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Why the Boeing 787 Dreamliner Keeps Peeling Paint — Despite Being a Favorite for Airlines. The 787’s paint issue isn’t cosmetic—it’s structural. Its wings are built in layers: carbon fiber (structure), copper mesh (lightning protection), and a thin fiberglass layer on top. The paint sits on that outer layer....

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Turbine Traveller

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117,399 次观看 • 6 个月前 •via X (Twitter)

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Tesla's Ultra Red is one of the most expensive paint options in the lineup, and seeing it in person is an absolutely mind-blowing experience 🔥 To really understand why this color looks so incredible, we need to dive into how Tesla actually builds it from the ground up 👇 🎨 Unlike traditional car paint that uses a simple base and clear coat, Tesla uses an advanced multi-coat system applied by precision robotic sprayers. This technique builds the color layer by layer to create massive visual depth. 🚗 The process starts with a primer layer to ensure a perfectly smooth surface on the metal vehicle body. Once prepped, the factory robotics apply a high-chroma base coat. This initial layer contains rich red pigments that give the car its fundamental, vibrant color profile. ✨ Next comes the magic ingredient. The robots spray a metallic mid-coat over the solid base. This layer contains metallic flakes that catch the sunlight. Because this middle layer is slightly translucent, the base color shines from underneath while the metallic flakes reflect light in different directions. 🛡️ Finally, the car receives its finishing touch. Instead of a standard transparent protective seal, Tesla uses a specially tinted clear coat for these premium red finishes. This means the top protective layer actually has a hint of red mixed right into it to protect against UV rays while enhancing the color. 🔥 When you combine a vibrant base, a sparkling metallic middle, and a tinted protective shield on top, the result is exactly what we see on the road. The light travels through the tinted clear coat, bounces off the metallic flakes, and reflects the deep base pigment back to your eyes, giving Ultra Red its famous color-shifting glow. 🛠️ That mesmerizing depth is also exactly why fixing a scratch takes serious expertise. Known in the collision industry by its official paint code PR01, this specific tri-coat formula is notoriously tricky for human painters to replicate perfectly. 💸 Since that magical mid-coat gets darker with every single pass of the spray gun, body shops have to spray physical let-down test panels. They use these cards to match the exact factory thickness before they even think about touching the actual car. 🏎️ They also cannot just patch a single spot. Painters have to perform adjacent panel blending, fading the fresh paint deep into the surrounding undamaged doors or fenders to trick the human eye and hide the repair transition. It requires intense precision and labor, but the tradeoff is absolutely worth it for such a jaw-dropping look on the road.
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Tesla's Ultra Red is one of the most expensive paint options in the lineup, and seeing it in person is an absolutely mind-blowing experience 🔥 To really understand why this color looks so incredible, we need to dive into how Tesla actually builds it from the ground up 👇 🎨 Unlike traditional car paint that uses a simple base and clear coat, Tesla uses an advanced multi-coat system applied by precision robotic sprayers. This technique builds the color layer by layer to create massive visual depth. 🚗 The process starts with a primer layer to ensure a perfectly smooth surface on the metal vehicle body. Once prepped, the factory robotics apply a high-chroma base coat. This initial layer contains rich red pigments that give the car its fundamental, vibrant color profile. ✨ Next comes the magic ingredient. The robots spray a metallic mid-coat over the solid base. This layer contains metallic flakes that catch the sunlight. Because this middle layer is slightly translucent, the base color shines from underneath while the metallic flakes reflect light in different directions. 🛡️ Finally, the car receives its finishing touch. Instead of a standard transparent protective seal, Tesla uses a specially tinted clear coat for these premium red finishes. This means the top protective layer actually has a hint of red mixed right into it to protect against UV rays while enhancing the color. 🔥 When you combine a vibrant base, a sparkling metallic middle, and a tinted protective shield on top, the result is exactly what we see on the road. The light travels through the tinted clear coat, bounces off the metallic flakes, and reflects the deep base pigment back to your eyes, giving Ultra Red its famous color-shifting glow. 🛠️ That mesmerizing depth is also exactly why fixing a scratch takes serious expertise. Known in the collision industry by its official paint code PR01, this specific tri-coat formula is notoriously tricky for human painters to replicate perfectly. 💸 Since that magical mid-coat gets darker with every single pass of the spray gun, body shops have to spray physical let-down test panels. They use these cards to match the exact factory thickness before they even think about touching the actual car. 🏎️ They also cannot just patch a single spot. Painters have to perform adjacent panel blending, fading the fresh paint deep into the surrounding undamaged doors or fenders to trick the human eye and hide the repair transition. It requires intense precision and labor, but the tradeoff is absolutely worth it for such a jaw-dropping look on the road.

Ming

149,017 次观看 • 1 个月前

I still can’t believe the entire outer body of the Cybercab is PLASTIC. I think this is the first production Tesla vehicle built this way. Tesla molds the COLOR directly into the panels using reaction injection molding. Far from a traditional paint shop. A process that can take hours with normal automotive paint can now take minutes. Tesla says this cuts manufacturing emissions for those parts by around 35% and eliminates the paint VOCs from the traditional process. And before anyone says, “But what about safety?” The plastic exterior is not the crash structure. The massive front and rear giga castings underneath are doing that job. I rode in the Cybercab myself. Trust me, it does NOT feel cheap at all. It actually makes you realize what Tesla is trying to do here. Fewer parts. Fewer manufacturing steps. No traditional paint shop. Faster production. Lower cost. The unboxed process… This is so much more than Tesla just using plastic to make a cheap car. Tesla is completely rethinking how you build millions of robotaxis.
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I still can’t believe the entire outer body of the Cybercab is PLASTIC. I think this is the first production Tesla vehicle built this way. Tesla molds the COLOR directly into the panels using reaction injection molding. Far from a traditional paint shop. A process that can take hours with normal automotive paint can now take minutes. Tesla says this cuts manufacturing emissions for those parts by around 35% and eliminates the paint VOCs from the traditional process. And before anyone says, “But what about safety?” The plastic exterior is not the crash structure. The massive front and rear giga castings underneath are doing that job. I rode in the Cybercab myself. Trust me, it does NOT feel cheap at all. It actually makes you realize what Tesla is trying to do here. Fewer parts. Fewer manufacturing steps. No traditional paint shop. Faster production. Lower cost. The unboxed process… This is so much more than Tesla just using plastic to make a cheap car. Tesla is completely rethinking how you build millions of robotaxis.

Teslaconomics

1,848,025 次观看 • 20 天前

MiniMax H3 - Text to Video A city painted into existence. Change the city name and quote text and use it for any city. Prompt: [CITY_NAME] = EDINBURGH [QUOTE] = A city carved from stone and story. Create a fast, dense, cinematic 16:9 macro travel film where the entire identity of [CITY_NAME] is continuously painted into existence by living oil paint. Use a low grazing macro camera with extremely shallow depth of field. The world is a vast canvas covered in thick wet impasto paint, sculpted brushstroke ridges, carved grooves, glossy reflections and dense gold glitter. The paint must behave like an active force at all times. It flows like rivers, sweeps like brushwork, gathers like tides, curls at the edges, spills into new paths and physically constructs the city in real time. The film must feel fast, rich and uninterrupted. Use one continuous flowing camera move with no cuts. The camera races across the canvas, skimming over wet paint valleys, weaving between rising structures, accelerating through the city as new landmarks constantly appear ahead. Avoid slow drifting. Keep the visual progression energetic and tightly packed. Start with abstract moving pigment and rapidly transition into recognizable city formation. Show thick paint strokes being laid down, dragged, folded and pulled into shape by an invisible artistic force. Let streams of pigment split and merge like waterways, while dimensional brushstroke masses rise into streets, bridges, domes, towers, rooftops, plazas, canals and layered miniature architecture. Make the city feel as if it is being painted and built at the same time. Reveal many landmarks across the journey, not just one. Let the camera travel seamlessly through the whole city, with one landmark flowing directly into the next. As the camera advances, fresh paint forms arches, facades, bell towers, canal edges, stairways, statues, porticoes and skyline silhouettes associated with [CITY_NAME]. The transitions between landmarks should feel fluid and continuous, with brushstrokes extending forward to pull the viewer deeper into the city. Make the paint motion highly visible and expressive. Show pigment actively spreading across canvas, pouring into channels, stacking into forms, curving into structures and leaving wet textured trails behind. Gold glitter should move with the paint and collect along ridges and valleys, creating sparkling highlights that emphasize speed, direction and shape. Use warm golden key light from the lower left to ignite glossy paint and glitter. Add cool purple-blue ambient fill from the upper right to maintain a dreamy dusk atmosphere. Keep the distant background soft with haze and circular bokeh, but preserve strong clarity on the active foreground paint and newly formed landmarks. Toward the end, the camera rises and pulls back just enough to reveal a broader final view of the fully formed painted city, making it clear that the viewer has traveled through an entire living city built from moving paint. End on a striking travel-poster composition. Place elegant typography in the top left with generous breathing room. Show [CITY_NAME] in refined serif uppercase, with [QUOTE] beneath it in smaller delicate type. The overall feeling should be luxurious, poetic and visually intense, with continuous motion, dense landmark reveals and the clear impression that the whole city is being painted alive in real time.
0:15

MiniMax H3 - Text to Video A city painted into existence. Change the city name and quote text and use it for any city. Prompt: [CITY_NAME] = EDINBURGH [QUOTE] = A city carved from stone and story. Create a fast, dense, cinematic 16:9 macro travel film where the entire identity of [CITY_NAME] is continuously painted into existence by living oil paint. Use a low grazing macro camera with extremely shallow depth of field. The world is a vast canvas covered in thick wet impasto paint, sculpted brushstroke ridges, carved grooves, glossy reflections and dense gold glitter. The paint must behave like an active force at all times. It flows like rivers, sweeps like brushwork, gathers like tides, curls at the edges, spills into new paths and physically constructs the city in real time. The film must feel fast, rich and uninterrupted. Use one continuous flowing camera move with no cuts. The camera races across the canvas, skimming over wet paint valleys, weaving between rising structures, accelerating through the city as new landmarks constantly appear ahead. Avoid slow drifting. Keep the visual progression energetic and tightly packed. Start with abstract moving pigment and rapidly transition into recognizable city formation. Show thick paint strokes being laid down, dragged, folded and pulled into shape by an invisible artistic force. Let streams of pigment split and merge like waterways, while dimensional brushstroke masses rise into streets, bridges, domes, towers, rooftops, plazas, canals and layered miniature architecture. Make the city feel as if it is being painted and built at the same time. Reveal many landmarks across the journey, not just one. Let the camera travel seamlessly through the whole city, with one landmark flowing directly into the next. As the camera advances, fresh paint forms arches, facades, bell towers, canal edges, stairways, statues, porticoes and skyline silhouettes associated with [CITY_NAME]. The transitions between landmarks should feel fluid and continuous, with brushstrokes extending forward to pull the viewer deeper into the city. Make the paint motion highly visible and expressive. Show pigment actively spreading across canvas, pouring into channels, stacking into forms, curving into structures and leaving wet textured trails behind. Gold glitter should move with the paint and collect along ridges and valleys, creating sparkling highlights that emphasize speed, direction and shape. Use warm golden key light from the lower left to ignite glossy paint and glitter. Add cool purple-blue ambient fill from the upper right to maintain a dreamy dusk atmosphere. Keep the distant background soft with haze and circular bokeh, but preserve strong clarity on the active foreground paint and newly formed landmarks. Toward the end, the camera rises and pulls back just enough to reveal a broader final view of the fully formed painted city, making it clear that the viewer has traveled through an entire living city built from moving paint. End on a striking travel-poster composition. Place elegant typography in the top left with generous breathing room. Show [CITY_NAME] in refined serif uppercase, with [QUOTE] beneath it in smaller delicate type. The overall feeling should be luxurious, poetic and visually intense, with continuous motion, dense landmark reveals and the clear impression that the whole city is being painted alive in real time.

Kōda

26,703 次观看 • 26 天前

The Airbus A350 is, without question, the most beautiful airliner gracing the skies today. A masterpiece of modern engineering and design, it combines elegance with efficiency. From every angle, the A350 is perfectly proportioned. Its long, graceful fuselage flows seamlessly into a set of gently curved wings that flex in flight like a bird in motion—an iconic silhouette that instantly sets it apart. The wingtips, with their signature upturned ‘sharklets,’ don’t just look stunning—they whisper of aerodynamic excellence and fuel-saving innovation. Its nose profile is distinctive yet refined, with a gentle curvature and a cockpit visor that gives the aircraft a futuristic, almost predatory presence. And unlike many other widebodies, the A350’s fuselage length is in perfect harmony with its wing span and tail height—there’s a visual symmetry that makes it appear poised, balanced, and utterly graceful, whether taxiing on the tarmac or soaring above the clouds. But it’s not just a pretty face. The A350 is a triumph of technology—built from over 50% carbon-fibre-reinforced composite, powered by next-generation Rolls-Royce Trent XWB engines, and brimming with advanced systems that make it one of the most efficient and capable long-haul aircraft ever built. In an age where function often overrides form, the A350 is a rare exception—a true flying work of art that proves beauty and brains can coexist. 📸 by ig/captainchris Not an ad
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The Airbus A350 is, without question, the most beautiful airliner gracing the skies today. A masterpiece of modern engineering and design, it combines elegance with efficiency. From every angle, the A350 is perfectly proportioned. Its long, graceful fuselage flows seamlessly into a set of gently curved wings that flex in flight like a bird in motion—an iconic silhouette that instantly sets it apart. The wingtips, with their signature upturned ‘sharklets,’ don’t just look stunning—they whisper of aerodynamic excellence and fuel-saving innovation. Its nose profile is distinctive yet refined, with a gentle curvature and a cockpit visor that gives the aircraft a futuristic, almost predatory presence. And unlike many other widebodies, the A350’s fuselage length is in perfect harmony with its wing span and tail height—there’s a visual symmetry that makes it appear poised, balanced, and utterly graceful, whether taxiing on the tarmac or soaring above the clouds. But it’s not just a pretty face. The A350 is a triumph of technology—built from over 50% carbon-fibre-reinforced composite, powered by next-generation Rolls-Royce Trent XWB engines, and brimming with advanced systems that make it one of the most efficient and capable long-haul aircraft ever built. In an age where function often overrides form, the A350 is a rare exception—a true flying work of art that proves beauty and brains can coexist. 📸 by ig/captainchris Not an ad

aircraftmaintenancengineer

30,458 次观看 • 1 年前

This video takes you inside the Galaxy Z Fold8's inner display. The biggest change this year isn't just the crease. It's the overall feel of the display. It looks remarkably similar to a tablet, with the appearance of a rigid panel rather than a flexible one. On many foldables, even the areas away from the crease still show subtle ripples and unevenness, giving away the flexible nature of the screen under certain lighting. The Galaxy Z Fold8 is different. Its entire inner display is exceptionally flat. Once unfolded, it looks and feels much closer to a traditional rigid display than a flexible panel. This is likely thanks to Samsung doubling the thickness of the UTG (Ultra Thin Glass) and reinforcing the display with a titanium support plate. The thicker UTG improves overall rigidity, while the titanium layer provides stronger structural support, resulting in a noticeably flatter display with a more premium, tablet-like viewing experience.
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This video takes you inside the Galaxy Z Fold8's inner display. The biggest change this year isn't just the crease. It's the overall feel of the display. It looks remarkably similar to a tablet, with the appearance of a rigid panel rather than a flexible one. On many foldables, even the areas away from the crease still show subtle ripples and unevenness, giving away the flexible nature of the screen under certain lighting. The Galaxy Z Fold8 is different. Its entire inner display is exceptionally flat. Once unfolded, it looks and feels much closer to a traditional rigid display than a flexible panel. This is likely thanks to Samsung doubling the thickness of the UTG (Ultra Thin Glass) and reinforcing the display with a titanium support plate. The thicker UTG improves overall rigidity, while the titanium layer provides stronger structural support, resulting in a noticeably flatter display with a more premium, tablet-like viewing experience.

Ice Universe

44,295 次观看 • 2 个月前

Here's the full surveillance video showing moments before the Lufthansa Boeing 787-9 (D-ABPQ) nose gear collapsed at Frankfurt. If you watch closely, the nose landing gear doors open first, indicating what appears to be the start of a normal landing gear retraction sequence. According to reports, the Dreamliner had logged a maintenance request the previous day involving a landing gear door error message. On the Boeing 787, maintenance personnel can place the aircraft into a special maintenance mode (on the overhead panel, turn switch to "enable"). Boeing manuals emphasize that if maintenance mode is enabled, hydraulics are powered, and the gear lever is selected UP, the landing gear can retract regardless of weight-on-wheels protection. To prevent this, there's an override button where the gear handle lockout can be bypassed to move the gear handle even if it is locked out. The only way this can happen is by intentionally bypassing the normal safety lockouts used during maintenance procedures. Outside of maintenance or certain emergency procedures, the aircraft's weight-on-wheels system prevents gear retraction on the ground. Lufthansa says the aircraft has since been recovered. Fuel was removed, the jet was lifted, the nose gear was re-extended, and the aircraft was successfully towed under its own weight to a maintenance hangar. Germany's Federal Bureau of Aircraft Accident Investigation has completed evidence collection from the aircraft and is now gathering witness statements. An interim report is expected within approximately 8 weeks. 📹: airlinersde via YouTube, link on first comment here.
0:13

Here's the full surveillance video showing moments before the Lufthansa Boeing 787-9 (D-ABPQ) nose gear collapsed at Frankfurt. If you watch closely, the nose landing gear doors open first, indicating what appears to be the start of a normal landing gear retraction sequence. According to reports, the Dreamliner had logged a maintenance request the previous day involving a landing gear door error message. On the Boeing 787, maintenance personnel can place the aircraft into a special maintenance mode (on the overhead panel, turn switch to "enable"). Boeing manuals emphasize that if maintenance mode is enabled, hydraulics are powered, and the gear lever is selected UP, the landing gear can retract regardless of weight-on-wheels protection. To prevent this, there's an override button where the gear handle lockout can be bypassed to move the gear handle even if it is locked out. The only way this can happen is by intentionally bypassing the normal safety lockouts used during maintenance procedures. Outside of maintenance or certain emergency procedures, the aircraft's weight-on-wheels system prevents gear retraction on the ground. Lufthansa says the aircraft has since been recovered. Fuel was removed, the jet was lifted, the nose gear was re-extended, and the aircraft was successfully towed under its own weight to a maintenance hangar. Germany's Federal Bureau of Aircraft Accident Investigation has completed evidence collection from the aircraft and is now gathering witness statements. An interim report is expected within approximately 8 weeks. 📹: airlinersde via YouTube, link on first comment here.

Turbine Traveller

542,172 次观看 • 3 个月前

FIVE LAYERS OF AGENT ENGINEERING, EACH ONE WRAPS THE ONE BELOW IT. IF YOU SKIP LAYER 2, YOUR LAYER 5 WILL LOOK BROKEN WHEN IT IS ACTUALLY JUST STANDING ON NOTHING. for weeks i debated harness vs loop vs graph like they were competing choices. then a stack diagram made the shape obvious. they are not choices. they are floors. 01 | prompt engineering. the message. unit of work: one input. inputs are role, instructions, examples, format. output is a single raw response. 02 | context engineering. the memory. unit of work: what stays in the window. a curator selects, compresses, and drops from query, docs, memory, prior turns, and tool outputs before the prompt runs. 03 | harness engineering. the machine. unit of work: the machine itself. gather (context + prompt) → LLM → tools or sub-agents → verifier → final response. the article calls this the operating environment. 04 | loop engineering. the system. unit of work: the run. goal + success criteria + max iterations + budget + completion check wrap around one harness pass. failed pass appends results to context and retries. 05 | graph engineering. the topology. unit of work: the graph run. goal + nodes + edges + state schema. graph routes to agent nodes, tool nodes, or human approval. a reviewer node with a different model and fresh context checks the final answer. the wrapping is the whole point. layer 5 assumes layer 4 works. layer 4 assumes layer 3 works. skip layer 2 and layer 3's verifier keeps failing without a clear reason. this is why swapping the model is a one-day project and swapping the stack is a quarter. the model is the commodity. the five layers around it are the engineering. full three-layer breakdown of the top of the stack (harness, loop, graph) in the post below.
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FIVE LAYERS OF AGENT ENGINEERING, EACH ONE WRAPS THE ONE BELOW IT. IF YOU SKIP LAYER 2, YOUR LAYER 5 WILL LOOK BROKEN WHEN IT IS ACTUALLY JUST STANDING ON NOTHING. for weeks i debated harness vs loop vs graph like they were competing choices. then a stack diagram made the shape obvious. they are not choices. they are floors. 01 | prompt engineering. the message. unit of work: one input. inputs are role, instructions, examples, format. output is a single raw response. 02 | context engineering. the memory. unit of work: what stays in the window. a curator selects, compresses, and drops from query, docs, memory, prior turns, and tool outputs before the prompt runs. 03 | harness engineering. the machine. unit of work: the machine itself. gather (context + prompt) → LLM → tools or sub-agents → verifier → final response. the article calls this the operating environment. 04 | loop engineering. the system. unit of work: the run. goal + success criteria + max iterations + budget + completion check wrap around one harness pass. failed pass appends results to context and retries. 05 | graph engineering. the topology. unit of work: the graph run. goal + nodes + edges + state schema. graph routes to agent nodes, tool nodes, or human approval. a reviewer node with a different model and fresh context checks the final answer. the wrapping is the whole point. layer 5 assumes layer 4 works. layer 4 assumes layer 3 works. skip layer 2 and layer 3's verifier keeps failing without a clear reason. this is why swapping the model is a one-day project and swapping the stack is a quarter. the model is the commodity. the five layers around it are the engineering. full three-layer breakdown of the top of the stack (harness, loop, graph) in the post below.

kocer

31,162 次观看 • 27 天前

🕊️ The Faravahar: An Ancient Persian Symbol with a Powerful Meaning High on the stone walls of Persepolis, the ancient capital of Persia, you can see a mysterious winged symbol carved into the rock. This symbol is called the Faravahar (or Farohar), and it is one of the most important signs of Zoroastrianism, one of the world’s oldest religions. At first look, the Faravahar may seem like a royal emblem or a symbol of power. But its meaning goes much deeper than that. The design comes from very old Middle Eastern traditions. Long before Persia, kings used winged sun symbols on seals to show divine protection and authority. Over time, the Persians gave this image a new meaning. In Zoroastrian belief, the Faravahar came to represent the human soul, its choices, and its journey through life. Every part of the symbol has a message: 🪽 The wings stand for growth, progress, and rising toward good thoughts and actions. 🧍 The human figure in the center reminds us that humans have free will and must choose between right and wrong. 🔄 The circular shape shows the ongoing journey of life and the balance between the spiritual and the physical world. In ancient Persia, the Faravahar was not just art on a wall. It showed faith, identity, and legitimacy. It reminded rulers and people alike that power should be guided by wisdom, truth, and moral responsibility. Even today, the Faravahar invites curiosity. Is it a symbol of God? A guide for the soul? Or a sign of royal authority? Perhaps it is all of these at once. What is clear is this: the Faravahar is a timeless symbol that shows how deeply spiritual belief and leadership were connected in ancient Persia—and how those ideas still speak to us today. ✨
0:15

🕊️ The Faravahar: An Ancient Persian Symbol with a Powerful Meaning High on the stone walls of Persepolis, the ancient capital of Persia, you can see a mysterious winged symbol carved into the rock. This symbol is called the Faravahar (or Farohar), and it is one of the most important signs of Zoroastrianism, one of the world’s oldest religions. At first look, the Faravahar may seem like a royal emblem or a symbol of power. But its meaning goes much deeper than that. The design comes from very old Middle Eastern traditions. Long before Persia, kings used winged sun symbols on seals to show divine protection and authority. Over time, the Persians gave this image a new meaning. In Zoroastrian belief, the Faravahar came to represent the human soul, its choices, and its journey through life. Every part of the symbol has a message: 🪽 The wings stand for growth, progress, and rising toward good thoughts and actions. 🧍 The human figure in the center reminds us that humans have free will and must choose between right and wrong. 🔄 The circular shape shows the ongoing journey of life and the balance between the spiritual and the physical world. In ancient Persia, the Faravahar was not just art on a wall. It showed faith, identity, and legitimacy. It reminded rulers and people alike that power should be guided by wisdom, truth, and moral responsibility. Even today, the Faravahar invites curiosity. Is it a symbol of God? A guide for the soul? Or a sign of royal authority? Perhaps it is all of these at once. What is clear is this: the Faravahar is a timeless symbol that shows how deeply spiritual belief and leadership were connected in ancient Persia—and how those ideas still speak to us today. ✨

Unearthed 🏺

12,740 次观看 • 7 个月前

Air India B-787 fuel switches: seen a lot of comments on "racism", "appeasement" to Boeing"; "Western superiority" in some comments, and, on my behalf, I assure you it is not. As seen on this simple video, there´s NO WAY the switches could move themselves. This is not based on this video alone - which clearly shows a mechanical lock, and the need to push up before moving it, as a fail safe - but also on the opinions of captains who fly the plane, technicians, safety experts, and also the simple fact that, despite dozens of B-787 operators worldwide, no one reported switches moving themselves. I said it here more than once: I´m not for conspiracies. You can hide the truth from one person, but to believe that dozens of pilots, investigators, technicians, lawyers, manufacturers, mechanics, etc... would all be duped this easily... seems a far cry. Mathematically alone, tricking all these folks, each with their reputations on the line, seems remote. Also, the source for yesterday´s "leak" is the " Safety Matters Foundation" - NOT TO BE CONFUSED WITH THE prestigious Flight Safety Academy Foundation - appears to have an agenda to deflect blame on the pilots, despite all evidence (so far) pointing to deliberate action. (Also as a note, didn´t you find it dodgy that in 2026, with everyone and their dog having a 20 MP cellphone, the picture of the document, released by the said foundation, has such poor quality? You can hardly read what´s in there) I also find it strange that, on yesterday´s incident, given that, less than one year after a crash involving a B-787 with "supposed" malfunctioning fuel switches, the crew of the latest incident, instead of delaying the flight, and grounding the aircraft, simply opted to continue the flight. Short memory? I underline nothing against Indian Nationals - there are two readers here in particular - which I won´t nominate for privacy reasons - who are Indian Nationals and who always come to help with insightful opinions and respect, which I have in a very high regard. ("not seeing the forest for the trees"") Also, don´t think it was because the accident happened in India that I think less of the nation. Mental health in aviation has been a problem everywhere, the Germanwings is a sad example of that and I also think the attempts of cover-up lately, hinting it was not pilot suicide - by note, pushed by the pilot´s parent - were farcical.
0:18

Air India B-787 fuel switches: seen a lot of comments on "racism", "appeasement" to Boeing"; "Western superiority" in some comments, and, on my behalf, I assure you it is not. As seen on this simple video, there´s NO WAY the switches could move themselves. This is not based on this video alone - which clearly shows a mechanical lock, and the need to push up before moving it, as a fail safe - but also on the opinions of captains who fly the plane, technicians, safety experts, and also the simple fact that, despite dozens of B-787 operators worldwide, no one reported switches moving themselves. I said it here more than once: I´m not for conspiracies. You can hide the truth from one person, but to believe that dozens of pilots, investigators, technicians, lawyers, manufacturers, mechanics, etc... would all be duped this easily... seems a far cry. Mathematically alone, tricking all these folks, each with their reputations on the line, seems remote. Also, the source for yesterday´s "leak" is the " Safety Matters Foundation" - NOT TO BE CONFUSED WITH THE prestigious Flight Safety Academy Foundation - appears to have an agenda to deflect blame on the pilots, despite all evidence (so far) pointing to deliberate action. (Also as a note, didn´t you find it dodgy that in 2026, with everyone and their dog having a 20 MP cellphone, the picture of the document, released by the said foundation, has such poor quality? You can hardly read what´s in there) I also find it strange that, on yesterday´s incident, given that, less than one year after a crash involving a B-787 with "supposed" malfunctioning fuel switches, the crew of the latest incident, instead of delaying the flight, and grounding the aircraft, simply opted to continue the flight. Short memory? I underline nothing against Indian Nationals - there are two readers here in particular - which I won´t nominate for privacy reasons - who are Indian Nationals and who always come to help with insightful opinions and respect, which I have in a very high regard. ("not seeing the forest for the trees"") Also, don´t think it was because the accident happened in India that I think less of the nation. Mental health in aviation has been a problem everywhere, the Germanwings is a sad example of that and I also think the attempts of cover-up lately, hinting it was not pilot suicide - by note, pushed by the pilot´s parent - were farcical.

Francisco Cunha - ✈️ Aviation et al

278,277 次观看 • 7 个月前

Benjamin Benny Rapoza was reported missing from Hilo, Hawaii, on 20 December 2019 at the age of five. He is a non verbal autistic child. His family has endured years without resolution. A video now circulating asserts that a disturbing clip found among the Epstein materials depicts a boy bearing a striking resemblance to Benny half his face painted green and red, positioned beside an adult male in a pink wig with matching paint. Hawaii Police explicitly addressed this same footage in 2020, stating that the juvenile shown is not Benny Rapoza. Yet the questions persist. Why does this imagery continue to surface in connection with the Epstein files? Why has comprehensive public clarification and closure remained elusive for more than six years? We do not do coincidence when the protection of children and the exposure of predatory networks are concerned. Full transparency requires that every lead, every anomaly, and every potential link to missing minors be rigorously examined and disclosed. Justice for Benny, for his family, and for every victim is non negotiable!
0:18

Benjamin Benny Rapoza was reported missing from Hilo, Hawaii, on 20 December 2019 at the age of five. He is a non verbal autistic child. His family has endured years without resolution. A video now circulating asserts that a disturbing clip found among the Epstein materials depicts a boy bearing a striking resemblance to Benny half his face painted green and red, positioned beside an adult male in a pink wig with matching paint. Hawaii Police explicitly addressed this same footage in 2020, stating that the juvenile shown is not Benny Rapoza. Yet the questions persist. Why does this imagery continue to surface in connection with the Epstein files? Why has comprehensive public clarification and closure remained elusive for more than six years? We do not do coincidence when the protection of children and the exposure of predatory networks are concerned. Full transparency requires that every lead, every anomaly, and every potential link to missing minors be rigorously examined and disclosed. Justice for Benny, for his family, and for every victim is non negotiable!

IRISH PATRIOT

80,170 次观看 • 4 个月前

No changes to morning update on severe weather chances, but the system is finally showing its hand and round 1 looks to head decently south of the #Chicago metro area. That pushes the all-important warm frontal boundary well into central IL Question remains how far north that front pushes back today, but odds are decreasing it can reach or breach the magical I-80 weather wall. Midday to early afternoon trends still need to be closely monitored, but personally (this is just me speaking) wouldn’t be surprised to see that moderate risk over half the metro area slide south on the next update What does remain is a rainy day and the flooding threat hangs on as we sit on the cool side where all this moisture aloft will get wrung out. We are under a flood thru the afternoon More later as things play out, but early hi res morning models paint a much less severe picture across northern IL and Chicago Here are 5 looks at the key late afternoon 4PM forecast hour
0:12

No changes to morning update on severe weather chances, but the system is finally showing its hand and round 1 looks to head decently south of the #Chicago metro area. That pushes the all-important warm frontal boundary well into central IL Question remains how far north that front pushes back today, but odds are decreasing it can reach or breach the magical I-80 weather wall. Midday to early afternoon trends still need to be closely monitored, but personally (this is just me speaking) wouldn’t be surprised to see that moderate risk over half the metro area slide south on the next update What does remain is a rainy day and the flooding threat hangs on as we sit on the cool side where all this moisture aloft will get wrung out. We are under a flood thru the afternoon More later as things play out, but early hi res morning models paint a much less severe picture across northern IL and Chicago Here are 5 looks at the key late afternoon 4PM forecast hour

WindyCity Weather and News

58,536 次观看 • 3 个月前

Full Fine-tuning vs. Freezing Layers. Interact 👉 and == Full Fine-tuning == A real network has many — three layers in this example, billions of parameters in a production model. What does fine-tuning look like when you update all of them? That’s full fine-tuning: continue training every weight in the pretrained network on your new task. Every layer’s W gets its own ΔW. Nothing is frozen — every parameter is in play. Think of an MLP as a chain of prerequisites leading to an advanced course. Layer 1 might be Linear Algebra, layer 2 Probability, layer 3 Advanced Machine Learning — each one building on what came before. Fine-tuning is what happens during graduate study: the foundations are already there from undergrad, so you’re not re-learning. Full fine-tuning is reviewing every prerequisite to see what new topics have appeared and what discoveries the field has made since the last time you sat through them. Effective — but exhausting. This diagram shows the same three-layer MLP twice, side by side. On the left, the pretrained network runs on input X: three weight matrices W₁, W₂, W₃, each followed by a ReLU activation. Full fine-tuning gives the model the most freedom to specialize. Every parameter can move — and every parameter that can move must be stored. But not every prerequisite needs revisiting. The further you go back in the chain, the less the material has changed since pretraining — the linear-algebra basics under your computer-vision course are largely the same as they ever were. The next page does exactly that: freeze the prerequisites that haven’t moved, and only refresh the advanced one closest to your specialization. == Freezing Layers == Full fine-tuning reviewed every prerequisite — Linear Algebra, Probability, Advanced ML — to refresh each subject with the latest topics. Effective, but exhausting. Then you realize something. The prerequisites haven’t actually changed that much. Linear Algebra is still Linear Algebra; the matrix decompositions you learned still hold. Probability is still Probability; the distributions and Bayes’ rule haven’t moved. Almost all the new material — the new ideas, the recent discoveries — lives in the advanced layer at the top. That’s freezing layers: keep the prerequisite layers fixed at their pretrained state, and only update the advanced one. In the diagram below, W1​ and W2​ — the foundational prerequisites — stay frozen. Only W3​ — the layer closest to your task-specific output — gets a ΔW.
0:16

Full Fine-tuning vs. Freezing Layers. Interact 👉 and == Full Fine-tuning == A real network has many — three layers in this example, billions of parameters in a production model. What does fine-tuning look like when you update all of them? That’s full fine-tuning: continue training every weight in the pretrained network on your new task. Every layer’s W gets its own ΔW. Nothing is frozen — every parameter is in play. Think of an MLP as a chain of prerequisites leading to an advanced course. Layer 1 might be Linear Algebra, layer 2 Probability, layer 3 Advanced Machine Learning — each one building on what came before. Fine-tuning is what happens during graduate study: the foundations are already there from undergrad, so you’re not re-learning. Full fine-tuning is reviewing every prerequisite to see what new topics have appeared and what discoveries the field has made since the last time you sat through them. Effective — but exhausting. This diagram shows the same three-layer MLP twice, side by side. On the left, the pretrained network runs on input X: three weight matrices W₁, W₂, W₃, each followed by a ReLU activation. Full fine-tuning gives the model the most freedom to specialize. Every parameter can move — and every parameter that can move must be stored. But not every prerequisite needs revisiting. The further you go back in the chain, the less the material has changed since pretraining — the linear-algebra basics under your computer-vision course are largely the same as they ever were. The next page does exactly that: freeze the prerequisites that haven’t moved, and only refresh the advanced one closest to your specialization. == Freezing Layers == Full fine-tuning reviewed every prerequisite — Linear Algebra, Probability, Advanced ML — to refresh each subject with the latest topics. Effective, but exhausting. Then you realize something. The prerequisites haven’t actually changed that much. Linear Algebra is still Linear Algebra; the matrix decompositions you learned still hold. Probability is still Probability; the distributions and Bayes’ rule haven’t moved. Almost all the new material — the new ideas, the recent discoveries — lives in the advanced layer at the top. That’s freezing layers: keep the prerequisite layers fixed at their pretrained state, and only update the advanced one. In the diagram below, W1​ and W2​ — the foundational prerequisites — stay frozen. Only W3​ — the layer closest to your task-specific output — gets a ΔW.

Tom Yeh

27,740 次观看 • 5 个月前

Elon Musk is building a data center that no grid has to power and no county has to approve. Musk: “Think of it as a rack of compute in space.” Orbital hardware has always been custom. Each satellite is its own program, its own team, its own decade. SpaceX’s AI1 satellites are copies of each other. Each is built around a single Nvidia NVL72, the same rack-scale architecture running the largest data centers on the ground, redesigned to fly. Space stops being a program and becomes an inventory. Designing for orbit made the rack simpler and cheaper than the ground version, so SpaceX plans to run the space design in terrestrial data centers too. Racks alone have never made a data center. A thousand of them in a building with no network between them is a thousand computers. The interconnect is what turns them into one machine. Training a frontier model means moving enormous volumes of data between processors without pause, and the whole system runs at the speed of its slowest link. That is why the fabric between chips is fought over as hard as the chips themselves. Musk: “And then you can connect these racks of compute to either each other by the laser links, or directly to the Starlink constellation.” Light moves through glass at about two thirds of its speed in a vacuum, and fiber optic cable is glass. Every backbone route and undersea cable on Earth pays that tax. A laser between two satellites pays nothing. Over long distances, an orbital link arrives sooner than the same run in fiber. Orbit was supposed to be a trade, unlimited power in exchange for a worse network. The network is faster. The compute plugs into a delivery layer that is already finished. Thousands of satellites are up there right now carrying laser links, terminating at ground stations and dishes across most of the planet. The last mile was built years before the thing it delivers existed. Anyone else attempting this needs the rocket, the satellite bus, the solar manufacturing, the laser mesh, the ground network, and a supply line to a chipmaker. SpaceX had five of them before the project had a name. None of it was built for this. Starlink existed to sell internet subscriptions. The lasers existed so those subscriptions would work over open ocean. Starship existed for Mars. Nobody planned this. It assembled itself out of problems solved for other reasons. That is what twenty years of hard engineering leaves behind. Every previous expansion of human capability ran on a resource sitting inside somebody’s borders. Coal, oil, water, land. Sunlight in orbit belongs to nobody and never runs out. Compute still has an address. A building in Virginia, a substation, a county that had to approve it, a grid connection someone waited four years for. He is describing a version that only has an altitude.
0:15

Elon Musk is building a data center that no grid has to power and no county has to approve. Musk: “Think of it as a rack of compute in space.” Orbital hardware has always been custom. Each satellite is its own program, its own team, its own decade. SpaceX’s AI1 satellites are copies of each other. Each is built around a single Nvidia NVL72, the same rack-scale architecture running the largest data centers on the ground, redesigned to fly. Space stops being a program and becomes an inventory. Designing for orbit made the rack simpler and cheaper than the ground version, so SpaceX plans to run the space design in terrestrial data centers too. Racks alone have never made a data center. A thousand of them in a building with no network between them is a thousand computers. The interconnect is what turns them into one machine. Training a frontier model means moving enormous volumes of data between processors without pause, and the whole system runs at the speed of its slowest link. That is why the fabric between chips is fought over as hard as the chips themselves. Musk: “And then you can connect these racks of compute to either each other by the laser links, or directly to the Starlink constellation.” Light moves through glass at about two thirds of its speed in a vacuum, and fiber optic cable is glass. Every backbone route and undersea cable on Earth pays that tax. A laser between two satellites pays nothing. Over long distances, an orbital link arrives sooner than the same run in fiber. Orbit was supposed to be a trade, unlimited power in exchange for a worse network. The network is faster. The compute plugs into a delivery layer that is already finished. Thousands of satellites are up there right now carrying laser links, terminating at ground stations and dishes across most of the planet. The last mile was built years before the thing it delivers existed. Anyone else attempting this needs the rocket, the satellite bus, the solar manufacturing, the laser mesh, the ground network, and a supply line to a chipmaker. SpaceX had five of them before the project had a name. None of it was built for this. Starlink existed to sell internet subscriptions. The lasers existed so those subscriptions would work over open ocean. Starship existed for Mars. Nobody planned this. It assembled itself out of problems solved for other reasons. That is what twenty years of hard engineering leaves behind. Every previous expansion of human capability ran on a resource sitting inside somebody’s borders. Coal, oil, water, land. Sunlight in orbit belongs to nobody and never runs out. Compute still has an address. A building in Virginia, a substation, a county that had to approve it, a grid connection someone waited four years for. He is describing a version that only has an altitude.

Dustin

13,444 次观看 • 1 个月前

The past year has seen me have a renaissance, in the truest sense… I won’t go into details now but will at some point before long. What has brought so much happiness to my life and those around me this past year has been my falling back in love with sport. Cycling has, and always will be, my number one. Yet I’d forgotten that I simply love sport, not for results but for the sheer joy of doing it, I’d completely forgotten that the health of my mind is intrinsically connected to the health of my body. I’ve rediscovered the love I had for sport that existed before the world of professional cycling took over in the way it did. I’ve been pushing myself and trying new things this past year, indifferent to the results, just out having fun and at times going deeper than I thought I was capable of anymore. Last week I got on a TT bike for the first time in a decade, Factor Bikes built me a bike, I’ve been looking at it for two years and decided it was time to get fitted, getting back on it felt like going home. Anyway, the long and the short of this is that it’s inspired me to create a club to inspire and be inspired. A community for us to share our love for getting out there and doing it, because I’ve realized that although I spend most of my sporting life on my own I derive the most pleasure when feeling part of something. It’s in its early days, I’ve called it Sporting Club CHPT3 aka SCC3, I’d love you to check it out and join. It’s still in its infancy, but I hope it’s going to grow into something that will inspire you as much as me.
0:19

The past year has seen me have a renaissance, in the truest sense… I won’t go into details now but will at some point before long. What has brought so much happiness to my life and those around me this past year has been my falling back in love with sport. Cycling has, and always will be, my number one. Yet I’d forgotten that I simply love sport, not for results but for the sheer joy of doing it, I’d completely forgotten that the health of my mind is intrinsically connected to the health of my body. I’ve rediscovered the love I had for sport that existed before the world of professional cycling took over in the way it did. I’ve been pushing myself and trying new things this past year, indifferent to the results, just out having fun and at times going deeper than I thought I was capable of anymore. Last week I got on a TT bike for the first time in a decade, Factor Bikes built me a bike, I’ve been looking at it for two years and decided it was time to get fitted, getting back on it felt like going home. Anyway, the long and the short of this is that it’s inspired me to create a club to inspire and be inspired. A community for us to share our love for getting out there and doing it, because I’ve realized that although I spend most of my sporting life on my own I derive the most pleasure when feeling part of something. It’s in its early days, I’ve called it Sporting Club CHPT3 aka SCC3, I’d love you to check it out and join. It’s still in its infancy, but I hope it’s going to grow into something that will inspire you as much as me.

David Millar

111,737 次观看 • 2 年前

Let’s talk reflecting pool. Warren G. Harding built it on swampland and the structure beneath it would have been fine - if it had been built on stable ground. The whole thing started sinking slowly. Presidents all the way up through Carter kept trying to prop it up with little cement pours, and regularly draining and cleaning it. Algae was a problem even then because there was no real circulation system. No pumps. No filters. Reagan added some more concrete, realizing the entire pool was now 12 or 13 inches lower than it should be. It had sunk over a foot and pulled loose from its structure. Clinton publicly acknowledged that the entire pool needed demolished and rebuilt, and that it would take hundreds of millions of dollars to do it right. The Bushes just kept trying to plug leaks and clean it. Every time they had to drain and scrub the thing, it cost around $100,000 to do so. George W. Bush actually had plans drawn up to rebuild it.  Obama decided to revise and execute the Bush renovation, which was needed, but it was flawed, and he spent tens of millions of dollars on it. He raised the pool up with a timber under-structure so the water ended up being even shallower, which means that’s the point at which the water started getting warmer. He also turned off the chlorinated city water supply into the pool and began pumping water in from the tidal basin - that’s the somewhat stagnant water that comes in from the Potomac River and surrounds the Jefferson Memorial. There was algae before, but with those changes came even more algae. Obama‘s reasoning was that the basin water would be cheaper instead of using the city water supply. He had the pool tiles removed from the bottom and another layer gray cement put in place along with gray-tinted reflective paint, which gradually faded away. By the time Trump’s first term came around, the cleaning had to be done every three or four months, some of the Obama structural repairs were failing, and the leaks were rampant again. By the time Biden got into office, Obama’s reflecting pool fixes were cracked and the pool was leaking hundreds of thousands (probably millions) of gallons of water. Biden opted to clean the pool, but performed little maintenance, and did no substantial refurbishment. Trump’s fix was to try something that the other presidents hadn’t. Whereas Obama had used a gray reflective paint and cement, Trump tried a combination sealant liner - it isn’t paint. Those sealants are similarly light-reflective to what Obama used. Trump switched up to blue from the dark gray. He added nanobubblers. When we walked around it the other day, there was only a small patch on the middle of the left side that may have been coming up. It was too windy and stormy to see why. It was not as if the sealant was coming up all over the pool and floating to the top because it wasn’t. We did see the algae cleaning going on and the crews, you could tell, were tired of being harassed for doing their jobs.  Vandals have damaged the grass, they’ve cut into the liner in other places and the knife lines are clear in the videos. We did see the National Guard soldiers coming in. We also saw them placed around the America 250 construction area and in between the museums. Five vandals have been arrested since we walked through. It’s unbelievable to me that they want to destroy something we could all enjoy out of hatred for a president whose policies they don’t even understand.  And the mainstream media is reprehensible. They aren’t reporting. They’re spinning propaganda as usual.
0:10

Let’s talk reflecting pool. Warren G. Harding built it on swampland and the structure beneath it would have been fine - if it had been built on stable ground. The whole thing started sinking slowly. Presidents all the way up through Carter kept trying to prop it up with little cement pours, and regularly draining and cleaning it. Algae was a problem even then because there was no real circulation system. No pumps. No filters. Reagan added some more concrete, realizing the entire pool was now 12 or 13 inches lower than it should be. It had sunk over a foot and pulled loose from its structure. Clinton publicly acknowledged that the entire pool needed demolished and rebuilt, and that it would take hundreds of millions of dollars to do it right. The Bushes just kept trying to plug leaks and clean it. Every time they had to drain and scrub the thing, it cost around $100,000 to do so. George W. Bush actually had plans drawn up to rebuild it.  Obama decided to revise and execute the Bush renovation, which was needed, but it was flawed, and he spent tens of millions of dollars on it. He raised the pool up with a timber under-structure so the water ended up being even shallower, which means that’s the point at which the water started getting warmer. He also turned off the chlorinated city water supply into the pool and began pumping water in from the tidal basin - that’s the somewhat stagnant water that comes in from the Potomac River and surrounds the Jefferson Memorial. There was algae before, but with those changes came even more algae. Obama‘s reasoning was that the basin water would be cheaper instead of using the city water supply. He had the pool tiles removed from the bottom and another layer gray cement put in place along with gray-tinted reflective paint, which gradually faded away. By the time Trump’s first term came around, the cleaning had to be done every three or four months, some of the Obama structural repairs were failing, and the leaks were rampant again. By the time Biden got into office, Obama’s reflecting pool fixes were cracked and the pool was leaking hundreds of thousands (probably millions) of gallons of water. Biden opted to clean the pool, but performed little maintenance, and did no substantial refurbishment. Trump’s fix was to try something that the other presidents hadn’t. Whereas Obama had used a gray reflective paint and cement, Trump tried a combination sealant liner - it isn’t paint. Those sealants are similarly light-reflective to what Obama used. Trump switched up to blue from the dark gray. He added nanobubblers. When we walked around it the other day, there was only a small patch on the middle of the left side that may have been coming up. It was too windy and stormy to see why. It was not as if the sealant was coming up all over the pool and floating to the top because it wasn’t. We did see the algae cleaning going on and the crews, you could tell, were tired of being harassed for doing their jobs.  Vandals have damaged the grass, they’ve cut into the liner in other places and the knife lines are clear in the videos. We did see the National Guard soldiers coming in. We also saw them placed around the America 250 construction area and in between the museums. Five vandals have been arrested since we walked through. It’s unbelievable to me that they want to destroy something we could all enjoy out of hatred for a president whose policies they don’t even understand.  And the mainstream media is reprehensible. They aren’t reporting. They’re spinning propaganda as usual.

Kerry McQuisten’s Common Sense Sanctuary

700,590 次观看 • 3 个月前

Dear Pioneers 🌏 We are living in a decisive moment! Pi Network has the potential to become a true revolution in the global financial landscape, but for that to happen, we must act wisely and united. We are millions of Pioneers around the world, driven by the same purpose: to create a decentralized, accessible, and fair financial system for all. The real value of Pi is not determined by the traditional market but by our confidence and engagement. The GCV of $314,159 represents much more than just a number – it symbolizes our conviction about Pi's potential. Our Strength Lies in the Community For Pi to reach its true value, we need to act strategically and with commitment. No great project can sustain itself without the support of its participants. If we want to see Pi shine, we must: ✅ Avoid having our Pi traded on exchanges prematurely, creating scarcity and strengthening its value ✅ Not accept selling it for prices lower than it truly deserves ✅ Acquire and withdraw Pi from exchanges, consolidating its strength in the market ✅ Use it in real transactions, promoting its growth as a global digital currency ✅ Spread awareness and encourage its daily use, expanding its acceptance Each Pioneer plays a crucial role in this process. The more we use and value Pi within the ecosystem, the more it will establish itself as an asset of great global impact. The Future Is in Our Hands We can allow speculators to dictate the value of Pi, or we can take control of our own destiny and ensure that it reaches its true potential. The decision is ours! If we act together, with strategy and determination, nothing can stop us from making Pi Network a milestone in cryptocurrency history. The time is now, and each of us is a fundamental part of this revolution. Let's strengthen Pi together and make the GCV of $314,159 an undeniable reality! Sérgio Cruz, Portugal GCV Ambassador 🇵🇹
0:15

Dear Pioneers 🌏 We are living in a decisive moment! Pi Network has the potential to become a true revolution in the global financial landscape, but for that to happen, we must act wisely and united. We are millions of Pioneers around the world, driven by the same purpose: to create a decentralized, accessible, and fair financial system for all. The real value of Pi is not determined by the traditional market but by our confidence and engagement. The GCV of $314,159 represents much more than just a number – it symbolizes our conviction about Pi's potential. Our Strength Lies in the Community For Pi to reach its true value, we need to act strategically and with commitment. No great project can sustain itself without the support of its participants. If we want to see Pi shine, we must: ✅ Avoid having our Pi traded on exchanges prematurely, creating scarcity and strengthening its value ✅ Not accept selling it for prices lower than it truly deserves ✅ Acquire and withdraw Pi from exchanges, consolidating its strength in the market ✅ Use it in real transactions, promoting its growth as a global digital currency ✅ Spread awareness and encourage its daily use, expanding its acceptance Each Pioneer plays a crucial role in this process. The more we use and value Pi within the ecosystem, the more it will establish itself as an asset of great global impact. The Future Is in Our Hands We can allow speculators to dictate the value of Pi, or we can take control of our own destiny and ensure that it reaches its true potential. The decision is ours! If we act together, with strategy and determination, nothing can stop us from making Pi Network a milestone in cryptocurrency history. The time is now, and each of us is a fundamental part of this revolution. Let's strengthen Pi together and make the GCV of $314,159 an undeniable reality! Sérgio Cruz, Portugal GCV Ambassador 🇵🇹

Doris Yin 东方紫莲🪷

25,065 次观看 • 1 年前

We are building the home of the doge economy Projects across every major vertical are already gearing up to launch on DogeOS. Builders are cooking. Here's what the community should be excited to explore.... Much Thoughts ✍️ Very 🐕 So Soon... 💱 DeFi Swaps, lending, yield, memes all running on DogeOS with Dogecoin at the heart of it all. This means the most beloved and recognized asset in crypto finally gets a real financial system built around it. Doge stops being just a vibe and starts being productive. The community has been asking for this for years. 🎮 Gaming On-chain games built on DogeOS: play, compete, unlock with Dogecoin. Doge was born from meme and gaming culture. Bringing games on-chain is just Doge coming home. Play to unlock, play to grow, play because it's fun. Gaming is one of the strongest onramps in all of crypto. It's how you turn curious onlookers into active participants. This is a chance to bring the fun and the love of this community to a whole new wave of users, and remind the old ones why they fell in love with Doge in the first place. 🤖 AI Builders are already positioned to ship AI powered dApps, agents, and tools natively on DogeOS. Think automated trading agents, AI assistants that manage your wallet, dApp builders, and solutions that get smarter the more the ecosystem grows. Agents benefit from fast and cheap transaction environments, and that's exactly what DogeOS is built for. DogeOS becomes the rails for the next wave of on-chain AI, with Doge as the fuel. 📣 Community and Social Apps built for the culture. Social tools, creator platforms, community coordination, all on-chain and all for the Doge economy. Dogecoin has always had the strongest community in crypto. Now that community gets its own social layer instead of living as a guest in another chain's world. Dogecoin should be the focal point, not just another asset being served. 🐕 All your desires. One ecosystem. We are building toward the future this community has dreamt of, making Dogecoin the central piece of a real on-chain economy. This is just the start. Much building. Prepare your paws.
0:11

We are building the home of the doge economy Projects across every major vertical are already gearing up to launch on DogeOS. Builders are cooking. Here's what the community should be excited to explore.... Much Thoughts ✍️ Very 🐕 So Soon... 💱 DeFi Swaps, lending, yield, memes all running on DogeOS with Dogecoin at the heart of it all. This means the most beloved and recognized asset in crypto finally gets a real financial system built around it. Doge stops being just a vibe and starts being productive. The community has been asking for this for years. 🎮 Gaming On-chain games built on DogeOS: play, compete, unlock with Dogecoin. Doge was born from meme and gaming culture. Bringing games on-chain is just Doge coming home. Play to unlock, play to grow, play because it's fun. Gaming is one of the strongest onramps in all of crypto. It's how you turn curious onlookers into active participants. This is a chance to bring the fun and the love of this community to a whole new wave of users, and remind the old ones why they fell in love with Doge in the first place. 🤖 AI Builders are already positioned to ship AI powered dApps, agents, and tools natively on DogeOS. Think automated trading agents, AI assistants that manage your wallet, dApp builders, and solutions that get smarter the more the ecosystem grows. Agents benefit from fast and cheap transaction environments, and that's exactly what DogeOS is built for. DogeOS becomes the rails for the next wave of on-chain AI, with Doge as the fuel. 📣 Community and Social Apps built for the culture. Social tools, creator platforms, community coordination, all on-chain and all for the Doge economy. Dogecoin has always had the strongest community in crypto. Now that community gets its own social layer instead of living as a guest in another chain's world. Dogecoin should be the focal point, not just another asset being served. 🐕 All your desires. One ecosystem. We are building toward the future this community has dreamt of, making Dogecoin the central piece of a real on-chain economy. This is just the start. Much building. Prepare your paws.

DogeOS

42,863 次观看 • 17 天前

The world of digital painting, needs the attention it deserves. There is a movement within digital art that I think is still heavily overlooked. Much of it operates in the hidden corners of an underground NFT scene on Tezos and Ethereum. At its core is a group of artists who treat the digital screen as an open expressive field in itself, much like painters started doing 100 year ago. The screen is no longer simply a workspace for email, Excel, Photoshop or Illustrator; a window for YouTube and Netflix; or a device for gaming. Instead, these artists take the visual language that emerged through decades of living and working with computer screens and turn it into artistic material. Obsolete interfaces, forgotten software, image compression, sampling, pixels, moiré, glitch, the world of emojis, and the visual language of 1980s and 90s computing all become part of the vocabulary. Some artists draw using early paint software that's unstable and chrashes, deliberately embracing its technical limitations as expressive constraints. Others build an entire practice around a particular version of Photoshop, developing a visual language through the possibilities and limitations of that single tool. It's often a lot about the practice of making the images and exposing the limits and politics hidden in the tools they use. What interests me most is the shift in the reference frame of the image. Traditionally, we tend to think about images in relation to physical reality: an image depicts, abstracts, distorts, or somehow refers back to the physical world. Here, the reference frame increasingly becomes the image that lives on the screen and the computational environment itself. This world now has a rich history of tools, visual languages, structural elements, and operational systems spanning more than 70 years. In that sense, I see this movement as a dive into the emotional and intellectual relationships we are building with the world of images on screen and the systems operating behind it. The outputs range from still digital paintings to complex GIFs and moving images. For these artists, the computer screen is no longer merely where the artwork is displayed. It has become its material, its history, and its world. This artistic movement still receives far too little attention, definitely from the traditional art world but also from those who represent the NFT scene such as: Eli Scheinman, Art Basel 0.10, bitforms gallery , OFFICE IMPART , Interface gallery , Heft , nguyenwahed , El Barba Roja blue check and many others Some of the artists I believe operate within this field are: Ilya Bliznets , Yuran Yakon , Martín Bruce , danctrl , xu0.xo , the great and untraceable Waffles, Vidal Herrera , Norman Harman , cydr , Trad Doxxed Full Metal Bunny , 🍄K🦷A🦷V🦷K🦷A🍄 , serezha , hAyDiRoKeT, quase , kazu , Zisis Bliatkas , sanftiago , Shojiro Nakaoka 中岡 将二郎 , Deepest Well , Presidente de Internet , Mical Noelson , uczine , Daria Rastunina , aem , zlaserrr , Travis LeRoy Southworth , Juanna Pedro , kutukola , R.J , michi_asu , ꒰ა ₊ sadgirl𓂃★ˊ˗ , ileigh , nuv1914 (not on X but on objkt ) and so many other great artists
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The world of digital painting, needs the attention it deserves. There is a movement within digital art that I think is still heavily overlooked. Much of it operates in the hidden corners of an underground NFT scene on Tezos and Ethereum. At its core is a group of artists who treat the digital screen as an open expressive field in itself, much like painters started doing 100 year ago. The screen is no longer simply a workspace for email, Excel, Photoshop or Illustrator; a window for YouTube and Netflix; or a device for gaming. Instead, these artists take the visual language that emerged through decades of living and working with computer screens and turn it into artistic material. Obsolete interfaces, forgotten software, image compression, sampling, pixels, moiré, glitch, the world of emojis, and the visual language of 1980s and 90s computing all become part of the vocabulary. Some artists draw using early paint software that's unstable and chrashes, deliberately embracing its technical limitations as expressive constraints. Others build an entire practice around a particular version of Photoshop, developing a visual language through the possibilities and limitations of that single tool. It's often a lot about the practice of making the images and exposing the limits and politics hidden in the tools they use. What interests me most is the shift in the reference frame of the image. Traditionally, we tend to think about images in relation to physical reality: an image depicts, abstracts, distorts, or somehow refers back to the physical world. Here, the reference frame increasingly becomes the image that lives on the screen and the computational environment itself. This world now has a rich history of tools, visual languages, structural elements, and operational systems spanning more than 70 years. In that sense, I see this movement as a dive into the emotional and intellectual relationships we are building with the world of images on screen and the systems operating behind it. The outputs range from still digital paintings to complex GIFs and moving images. For these artists, the computer screen is no longer merely where the artwork is displayed. It has become its material, its history, and its world. This artistic movement still receives far too little attention, definitely from the traditional art world but also from those who represent the NFT scene such as: Eli Scheinman, Art Basel 0.10, bitforms gallery , OFFICE IMPART , Interface gallery , Heft , nguyenwahed , El Barba Roja blue check and many others Some of the artists I believe operate within this field are: Ilya Bliznets , Yuran Yakon , Martín Bruce , danctrl , xu0.xo , the great and untraceable Waffles, Vidal Herrera , Norman Harman , cydr , Trad Doxxed Full Metal Bunny , 🍄K🦷A🦷V🦷K🦷A🍄 , serezha , hAyDiRoKeT, quase , kazu , Zisis Bliatkas , sanftiago , Shojiro Nakaoka 中岡 将二郎 , Deepest Well , Presidente de Internet , Mical Noelson , uczine , Daria Rastunina , aem , zlaserrr , Travis LeRoy Southworth , Juanna Pedro , kutukola , R.J , michi_asu , ꒰ა ₊ sadgirl𓂃★ˊ˗ , ileigh , nuv1914 (not on X but on objkt ) and so many other great artists

DagieDee

13,761 次观看 • 1 个月前