khannouss booking: The Moroccan midfielder received a yellow card in a situation that could just as easily have gone the other way, had he exaggerated the contact as the Cameroonian player did. 🔹 Masina vs Mbeumo: The Cameroonian striker clearly sought contact to provoke a penalty, while Masina simply continued his run without directing his leg toward the opponent. An obvious simulation that should have resulted in a yellow card. AFCON deserves fairness, clarity, and accountability for every nation. #AFCON2025 #AFCONwithMicky
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Serious concerns continue to be raised about officiating at the AFCON with host nation Morocco particularly feeling hard done by, following several controversial incidents now circulating with video evidence. 🚨🇲🇦 🔹 Ezzalzouli incident: A clear foul inside the box, with a potential penalty that was never reviewed by VAR. 🔹 Saibari incident: The goalkeeper collides with Saibari’s head instead of playing the ball while the attacker is facing goal yet again, no VAR intervention. 🔹 El Khannouss booking: The Moroccan midfielder received a yellow card in a situation that could just as easily have gone the other way, had he exaggerated the contact as the Cameroonian player did. 🔹 Masina vs Mbeumo: The Cameroonian striker clearly sought contact to provoke a penalty, while Masina simply continued his run without directing his leg toward the opponent. An obvious simulation that should have resulted in a yellow card. AFCON deserves fairness, clarity, and accountability for every nation. #AFCON2025 #AFCONwithMicky

Micky Jnr

30,242 görüntüleme • 8 ay önce

PHOTON COUNTING CT AND A NEW CONCEPT OF NORMAL CORONARY ARTERIES For more than 2 decades we have been performing Cardiac CT with constant improvements in all parameters (spatial, temporal and contrast resolution). The improvements were progressive in certain fields and steep in other (e.g.: the introduction of Dual Source CT that completely changed the range of temporal resolution achievable basically overnight and still is the most important source of flexibility in Cardiac CT scanning after almost 20 years). Spatial resolution instead was improved in a slow and progressive way until the test EID CT generations that achieved a spatial resolution of 250 microns. This allowed us to assess a coronary artery tree and define it as normal when no apprentice changes were visibile up to that value. But we know that the normal thickness of coronary artery walls is quite below that threshold. It is more in the range of 80-200 microns. Therefore, the very early changes in coronary artery wall thickness could not be picked up by EID CT technology. With the introduction of PCCT we can constantly achieve 100 microns spatial resolution which means that we work extol in range in which coronary artery disease starts. It also means that we don't see any thickening of the the coronary artery walls we have a much higher specificity and reliability. This concept is a transformative one because it allows us to shift earlier and earlier the beginning of atherosclerosis in our patients and think even more precisely in terms of cardiovascular prevention and monitoring. Movie: example of normal coronary artery tree with PCCT. A new era is coming into practice and it is the age of Photon Counting CT which pushes this boundaries further away. PCCT is a NEW Imaging Modality. PCCT is changing the game, the field, the language, the priorities and in the end it will change the entire infrastructure of diagnostic medicine. PS: note that PCCT images have to be reduced in resolution when uploaded in social media. #CardiacImaging #MedicalInnovation #StentAssessment #Radiology #PCCT #photoncounting #QuantumHD #CT #computedtomography #yesCCT #coronaryarterydisease #ischemia #naeotomalpha #Peak #Pro #Prime #speed #cardiac #highresolution #siemenshealthinners #CardiacCT #PhotonCountingCT #MedicalImaging #HeartHealth #CardiovascularInnovation #Radiology #AIInMedicine
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PHOTON COUNTING CT AND A NEW CONCEPT OF NORMAL CORONARY ARTERIES For more than 2 decades we have been performing Cardiac CT with constant improvements in all parameters (spatial, temporal and contrast resolution). The improvements were progressive in certain fields and steep in other (e.g.: the introduction of Dual Source CT that completely changed the range of temporal resolution achievable basically overnight and still is the most important source of flexibility in Cardiac CT scanning after almost 20 years). Spatial resolution instead was improved in a slow and progressive way until the test EID CT generations that achieved a spatial resolution of 250 microns. This allowed us to assess a coronary artery tree and define it as normal when no apprentice changes were visibile up to that value. But we know that the normal thickness of coronary artery walls is quite below that threshold. It is more in the range of 80-200 microns. Therefore, the very early changes in coronary artery wall thickness could not be picked up by EID CT technology. With the introduction of PCCT we can constantly achieve 100 microns spatial resolution which means that we work extol in range in which coronary artery disease starts. It also means that we don't see any thickening of the the coronary artery walls we have a much higher specificity and reliability. This concept is a transformative one because it allows us to shift earlier and earlier the beginning of atherosclerosis in our patients and think even more precisely in terms of cardiovascular prevention and monitoring. Movie: example of normal coronary artery tree with PCCT. A new era is coming into practice and it is the age of Photon Counting CT which pushes this boundaries further away. PCCT is a NEW Imaging Modality. PCCT is changing the game, the field, the language, the priorities and in the end it will change the entire infrastructure of diagnostic medicine. PS: note that PCCT images have to be reduced in resolution when uploaded in social media. #CardiacImaging #MedicalInnovation #StentAssessment #Radiology #PCCT #photoncounting #QuantumHD #CT #computedtomography #yesCCT #coronaryarterydisease #ischemia #naeotomalpha #Peak #Pro #Prime #speed #cardiac #highresolution #siemenshealthinners #CardiacCT #PhotonCountingCT #MedicalImaging #HeartHealth #CardiovascularInnovation #Radiology #AIInMedicine

Dr. Filippo Cademartiri

63,143 görüntüleme • 1 yıl önce

I love your observation and it will make me discuss the remarkable adaptations that prevents giraffes from passing out and suffering brain damage when bending to drink water and when standing up. ADAPTATION 1 Did you know that the distance from the giraffe's heart to its brain is about 2 meters or more? That's more than the average humans height! Pumping blood up to that great distance and working against gravity is not a joke! That's where the giraffe's heart comes in. A giraffe's heart is unique in several ways. First, it is quite large, weighing up to 11kg and measuring about 2 feet long, which is necessary to pump blood up the long neck to the brain. Second, it has thick walls to generate enough pressure to overcome gravity and push the blood up to the head. ADAPTATION 2 Now, let's move to the neck. Before discussing the incredible roles the valves in the jugular veins perform, let's look at what can happen without them, and then the solution. Problem I: When the giraffe bends down to drink, blood rushes downward to the head. Gravity pulls a huge volume of blood toward the brain, which could cause dangerously high pressure in the head and potentially burst vessels or cause other damage. Solution: They have one-way valves in the jugular veins (the large veins in the neck). These prevent blood from rushing backward uncontrollably into the head when lowered. These valves help regulate and slow the downward flow, avoiding a massive pressure surge to the brain. Also, the neck veins can act as temporary blood storage unit, storing over 1 litre of blood. This prevents blood from flooding the brain and also reduces the amount of blood returning to the heart. As a result, the heart pumps with lower pressure while the head is lowered. This buffers the high head pressure that gravity would otherwise cause. Problem II: When they raise their head up immediately after drinking, blood pressure drops sharply to the brain. A sudden drop could starve the brain of oxygen, causing fainting. This is similar to but much more extreme than the dizziness some people feel when standing up quickly. Solution: When the giraffe raises its head, that stored blood rushes back to the heart quickly. The heart responds with a strong, high-pressure beat that immediately pushes blood back up to the brain, preventing a dangerous drop in cerebral pressure. Impressive right?!
0:15

I love your observation and it will make me discuss the remarkable adaptations that prevents giraffes from passing out and suffering brain damage when bending to drink water and when standing up. ADAPTATION 1 Did you know that the distance from the giraffe's heart to its brain is about 2 meters or more? That's more than the average humans height! Pumping blood up to that great distance and working against gravity is not a joke! That's where the giraffe's heart comes in. A giraffe's heart is unique in several ways. First, it is quite large, weighing up to 11kg and measuring about 2 feet long, which is necessary to pump blood up the long neck to the brain. Second, it has thick walls to generate enough pressure to overcome gravity and push the blood up to the head. ADAPTATION 2 Now, let's move to the neck. Before discussing the incredible roles the valves in the jugular veins perform, let's look at what can happen without them, and then the solution. Problem I: When the giraffe bends down to drink, blood rushes downward to the head. Gravity pulls a huge volume of blood toward the brain, which could cause dangerously high pressure in the head and potentially burst vessels or cause other damage. Solution: They have one-way valves in the jugular veins (the large veins in the neck). These prevent blood from rushing backward uncontrollably into the head when lowered. These valves help regulate and slow the downward flow, avoiding a massive pressure surge to the brain. Also, the neck veins can act as temporary blood storage unit, storing over 1 litre of blood. This prevents blood from flooding the brain and also reduces the amount of blood returning to the heart. As a result, the heart pumps with lower pressure while the head is lowered. This buffers the high head pressure that gravity would otherwise cause. Problem II: When they raise their head up immediately after drinking, blood pressure drops sharply to the brain. A sudden drop could starve the brain of oxygen, causing fainting. This is similar to but much more extreme than the dizziness some people feel when standing up quickly. Solution: When the giraffe raises its head, that stored blood rushes back to the heart quickly. The heart responds with a strong, high-pressure beat that immediately pushes blood back up to the brain, preventing a dangerous drop in cerebral pressure. Impressive right?!

Arojinle

33,422 görüntüleme • 6 ay önce

Humble day for a cardiologist… A patient of 44 years came with an axillary chest pain and scapular pain. (I have indicated the pain sites in the accompanying picture). He has had diabetes for the past three years and also has a family history of heart disease. He is not a smoker and doesn’t have any other coronary risk factors. His ECG, ECHO and TMT were normal. Because the pain was atypical and non-exertional and his non-invasive testing was normal, I prescribed medication and sent him home. He came back again with more severe pain at the same site after a month, and again, the ECG and Troponin were normal. I reassured him once more. He came back the next day (last Saturday) with the same complaints, but this time I suggested doing an angiogram to investigate the persistent pain. What I found was a 90% lesion in the PLV artery. I stented the vessel, and he experienced total relief from his chest pain. Physicians and cardiologists should be willing to modify their diagnosis when the initial line of management does not provide clinical benefit to the patient. Ego has no role in medicine. #chestpain #heartattack #medtwitter
0:12

Humble day for a cardiologist… A patient of 44 years came with an axillary chest pain and scapular pain. (I have indicated the pain sites in the accompanying picture). He has had diabetes for the past three years and also has a family history of heart disease. He is not a smoker and doesn’t have any other coronary risk factors. His ECG, ECHO and TMT were normal. Because the pain was atypical and non-exertional and his non-invasive testing was normal, I prescribed medication and sent him home. He came back again with more severe pain at the same site after a month, and again, the ECG and Troponin were normal. I reassured him once more. He came back the next day (last Saturday) with the same complaints, but this time I suggested doing an angiogram to investigate the persistent pain. What I found was a 90% lesion in the PLV artery. I stented the vessel, and he experienced total relief from his chest pain. Physicians and cardiologists should be willing to modify their diagnosis when the initial line of management does not provide clinical benefit to the patient. Ego has no role in medicine. #chestpain #heartattack #medtwitter

Dr. Mukharjee Madivada

139,648 görüntüleme • 3 yıl önce

$KNDX 🤖 Theres 3 big narratives that are sending coins left right and centre rn. 🚀 #AI, #Gamefi, & #NFTs 🔹Theres 50% mindshare for #AI. 🤖 🔹#GameFi mcap is hitting ATH's with #OfftheGrid, $XBG and $SUPER making spectacular moves. 🎮 🔹NFTs and the #Metaverse are making a strong comeback with $APE up 100% over the weekend. 🐵 What if there's a project that touches all these trending narratives with groundbreaking technology to disrupt all 3 of them? 🔥 💡- That's where $KNDX comes in. -💡 Kondux is a cutting-edge Web3 SaaS platform, combining NVIDIA’s Omniverse, AI, Blockchain, and dynamic NFTs to revolutionize secure asset management across industries. 👏 Their flagship product, kNFTs, are 3D digital assets usable across Metaverse and Gaming platforms, AR/VR/XR environments, and manufacturing applications. Kondux’s scalable model opens new revenue streams by enabling effective digital asset monetization. 💰 Kondux is the first Web3 project to integrate VFX pipelines with NVIDIA’s Omniverse and bringing it onto the Blockchain. ⛓️ It is also the only Web3 project with a *Select Status Partnership* with NVIDIA, operating under NVIDIA NDAs and working with them directly for more than 2 years. About their NVIDIA Integrations: 🤖 🔹There are three areas of the Kondux tech stack that coincide with three divisions of NVIDIA: 📡GDN (Graphics Delivery Network, the backbone of GeForce Now) 💡Omniverse for 3D aspects such as, geospatial data, real world physics, lighting, and raytracing 🤖NVIDIA AI Foundation, which covers many aspects of #AI, including inference and deployment scaling. The convergence of all these components lie within .USD file format . 🔹 They are the first blockchain project to integrate NVIDIA’s Omniverse Cloud and Graphics Delivery Network (GDN) to provide high-quality 3D content accessible on any device without requiring high-end hardware. 🔹 This setup streamlines content management, democratises access to resource-intensive 3D content, and enables real-time interaction with 3D NFTs. Now, I haven’t seen any crypto project so deeply connected with NVIDIA and NVIDIA technology. GDN is a HUGE competitive advantage. With it, the need for #GPU’s basically goes out the window. 🤯 Now lets take a look at some of the other main features... 👀 OpenUSD (Universal Scene Description): 📽️ 🔹 Kondux is leveraging USD technology, developed by Pixar and used by Meta, Apple, Microsoft and other industry leaders to enhance 3D graphics and interoperability within its creative ecosystem. 🔹 Originally created for high-end film production, USD now supports a variety of applications, including gaming and virtual reality, making it a key asset for Kondux. kNFT's: 🎨 🔹 Kondux is pioneering a new category of NFTs known as kNFTs, which aim to redefine NFT utility through innovative features. 🔹 A standout feature is the upgradeable aspect provided by Kondux DNA, allowing kNFTs to transform and combine with other NFTs, creating limitless possibilities in art, gaming, and music. 🔹Through the Kondux AI portal it will be possible to communicate with kNFTs. They can learn and adapt. This AI technology is revolutionary because it makes human to kNFT interaction possible, turning it into a unique, personalized experience. Check out the clip of kNFTs in Unreal Engine 5 gameplay below. 👇 Kondux is a very obvious utility play with huge upside because it’s multi narrative. 📈 It's seriously groundbreaking stuff that they’re about to launch. 🚀 After speaking with the team there’s no doubt in my mind this will do crazy big numbers in the next months. 🤑
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$KNDX 🤖 Theres 3 big narratives that are sending coins left right and centre rn. 🚀 #AI, #Gamefi, & #NFTs 🔹Theres 50% mindshare for #AI. 🤖 🔹#GameFi mcap is hitting ATH's with #OfftheGrid, $XBG and $SUPER making spectacular moves. 🎮 🔹NFTs and the #Metaverse are making a strong comeback with $APE up 100% over the weekend. 🐵 What if there's a project that touches all these trending narratives with groundbreaking technology to disrupt all 3 of them? 🔥 💡- That's where $KNDX comes in. -💡 Kondux is a cutting-edge Web3 SaaS platform, combining NVIDIA’s Omniverse, AI, Blockchain, and dynamic NFTs to revolutionize secure asset management across industries. 👏 Their flagship product, kNFTs, are 3D digital assets usable across Metaverse and Gaming platforms, AR/VR/XR environments, and manufacturing applications. Kondux’s scalable model opens new revenue streams by enabling effective digital asset monetization. 💰 Kondux is the first Web3 project to integrate VFX pipelines with NVIDIA’s Omniverse and bringing it onto the Blockchain. ⛓️ It is also the only Web3 project with a *Select Status Partnership* with NVIDIA, operating under NVIDIA NDAs and working with them directly for more than 2 years. About their NVIDIA Integrations: 🤖 🔹There are three areas of the Kondux tech stack that coincide with three divisions of NVIDIA: 📡GDN (Graphics Delivery Network, the backbone of GeForce Now) 💡Omniverse for 3D aspects such as, geospatial data, real world physics, lighting, and raytracing 🤖NVIDIA AI Foundation, which covers many aspects of #AI, including inference and deployment scaling. The convergence of all these components lie within .USD file format . 🔹 They are the first blockchain project to integrate NVIDIA’s Omniverse Cloud and Graphics Delivery Network (GDN) to provide high-quality 3D content accessible on any device without requiring high-end hardware. 🔹 This setup streamlines content management, democratises access to resource-intensive 3D content, and enables real-time interaction with 3D NFTs. Now, I haven’t seen any crypto project so deeply connected with NVIDIA and NVIDIA technology. GDN is a HUGE competitive advantage. With it, the need for #GPU’s basically goes out the window. 🤯 Now lets take a look at some of the other main features... 👀 OpenUSD (Universal Scene Description): 📽️ 🔹 Kondux is leveraging USD technology, developed by Pixar and used by Meta, Apple, Microsoft and other industry leaders to enhance 3D graphics and interoperability within its creative ecosystem. 🔹 Originally created for high-end film production, USD now supports a variety of applications, including gaming and virtual reality, making it a key asset for Kondux. kNFT's: 🎨 🔹 Kondux is pioneering a new category of NFTs known as kNFTs, which aim to redefine NFT utility through innovative features. 🔹 A standout feature is the upgradeable aspect provided by Kondux DNA, allowing kNFTs to transform and combine with other NFTs, creating limitless possibilities in art, gaming, and music. 🔹Through the Kondux AI portal it will be possible to communicate with kNFTs. They can learn and adapt. This AI technology is revolutionary because it makes human to kNFT interaction possible, turning it into a unique, personalized experience. Check out the clip of kNFTs in Unreal Engine 5 gameplay below. 👇 Kondux is a very obvious utility play with huge upside because it’s multi narrative. 📈 It's seriously groundbreaking stuff that they’re about to launch. 🚀 After speaking with the team there’s no doubt in my mind this will do crazy big numbers in the next months. 🤑

Altcoin Miyagi🇯🇵

17,323 görüntüleme • 1 yıl önce

It looks like we may have just figured out where Attorney Marc Diller got his original “Exhibit J”... And the answer is Jen McCabe’s best friend. 😱 Attorney Marc Diller’s first version of “Exhibit J” was the exhibit he filed in support of his motion for a Temporary Restraining Order to prevent Karen Read from getting her cell phones back from the Norfolk County DA’s Office. In multiple posts after the March 6th hearing, Kerry can be seen sharing the very exhibit that attorneys Diller, Rosenberg, and Seligson referenced in their filings over the past few weeks. In the video she posted, the tweet in question appears at the beginning, followed by screenshots that are described as coming from an alleged phone extraction. We can confirm this appears to be the original version of Exhibit J (before Diller later attempted to substitute a different version while still labeling it “Exhibit J”) because it matches exactly how Seligson described it in Read’s filing. In his response, Seligson states the exhibit is: 🔹 a partial screenshot of a tweet originally posted by Sean McDonough 🔹 includes a quote stating the recording was a “one-party consent call” 🔹 contains the audio of the call itself 🔹 matches the image of the exhibit included in the court filing All of those elements are in the version Kerry has been circulating online. This includes a comment on a Boston Fox 25 post. Ms. Drama Llama has publicly stated many times that she is close with Jen McCabe and communicates with witnesses as well as members of the O’Keefe family. She also appears regularly on a YouTube channel promoting “Justice for JJ” content and the Albert/McCabe/Higgins defense fund. As recently as Friday, she was seemingly publicly speaking about an opinion from the O'Keefe family in regards to a photo of John being posted (that she, herself, posted first). This could also explain why Attorney Diller may have considered the material reliable given that Kerry appears to be a trusted voice within the O’Keefe/McCabe circle. Now the question is, why is the best friend of a key witness seemingly inserting herself into active civil litigation by circulating exhibits connected to court filings? 🤔
0:12

It looks like we may have just figured out where Attorney Marc Diller got his original “Exhibit J”... And the answer is Jen McCabe’s best friend. 😱 Attorney Marc Diller’s first version of “Exhibit J” was the exhibit he filed in support of his motion for a Temporary Restraining Order to prevent Karen Read from getting her cell phones back from the Norfolk County DA’s Office. In multiple posts after the March 6th hearing, Kerry can be seen sharing the very exhibit that attorneys Diller, Rosenberg, and Seligson referenced in their filings over the past few weeks. In the video she posted, the tweet in question appears at the beginning, followed by screenshots that are described as coming from an alleged phone extraction. We can confirm this appears to be the original version of Exhibit J (before Diller later attempted to substitute a different version while still labeling it “Exhibit J”) because it matches exactly how Seligson described it in Read’s filing. In his response, Seligson states the exhibit is: 🔹 a partial screenshot of a tweet originally posted by Sean McDonough 🔹 includes a quote stating the recording was a “one-party consent call” 🔹 contains the audio of the call itself 🔹 matches the image of the exhibit included in the court filing All of those elements are in the version Kerry has been circulating online. This includes a comment on a Boston Fox 25 post. Ms. Drama Llama has publicly stated many times that she is close with Jen McCabe and communicates with witnesses as well as members of the O’Keefe family. She also appears regularly on a YouTube channel promoting “Justice for JJ” content and the Albert/McCabe/Higgins defense fund. As recently as Friday, she was seemingly publicly speaking about an opinion from the O'Keefe family in regards to a photo of John being posted (that she, herself, posted first). This could also explain why Attorney Diller may have considered the material reliable given that Kerry appears to be a trusted voice within the O’Keefe/McCabe circle. Now the question is, why is the best friend of a key witness seemingly inserting herself into active civil litigation by circulating exhibits connected to court filings? 🤔

BoozeyBeauty

24,098 görüntüleme • 6 ay önce

In the 1800s, Scottish surgeon Robert Liston became infamous for a surgery that led to an astonishing 300% mortality rate, losing his patient to infection, accidentally amputating his assistant's fingers, who also died of infection, and slashing a spectator who died from heart attack. While amputating another patient's leg, he broke his personal record by finishing the surgery in two and a half minutes. However, in the interest of speed, he chopped off the patient's testicles along with his leg. He also once mistook a lump in a young boy's neck for a skin tag and removed it suddenly at the boys home. The lump turned out to be an aneurysm of his carotid artery, and the boy died. Keep in mind that in those times there was no anesthesia and that speed and cleanliness were the only skills. Known as "the fastest knife on West End," Robert Liston was particularly skilled at quick amputations. Where most surgeons at that time lost one in four patients, due to his speed and skill, Liston only lost about one in ten.
0:16

In the 1800s, Scottish surgeon Robert Liston became infamous for a surgery that led to an astonishing 300% mortality rate, losing his patient to infection, accidentally amputating his assistant's fingers, who also died of infection, and slashing a spectator who died from heart attack. While amputating another patient's leg, he broke his personal record by finishing the surgery in two and a half minutes. However, in the interest of speed, he chopped off the patient's testicles along with his leg. He also once mistook a lump in a young boy's neck for a skin tag and removed it suddenly at the boys home. The lump turned out to be an aneurysm of his carotid artery, and the boy died. Keep in mind that in those times there was no anesthesia and that speed and cleanliness were the only skills. Known as "the fastest knife on West End," Robert Liston was particularly skilled at quick amputations. Where most surgeons at that time lost one in four patients, due to his speed and skill, Liston only lost about one in ten.

Historic Vids

4,825,725 görüntüleme • 2 yıl önce

Your brain has a circuit that doesn't know you live in a city. Its only job is to monitor whether birds are still singing. Right now, in this room, it is on. The circuit predates primates. Mammals have been using ambient soundscape continuity as a predator-detection system for roughly 200 million years. Birds stop singing when something larger moves through their territory. For most of mammalian history, a forest full of song meant no large predator was nearby, and the cessation of sound was the warning. Your nervous system never updated this software. The Max Planck Institute tested the inverse in 2022 with 295 participants. Six minutes of birdsong dropped anxiety with a medium effect size. Six minutes of traffic noise raised depression with the same. The effect worked on subjects who lived in dense urban environments and had no regular contact with nature. The brain still ran the check. Birdsong sits in the 1,000 to 8,000 Hz range. Your brainstem reads continuous patterns in that band as a signal that nothing dangerous is currently moving through the environment. EEG data shows birdsong at 45 to 50 decibels boosts alpha wave activity by 14.1% relative to silence. Alpha is the brainwave signature of relaxed alertness. Push the same birdsong above 60 decibels and the response flips. Stress markers rise 29%. The circuit only trusts the signal at the volume of quiet conversation, which is exactly the volume birds sing at from a typical distance. Three things happen simultaneously when the brain registers ambient safety. The amygdala downregulates. The parasympathetic nervous system takes over from the sympathetic. Heart rate variability rises, cortisol drops. The posterior cingulate cortex, which sits at the center of the rumination circuit, quiets down. King's College London tracked this through a smartphone study with over 1,200 participants and found the mood lift lasted hours after the sound stopped. People diagnosed with depression got the same response as healthy controls. Most of what gets labeled mental fatigue is hypervigilance running in the background. Birdsong tells the circuit it can stand down, and the brain reallocates the freed compute everywhere else. A quiet park feels different from a quiet office because the parks have sentinels.
0:15

Your brain has a circuit that doesn't know you live in a city. Its only job is to monitor whether birds are still singing. Right now, in this room, it is on. The circuit predates primates. Mammals have been using ambient soundscape continuity as a predator-detection system for roughly 200 million years. Birds stop singing when something larger moves through their territory. For most of mammalian history, a forest full of song meant no large predator was nearby, and the cessation of sound was the warning. Your nervous system never updated this software. The Max Planck Institute tested the inverse in 2022 with 295 participants. Six minutes of birdsong dropped anxiety with a medium effect size. Six minutes of traffic noise raised depression with the same. The effect worked on subjects who lived in dense urban environments and had no regular contact with nature. The brain still ran the check. Birdsong sits in the 1,000 to 8,000 Hz range. Your brainstem reads continuous patterns in that band as a signal that nothing dangerous is currently moving through the environment. EEG data shows birdsong at 45 to 50 decibels boosts alpha wave activity by 14.1% relative to silence. Alpha is the brainwave signature of relaxed alertness. Push the same birdsong above 60 decibels and the response flips. Stress markers rise 29%. The circuit only trusts the signal at the volume of quiet conversation, which is exactly the volume birds sing at from a typical distance. Three things happen simultaneously when the brain registers ambient safety. The amygdala downregulates. The parasympathetic nervous system takes over from the sympathetic. Heart rate variability rises, cortisol drops. The posterior cingulate cortex, which sits at the center of the rumination circuit, quiets down. King's College London tracked this through a smartphone study with over 1,200 participants and found the mood lift lasted hours after the sound stopped. People diagnosed with depression got the same response as healthy controls. Most of what gets labeled mental fatigue is hypervigilance running in the background. Birdsong tells the circuit it can stand down, and the brain reallocates the freed compute everywhere else. A quiet park feels different from a quiet office because the parks have sentinels.

Aakash Gupta

3,334,201 görüntüleme • 4 ay önce

🚨 SCIENTISTS ARE USING AI TO MAP A HIDDEN “CLEANING SYSTEM” INSIDE THE HUMAN BRAIN AND IT COULD CHANGE HOW WE UNDERSTAND SLEEP, AGING, AND NEURODEGENERATIVE DISEASE. It’s called the glymphatic system a vast network of fluid channels that flushes toxic waste from the brain while you sleep. For years it was almost impossible to observe in detail. Now AI-powered imaging is revealing it like a living galaxy of microscopic rivers and pathways inside neural tissue. Why this matters: Your brain produces toxic proteins constantly. The glymphatic system is one of its primary waste-clearance mechanisms clearing the very proteins linked to Alzheimer’s, Parkinson’s, and other neurodegenerative diseases. But here’s the unsettling part: This cleaning system becomes dramatically less efficient with age, poor sleep, stress, and brain injury. Sleep may not just “rest” your mind it may literally wash your brain. The deeper implication is staggering: The brain isn’t just a computer. It’s a dynamic, living network that constantly rebuilds and cleanses itself in real time. The more we map it, the more it looks like an entire universe of connected energy flows inside our skulls. What if some neurological diseases begin when the brain can no longer properly “wash” itself at night? Follow for more frontier neuroscience and future technology.
0:10

🚨 SCIENTISTS ARE USING AI TO MAP A HIDDEN “CLEANING SYSTEM” INSIDE THE HUMAN BRAIN AND IT COULD CHANGE HOW WE UNDERSTAND SLEEP, AGING, AND NEURODEGENERATIVE DISEASE. It’s called the glymphatic system a vast network of fluid channels that flushes toxic waste from the brain while you sleep. For years it was almost impossible to observe in detail. Now AI-powered imaging is revealing it like a living galaxy of microscopic rivers and pathways inside neural tissue. Why this matters: Your brain produces toxic proteins constantly. The glymphatic system is one of its primary waste-clearance mechanisms clearing the very proteins linked to Alzheimer’s, Parkinson’s, and other neurodegenerative diseases. But here’s the unsettling part: This cleaning system becomes dramatically less efficient with age, poor sleep, stress, and brain injury. Sleep may not just “rest” your mind it may literally wash your brain. The deeper implication is staggering: The brain isn’t just a computer. It’s a dynamic, living network that constantly rebuilds and cleanses itself in real time. The more we map it, the more it looks like an entire universe of connected energy flows inside our skulls. What if some neurological diseases begin when the brain can no longer properly “wash” itself at night? Follow for more frontier neuroscience and future technology.

TheNewPhysics

15,641 görüntüleme • 3 ay önce

This character has been already exposed in many shady cases … with “The Family Business Blending his personal interests with the public interest, Massad Boulos has become a poster child for Donald Trump’s White House” being one of them… he’s been essentially making up stories to force a reality that only existed in his wishes or projections… Take “Doha” … he got it signed, he never cared to have it put in concrete actions… so he organized Washington Agreements… knowing that Doha hadn’t even started… and Washington couldn’t be a success beyond the signature if Doha hadn’t started to be executed… - one of the first action points was “ceasefire” - another was release of prisoners… - the fundamental was negotiations/discussions of the “root causes” of the conflict… None of this ever happened… so since there was no ceasefire during the Washington Agreements, and even less after, when Uvira fell… this man was fast to designate a culprit, a scapegoat… Tshisekedi hadn’t respected any of his commitments, nor ceasefire nor dismantling of the FDLR … yet U.S. Senior Advisor for Arab and African Affairs got “sanctions” against Rwanda signed off … but the more he’s pushing in the opposite direction than the one leading to the resolution of the conflict, the more he pushes the public opinion to see him as part of the problem and preventing ultimately the region to find peace and enjoy adequate governance which leads to “the prosperity” as mentioned in the Washington Agreements… This video is another evidence… how can one remain in “drafts” and at same time abusing “sanctions” … Personally… with the mileage already behind me…. I’d say this smells and tastes like “corruption” …
0:17

This character has been already exposed in many shady cases … with “The Family Business Blending his personal interests with the public interest, Massad Boulos has become a poster child for Donald Trump’s White House” being one of them… he’s been essentially making up stories to force a reality that only existed in his wishes or projections… Take “Doha” … he got it signed, he never cared to have it put in concrete actions… so he organized Washington Agreements… knowing that Doha hadn’t even started… and Washington couldn’t be a success beyond the signature if Doha hadn’t started to be executed… - one of the first action points was “ceasefire” - another was release of prisoners… - the fundamental was negotiations/discussions of the “root causes” of the conflict… None of this ever happened… so since there was no ceasefire during the Washington Agreements, and even less after, when Uvira fell… this man was fast to designate a culprit, a scapegoat… Tshisekedi hadn’t respected any of his commitments, nor ceasefire nor dismantling of the FDLR … yet U.S. Senior Advisor for Arab and African Affairs got “sanctions” against Rwanda signed off … but the more he’s pushing in the opposite direction than the one leading to the resolution of the conflict, the more he pushes the public opinion to see him as part of the problem and preventing ultimately the region to find peace and enjoy adequate governance which leads to “the prosperity” as mentioned in the Washington Agreements… This video is another evidence… how can one remain in “drafts” and at same time abusing “sanctions” … Personally… with the mileage already behind me…. I’d say this smells and tastes like “corruption” …

Albert Rudatsimburwa 🇷🇼

27,819 görüntüleme • 1 ay önce

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord
0:29

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

COD: Zombies News

82,267 görüntüleme • 4 ay önce

Omo what happened is, there was a dispute about the guy in the White Car parking in front of this guy house. He told the Benz owner that he can’t park in front of their house, the matter escalated and the Benz owner said if he wasn't allowed to park there ,someone will die. They just thought it was usual back and forth. If you look at the video, you will see when he acted like he was going to drive off and then reversed to try and hit one them. When he didn't hit anyone, he grabbed the victim by the arm and sped off with him hanging outside his car. Next drove fast and hit the guy then pushed him inside the gutter as you can see from the CCTV footage. The guy hit is head on the slab and broke the bone that connects the spine and brain. He is in coma. And currently admitted at in an ICU. Culprit drove off into the night and has not been found.
0:10

Omo what happened is, there was a dispute about the guy in the White Car parking in front of this guy house. He told the Benz owner that he can’t park in front of their house, the matter escalated and the Benz owner said if he wasn't allowed to park there ,someone will die. They just thought it was usual back and forth. If you look at the video, you will see when he acted like he was going to drive off and then reversed to try and hit one them. When he didn't hit anyone, he grabbed the victim by the arm and sped off with him hanging outside his car. Next drove fast and hit the guy then pushed him inside the gutter as you can see from the CCTV footage. The guy hit is head on the slab and broke the bone that connects the spine and brain. He is in coma. And currently admitted at in an ICU. Culprit drove off into the night and has not been found.

Omolomo

905,888 görüntüleme • 9 ay önce

SEEDANCE prompt : Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.
0:15

SEEDANCE prompt : Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.

John

11,580 görüntüleme • 3 ay önce

I know what you're thinking. It's not AI. But I get why it looks impossible… The Apennine Colossus rises 11 metres from the grounds of the Villa Demidoff at Pratolino, north of Florence. It was completed between 1579 and 1580 by the Flemish sculptor Giambologna, commissioned by Francesco I de' Medici, Grand Duke of Tuscany, as the centrepiece of one of the most extravagant Renaissance gardens ever made. The giant is a personification of the Apennine Mountains. Scholars believe Giambologna drew on Ovid's Metamorphoses, in particular the description of a mountain-like Atlas, when he designed the figure. The Colossus emerges from the landscape as if he had always been there, his body merging with rock and moss, stalactites forming his beard, his hair dissolving into stone. With his left hand he crushes the head of a sea monster, from whose open mouth water pours into the pond below. To the people who first encountered him, he did not seem like a statue. He seemed alive. The giant was engineered, through a hidden network of water pipes, to sweat and weep. In winter, icicles formed across his body. In summer, water cascaded from his head into the gardens below. But the most extraordinary thing about the Apennine Colossus is what is inside him... Across three levels, the giant contains a network of chambers. On the ground floor sits a cave-grotto with an octagonal fountain dedicated to the Greek sea goddess Thetys. On the upper level is a room large enough to hold a small orchestra. And in the head there's a private chamber with slits cut into the eyes and ears, and a fireplace whose smoke escaped through the giant's nostrils. Francesco I de' Medici used to sit inside the head and fish through one of the eye slits into the pond below. According to the architectural historian Philip Steadman, "at night he would have torches lit, so the eyes glowed." A century later, around 1690, the sculptor Giovan Battista Foggini added a dragon to the back of the Colossus. The dragon's belly contained a fire chamber. Its neck and head served as the chimney. The smoke rose from the dragon's mouth. A giant that weeps. That breathes smoke through stone nostrils. That has a concert hall in its chest and a fishing room behind its eyes. The Renaissance produced many things that seem almost impossible today. This may be the one that should not even have been imaginable... -- -- -- 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.
0:17

I know what you're thinking. It's not AI. But I get why it looks impossible… The Apennine Colossus rises 11 metres from the grounds of the Villa Demidoff at Pratolino, north of Florence. It was completed between 1579 and 1580 by the Flemish sculptor Giambologna, commissioned by Francesco I de' Medici, Grand Duke of Tuscany, as the centrepiece of one of the most extravagant Renaissance gardens ever made. The giant is a personification of the Apennine Mountains. Scholars believe Giambologna drew on Ovid's Metamorphoses, in particular the description of a mountain-like Atlas, when he designed the figure. The Colossus emerges from the landscape as if he had always been there, his body merging with rock and moss, stalactites forming his beard, his hair dissolving into stone. With his left hand he crushes the head of a sea monster, from whose open mouth water pours into the pond below. To the people who first encountered him, he did not seem like a statue. He seemed alive. The giant was engineered, through a hidden network of water pipes, to sweat and weep. In winter, icicles formed across his body. In summer, water cascaded from his head into the gardens below. But the most extraordinary thing about the Apennine Colossus is what is inside him... Across three levels, the giant contains a network of chambers. On the ground floor sits a cave-grotto with an octagonal fountain dedicated to the Greek sea goddess Thetys. On the upper level is a room large enough to hold a small orchestra. And in the head there's a private chamber with slits cut into the eyes and ears, and a fireplace whose smoke escaped through the giant's nostrils. Francesco I de' Medici used to sit inside the head and fish through one of the eye slits into the pond below. According to the architectural historian Philip Steadman, "at night he would have torches lit, so the eyes glowed." A century later, around 1690, the sculptor Giovan Battista Foggini added a dragon to the back of the Colossus. The dragon's belly contained a fire chamber. Its neck and head served as the chimney. The smoke rose from the dragon's mouth. A giant that weeps. That breathes smoke through stone nostrils. That has a concert hall in its chest and a fishing room behind its eyes. The Renaissance produced many things that seem almost impossible today. This may be the one that should not even have been imaginable... -- -- -- 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

92,197 görüntüleme • 3 ay önce

Physiology of PEEP Alveolar Recruitment and Stabilization Recruitment: PEEP opens collapsed alveoli, increasing the surface area for gas exchange. Stabilization: By maintaining alveoli open, PEEP prevents the cyclic opening and closing of alveoli, reducing shear stress and the risk of ventilator-induced lung injury (VILI). Improvement in Oxygenation V/Q Matching: PEEP improves ventilation-perfusion matching by redirecting blood flow to well-ventilated alveoli, reducing intrapulmonary shunting. Redistribution of Edema: In conditions like ARDS, PEEP can redistribute alveolar edema, improving compliance and gas exchange. Effects on Compliance Static Compliance: PEEP can increase static compliance by recruiting alveoli, but excessive PEEP may overdistended alveoli, decreasing compliance. Dynamic Compliance: PEEP may also affect dynamic compliance by altering airway resistance. Hemodynamic Implications Venous Return: Increased intrathoracic pressure reduces venous return, potentially decreasing cardiac output. Afterload: PEEP may increase left ventricular afterload by increasing transpulmonary pressure. Right Ventricular Function: High PEEP may cause right ventricular dilation and dysfunction, especially in the presence of pulmonary hypertension. Effects on Intracranial Pressure (ICP) PEEP may increase ICP by reducing venous outflow from the brain, a critical consideration in neurocritical care. Clinical Application and Monitoring ARDS: PEEP/FiO2 Tables: Utilizing evidence-based tables to titrate PEEP based on FiO2 requirements. Recruitment Maneuvers: Often used in conjunction with PEEP to assess recruitability. Monitoring with Esophageal Manometry: To assess transpulmonary pressure and individualize PEEP settings. Obstructive Lung Disease: Careful application of PEEP to prevent air trapping and intrinsic PEEP (auto-PEEP). Heart Failure and Fluid Status: Echocardiographic Monitoring: To assess the impact of PEEP on cardiac function and filling pressures. Pulmonary Artery Catheterization: May be used to monitor the effects of PEEP on pulmonary artery pressures and cardiac output. Protective Lung Ventilation in Surgery: Utilizing PEEP to prevent atelectasis and postoperative pulmonary complications. Weaning Process Gradual Reduction: Monitoring respiratory mechanics, work of breathing, and gas exchange. Spontaneous Breathing Trials (SBT): Assessing the ability to tolerate lower PEEP levels. Conclusion PEEP is a complex and vital component of mechanical ventilation, with multifaceted effects on respiratory mechanics, gas exchange, hemodynamics, and even neurodynamics. Its application requires a nuanced understanding of underlying pathophysiology, continuous monitoring with advanced tools, and individualized titration to optimize patient outcomes. The integration of PEEP into a comprehensive respiratory care strategy exemplifies the complexity and precision required in critical care medicine.
0:15

Physiology of PEEP Alveolar Recruitment and Stabilization Recruitment: PEEP opens collapsed alveoli, increasing the surface area for gas exchange. Stabilization: By maintaining alveoli open, PEEP prevents the cyclic opening and closing of alveoli, reducing shear stress and the risk of ventilator-induced lung injury (VILI). Improvement in Oxygenation V/Q Matching: PEEP improves ventilation-perfusion matching by redirecting blood flow to well-ventilated alveoli, reducing intrapulmonary shunting. Redistribution of Edema: In conditions like ARDS, PEEP can redistribute alveolar edema, improving compliance and gas exchange. Effects on Compliance Static Compliance: PEEP can increase static compliance by recruiting alveoli, but excessive PEEP may overdistended alveoli, decreasing compliance. Dynamic Compliance: PEEP may also affect dynamic compliance by altering airway resistance. Hemodynamic Implications Venous Return: Increased intrathoracic pressure reduces venous return, potentially decreasing cardiac output. Afterload: PEEP may increase left ventricular afterload by increasing transpulmonary pressure. Right Ventricular Function: High PEEP may cause right ventricular dilation and dysfunction, especially in the presence of pulmonary hypertension. Effects on Intracranial Pressure (ICP) PEEP may increase ICP by reducing venous outflow from the brain, a critical consideration in neurocritical care. Clinical Application and Monitoring ARDS: PEEP/FiO2 Tables: Utilizing evidence-based tables to titrate PEEP based on FiO2 requirements. Recruitment Maneuvers: Often used in conjunction with PEEP to assess recruitability. Monitoring with Esophageal Manometry: To assess transpulmonary pressure and individualize PEEP settings. Obstructive Lung Disease: Careful application of PEEP to prevent air trapping and intrinsic PEEP (auto-PEEP). Heart Failure and Fluid Status: Echocardiographic Monitoring: To assess the impact of PEEP on cardiac function and filling pressures. Pulmonary Artery Catheterization: May be used to monitor the effects of PEEP on pulmonary artery pressures and cardiac output. Protective Lung Ventilation in Surgery: Utilizing PEEP to prevent atelectasis and postoperative pulmonary complications. Weaning Process Gradual Reduction: Monitoring respiratory mechanics, work of breathing, and gas exchange. Spontaneous Breathing Trials (SBT): Assessing the ability to tolerate lower PEEP levels. Conclusion PEEP is a complex and vital component of mechanical ventilation, with multifaceted effects on respiratory mechanics, gas exchange, hemodynamics, and even neurodynamics. Its application requires a nuanced understanding of underlying pathophysiology, continuous monitoring with advanced tools, and individualized titration to optimize patient outcomes. The integration of PEEP into a comprehensive respiratory care strategy exemplifies the complexity and precision required in critical care medicine.

𝗥𝗲𝘀𝘂𝘀𝗠𝗲𝗱

84,714 görüntüleme • 3 yıl önce

The countdown to chaos begins. GPT Image 2 + Seedance 2.0 on Thank You AI prompt Use [Image 1](image_1)only as the layout, shot-order, camera, staging, screen direction, pacing, and spatial continuity reference. Treat every storyboard panel as an individual shot. Ignore storyboard drawing style, simplified anatomy, panel text, headers, borders, annotations, scribbles, malformed props, duplicate silhouettes, stray marks, icons, and effect sketches. Use @[Image 3](image_3) only for Character 1's final appearance, face, body proportions, long wavy blonde hair, black long coat, gloves, wardrobe materials, and overall likeness. Use @[Image 2](image_2)only for Character 2's final appearance, face, body proportions, short hair, dark hoodie, wrist device, multi-barrel handgun, wardrobe materials, and overall likeness. Create a photorealistic 15-second cinematic Hollywood action trailer with seamless continuity, maintaining exactly two lead characters throughout every shot. CHARACTER LOCK • C1: Female whip duelist only. Uses only a glowing crimson energy whip attached to her hand. • C2: Male gunner only. Uses only a blue wrist holographic device and a futuristic multi-barrel handgun. • Never merge identities. • Never duplicate either character. • Never introduce additional heroes. • Background pedestrians, guests, taxis and vehicles remain simplified environmental extras only. VISUAL STYLE Ultra photorealistic. Bright daytime. Gritty cyberpunk realism. Wet reflective New York streets. Orange construction barriers. Yellow taxis. Steam rising from manholes. Glass skyscrapers reflecting sunlight. Modern luxury glass building with a red carpet entrance. Purple architectural accent lighting. Hollywood blockbuster cinematography. Natural motion blur. Volumetric smoke. Practical explosions. Lens flares. Realistic debris. High-speed tracking. Large-scale cinematic lighting. 4K feature-film realism. Maintain consistent geography from the street battle into the red-carpet location. SHOT SEQUENCE SHOT 1 Street-level camera positioned behind C1 on wet reflective asphalt. Steam rises from a nearby manhole. C1 plants her feet and swings the crimson energy whip low across the pavement, generating a bright red whip trail that lashes sideways while the city reflects in the wet road. SHOT 2 Wide tracking shot. C1 launches into the air over an exploding yellow taxi. Fire and debris erupt behind her as the crimson whip forms a long glowing arc through the bright daytime skyline. SHOT 3 Extreme floor-level insert. Close on C1's boot striking wet pavement while the whip tip cracks the asphalt, sending sparks, shattered concrete and glowing fragments outward. SHOT 4 Low tracking shot beside C2 sprinting directly toward camera through drifting smoke. His glowing blue wrist device illuminates one raised arm while debris flies behind him. SHOT 5 Close-medium shot. C2 extends his arm forward. A bright cyan holographic grid rapidly projects from the wrist device, expanding outward while taxis and skyscrapers remain visible in the background. SHOT 6 Extreme close-up. C2 draws a futuristic multi-barrel handgun. The weapon fires its first brilliant blue energy shot, producing an intense muzzle flash with cinematic lens flare. SHOT 7 Bird's-eye overhead shot. Street geometry clearly visible below. C1's crimson whip trail and C2's blue muzzle fire cross dramatically through opposite corners of the frame while both characters remain small at opposite edges. SHOT 8 Slow-motion tilted action shot. C2 vaults over an exploding taxi as blue muzzle flashes continue beneath him. Fireballs, smoke and debris scatter realistically through the air. SHOT 9 Hard cinematic location transition. Wide establishing shot outside a luxurious modern glass building. Bright daylight continues. A pristine red carpet stretches toward the entrance. Elegant guests stand watching. C1 and C2 occupy opposite ends of the carpet. No weapons active. No energy effects visible. SHOT 10 Close two-shot. C1 and C2 stand only an arm's length apart on the carpet. Absolute stillness. Silent confrontation. Controlled breathing. Intense eye contact. Purple architectural lighting reflects softly on the glass facade. SHOT 11 Medium shot. C2 slowly raises one hand and pulls his hood over his head while already turning three-quarters away from C1 toward the entrance. C1 remains perfectly still behind him. SHOT 12 Maintain identical framing and geography from Shot 11. C2 calmly walks toward the building entrance as guests subtly turn to watch. C1 stays motionless at the edge of frame, silently observing his departure. Hold on the unresolved tension before fading to black. CAMERA STYLE Aggressive cinematic tracking. Steadicam. Drone overhead. Ground-level perspectives. Extreme close-ups. Wide establishing shots. Smooth transitions. Natural handheld energy during action. Controlled locked-off framing during the red-carpet sequence. ACTION STYLE Fast. Powerful. Readable silhouettes. Fluid stunt choreography. Heavy environmental interaction. Convincing physics. No exaggerated anime motion. Grounded Hollywood realism. COLOR PALETTE Bright daylight. Warm sunlight. Wet asphalt reflections. Crimson energy whip. Brilliant blue muzzle flashes. Cyan holographic projections. Orange construction barriers. Yellow taxis. Black wardrobe. Red carpet. Purple entrance lighting. Natural skin tones. AUDIO Large cinematic orchestral hybrid score. Driving trailer percussion. Deep sub-bass impacts. Powerful whip cracks. Explosive booms. Metal and glass debris. Blue energy weapon blasts. Holographic interface tones. Crowd ambience fading into near silence at the red carpet. The final moments become quiet, tense and emotionally restrained before ending with a dramatic cinematic trailer hit.
0:15

The countdown to chaos begins. GPT Image 2 + Seedance 2.0 on Thank You AI prompt Use [Image 1](image_1)only as the layout, shot-order, camera, staging, screen direction, pacing, and spatial continuity reference. Treat every storyboard panel as an individual shot. Ignore storyboard drawing style, simplified anatomy, panel text, headers, borders, annotations, scribbles, malformed props, duplicate silhouettes, stray marks, icons, and effect sketches. Use @[Image 3](image_3) only for Character 1's final appearance, face, body proportions, long wavy blonde hair, black long coat, gloves, wardrobe materials, and overall likeness. Use @[Image 2](image_2)only for Character 2's final appearance, face, body proportions, short hair, dark hoodie, wrist device, multi-barrel handgun, wardrobe materials, and overall likeness. Create a photorealistic 15-second cinematic Hollywood action trailer with seamless continuity, maintaining exactly two lead characters throughout every shot. CHARACTER LOCK • C1: Female whip duelist only. Uses only a glowing crimson energy whip attached to her hand. • C2: Male gunner only. Uses only a blue wrist holographic device and a futuristic multi-barrel handgun. • Never merge identities. • Never duplicate either character. • Never introduce additional heroes. • Background pedestrians, guests, taxis and vehicles remain simplified environmental extras only. VISUAL STYLE Ultra photorealistic. Bright daytime. Gritty cyberpunk realism. Wet reflective New York streets. Orange construction barriers. Yellow taxis. Steam rising from manholes. Glass skyscrapers reflecting sunlight. Modern luxury glass building with a red carpet entrance. Purple architectural accent lighting. Hollywood blockbuster cinematography. Natural motion blur. Volumetric smoke. Practical explosions. Lens flares. Realistic debris. High-speed tracking. Large-scale cinematic lighting. 4K feature-film realism. Maintain consistent geography from the street battle into the red-carpet location. SHOT SEQUENCE SHOT 1 Street-level camera positioned behind C1 on wet reflective asphalt. Steam rises from a nearby manhole. C1 plants her feet and swings the crimson energy whip low across the pavement, generating a bright red whip trail that lashes sideways while the city reflects in the wet road. SHOT 2 Wide tracking shot. C1 launches into the air over an exploding yellow taxi. Fire and debris erupt behind her as the crimson whip forms a long glowing arc through the bright daytime skyline. SHOT 3 Extreme floor-level insert. Close on C1's boot striking wet pavement while the whip tip cracks the asphalt, sending sparks, shattered concrete and glowing fragments outward. SHOT 4 Low tracking shot beside C2 sprinting directly toward camera through drifting smoke. His glowing blue wrist device illuminates one raised arm while debris flies behind him. SHOT 5 Close-medium shot. C2 extends his arm forward. A bright cyan holographic grid rapidly projects from the wrist device, expanding outward while taxis and skyscrapers remain visible in the background. SHOT 6 Extreme close-up. C2 draws a futuristic multi-barrel handgun. The weapon fires its first brilliant blue energy shot, producing an intense muzzle flash with cinematic lens flare. SHOT 7 Bird's-eye overhead shot. Street geometry clearly visible below. C1's crimson whip trail and C2's blue muzzle fire cross dramatically through opposite corners of the frame while both characters remain small at opposite edges. SHOT 8 Slow-motion tilted action shot. C2 vaults over an exploding taxi as blue muzzle flashes continue beneath him. Fireballs, smoke and debris scatter realistically through the air. SHOT 9 Hard cinematic location transition. Wide establishing shot outside a luxurious modern glass building. Bright daylight continues. A pristine red carpet stretches toward the entrance. Elegant guests stand watching. C1 and C2 occupy opposite ends of the carpet. No weapons active. No energy effects visible. SHOT 10 Close two-shot. C1 and C2 stand only an arm's length apart on the carpet. Absolute stillness. Silent confrontation. Controlled breathing. Intense eye contact. Purple architectural lighting reflects softly on the glass facade. SHOT 11 Medium shot. C2 slowly raises one hand and pulls his hood over his head while already turning three-quarters away from C1 toward the entrance. C1 remains perfectly still behind him. SHOT 12 Maintain identical framing and geography from Shot 11. C2 calmly walks toward the building entrance as guests subtly turn to watch. C1 stays motionless at the edge of frame, silently observing his departure. Hold on the unresolved tension before fading to black. CAMERA STYLE Aggressive cinematic tracking. Steadicam. Drone overhead. Ground-level perspectives. Extreme close-ups. Wide establishing shots. Smooth transitions. Natural handheld energy during action. Controlled locked-off framing during the red-carpet sequence. ACTION STYLE Fast. Powerful. Readable silhouettes. Fluid stunt choreography. Heavy environmental interaction. Convincing physics. No exaggerated anime motion. Grounded Hollywood realism. COLOR PALETTE Bright daylight. Warm sunlight. Wet asphalt reflections. Crimson energy whip. Brilliant blue muzzle flashes. Cyan holographic projections. Orange construction barriers. Yellow taxis. Black wardrobe. Red carpet. Purple entrance lighting. Natural skin tones. AUDIO Large cinematic orchestral hybrid score. Driving trailer percussion. Deep sub-bass impacts. Powerful whip cracks. Explosive booms. Metal and glass debris. Blue energy weapon blasts. Holographic interface tones. Crowd ambience fading into near silence at the red carpet. The final moments become quiet, tense and emotionally restrained before ending with a dramatic cinematic trailer hit.

Sharon Riley

43,583 görüntüleme • 2 ay önce

Imagine carving a single block of marble until the veil becomes so thin that the stone itself turns transparent. Antonio Canova, one of the greatest sculptors who ever lived, saw this statue and said he would have given 10 years of his life to have made it... It is called the Veiled Christ, and it has been called the most beautiful sculpture in the world. It sits in the Cappella Sansevero in Naples, a single block of marble carved in 1753 into the body of the dead Christ, lying beneath a shroud so thin and so perfectly rendered that, beneath it, you can see the swelling of the veins, the hollow of the closed eyes and the wound in the side. Prince Raimondo di Sangro had first hired a famous sculptor, Antonio Corradini, to carve it. Corradini died with nothing finished but a small terracotta sketch. The prince then handed the commission to a young and almost unknown Neapolitan named Giuseppe Sanmartino, and what Sanmartino produced was so far beyond what anyone expected that people refused to believe it was carved at all... The veil, they said, could not be marble. It had to be a real cloth that the prince, a notorious alchemist, had somehow turned to stone with a secret chemical process. The legend has never fully died, and Raimondo di Sangro did everything to deserve it. He was the head of the Neapolitan Masonic lodge, a polyglot who read Arabic and Hebrew, an inventor who built an "eternal flame" from chemicals of his own making. In the crypt beneath the chapel he kept two of his strangest creations: the "anatomical machines," two full human skeletons wrapped in astonishingly detailed reproductions of the entire human circulatory system, every artery and vein. For two centuries people believed he had somehow petrified the bodies of two living servants. Modern study has shown the skeletons are real, but the vascular systems were made by human hands. There is one more legend: it is said that when the Veiled Christ was finished, the prince had Sanmartino blinded, so that he could never create anything so beautiful again. It is almost certainly not true. But people have repeated it for two hundred and fifty years, because they needed an explanation for how a thing like this could exist, and be made only once, by a man almost no one had heard of, and never be equalled by anyone since... I write a weekly newsletter for over 50,000 people who love rediscovering the beauty of the past. You can join us at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.
0:15

Imagine carving a single block of marble until the veil becomes so thin that the stone itself turns transparent. Antonio Canova, one of the greatest sculptors who ever lived, saw this statue and said he would have given 10 years of his life to have made it... It is called the Veiled Christ, and it has been called the most beautiful sculpture in the world. It sits in the Cappella Sansevero in Naples, a single block of marble carved in 1753 into the body of the dead Christ, lying beneath a shroud so thin and so perfectly rendered that, beneath it, you can see the swelling of the veins, the hollow of the closed eyes and the wound in the side. Prince Raimondo di Sangro had first hired a famous sculptor, Antonio Corradini, to carve it. Corradini died with nothing finished but a small terracotta sketch. The prince then handed the commission to a young and almost unknown Neapolitan named Giuseppe Sanmartino, and what Sanmartino produced was so far beyond what anyone expected that people refused to believe it was carved at all... The veil, they said, could not be marble. It had to be a real cloth that the prince, a notorious alchemist, had somehow turned to stone with a secret chemical process. The legend has never fully died, and Raimondo di Sangro did everything to deserve it. He was the head of the Neapolitan Masonic lodge, a polyglot who read Arabic and Hebrew, an inventor who built an "eternal flame" from chemicals of his own making. In the crypt beneath the chapel he kept two of his strangest creations: the "anatomical machines," two full human skeletons wrapped in astonishingly detailed reproductions of the entire human circulatory system, every artery and vein. For two centuries people believed he had somehow petrified the bodies of two living servants. Modern study has shown the skeletons are real, but the vascular systems were made by human hands. There is one more legend: it is said that when the Veiled Christ was finished, the prince had Sanmartino blinded, so that he could never create anything so beautiful again. It is almost certainly not true. But people have repeated it for two hundred and fifty years, because they needed an explanation for how a thing like this could exist, and be made only once, by a man almost no one had heard of, and never be equalled by anyone since... I write a weekly newsletter for over 50,000 people who love rediscovering the beauty of the past. You can join us at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

James Lucas

66,112 görüntüleme • 3 ay önce

Keir Starmer's Police State Political Prisoner latest "Doctor ‘Strangled’ by Police Officer Until She Passed Out at Hunger Strike Protest" You can hear her choking at the start of the video Novara Media: Dr Olivia Brandon was among several medical professionals who gathered with other supporters outside HMP Bronzefield on Wednesday 17 December to demand the prison allow in an ambulance to treat a hunger striker suffering from severe chest pains. The alleged attack came after police arrested two protesters, including psychiatric doctor Dr Ayo Moiett, who protesters say was targeted both because he is black and because he played a pivotal role in forcing the prison to eventually let the ambulance come. Brandon, who works in the A&E department at a London hospital, said she and other protesters sat in the road to prevent police vans from leaving with the detainees – after which officers “started assaulting everyone” as they cleared the road. She felt an officer grab her hoodie from behind and then drag her along the road. “I was wearing a tight jumper under my hoodie and because of the force the officer was using, this was strangling me. I remember retching and being in a lot of pain,” she said. “I was panicking and thought I was going to die. I could hear people screaming at the police that they were strangling me, but the officer wasn’t stopping. I stopped being able to see and then I passed out,” she said. Brandon said she fell unconscious for what she estimates was several seconds as the strangulation cut off the flow of blood to her brain. “I felt confused and disoriented for around 10 minutes afterwards, and was still in a lot of pain.” Brandon initially thought she didn’t need medical attention, but when she experienced increasing pain her sisters drove her to the A&E department at Homerton University Hospital in London. Staff there told her she needed a CT scan of the blood vessels in her head and neck, she said, “as strangulation causing rapid unconsciousness is due to compression of the carotid arteries to the brain. This can cause damage to the arteries, leading to later complications such as stroke.” She was discharged early the following morning after the scan found there had been no lasting injuries. She is considering legal action against Surrey Police and is trying to obtain the officer’s bodycam footage, she said. ​A spokesperson for Surrey Police told Novara Media: “Although we have not received a complaint directly, we have referred this matter to the Independent Office for Police Conduct for their review.” Before her alleged assault, Brandon told prison staff that their conduct towards Zuhrah was unlawful. “You will all be seen in court one day,” she said. “Severe chest pain gets a hospital transfer… if I made the decisions you are making in my hospital, I would be fired and I would be prosecuted and I would go to jail.”
0:13

Keir Starmer's Police State Political Prisoner latest "Doctor ‘Strangled’ by Police Officer Until She Passed Out at Hunger Strike Protest" You can hear her choking at the start of the video Novara Media: Dr Olivia Brandon was among several medical professionals who gathered with other supporters outside HMP Bronzefield on Wednesday 17 December to demand the prison allow in an ambulance to treat a hunger striker suffering from severe chest pains. The alleged attack came after police arrested two protesters, including psychiatric doctor Dr Ayo Moiett, who protesters say was targeted both because he is black and because he played a pivotal role in forcing the prison to eventually let the ambulance come. Brandon, who works in the A&E department at a London hospital, said she and other protesters sat in the road to prevent police vans from leaving with the detainees – after which officers “started assaulting everyone” as they cleared the road. She felt an officer grab her hoodie from behind and then drag her along the road. “I was wearing a tight jumper under my hoodie and because of the force the officer was using, this was strangling me. I remember retching and being in a lot of pain,” she said. “I was panicking and thought I was going to die. I could hear people screaming at the police that they were strangling me, but the officer wasn’t stopping. I stopped being able to see and then I passed out,” she said. Brandon said she fell unconscious for what she estimates was several seconds as the strangulation cut off the flow of blood to her brain. “I felt confused and disoriented for around 10 minutes afterwards, and was still in a lot of pain.” Brandon initially thought she didn’t need medical attention, but when she experienced increasing pain her sisters drove her to the A&E department at Homerton University Hospital in London. Staff there told her she needed a CT scan of the blood vessels in her head and neck, she said, “as strangulation causing rapid unconsciousness is due to compression of the carotid arteries to the brain. This can cause damage to the arteries, leading to later complications such as stroke.” She was discharged early the following morning after the scan found there had been no lasting injuries. She is considering legal action against Surrey Police and is trying to obtain the officer’s bodycam footage, she said. ​A spokesperson for Surrey Police told Novara Media: “Although we have not received a complaint directly, we have referred this matter to the Independent Office for Police Conduct for their review.” Before her alleged assault, Brandon told prison staff that their conduct towards Zuhrah was unlawful. “You will all be seen in court one day,” she said. “Severe chest pain gets a hospital transfer… if I made the decisions you are making in my hospital, I would be fired and I would be prosecuted and I would go to jail.”

Farrukh

47,418 görüntüleme • 8 ay önce