#Dynamic Facial recognition

[pensbridge]

It's wonderful how each couple's sex scenes are specific to them and guide the story that wants to be told per season.

Season 1, we have Daphne and Simon consummating after their marriage; they are largely not on the same page until her "I burn for you". He wouldn't let her in, and their engagement is not a happy one for 2 people who don't know each other yet or express reciprocation for wanting to be together. But when they admit their feelings, they are a married unit and fully in this life promise, which was inevitable as both of them had been toying in their love connection. That scene continues with their dynamic with Simon as the more knowledgeable one. The camera largely focusses on Daphne for her sexual awakening/we see her facial recognition and it's supposed to foreshadow later the neglect she's faced in not being taught or guided in her liberation as a woman.

Kate and Anthony are avoiding each other in Season 2, fighting and longing without much physical contact at all until the church and later. When they have their moment in the gazebo, it lives up to their love story—it's greatly about longing and all of their feelings coming to a head in an expressed moment of passion. They're out in the open, though no one's around, and it's a secretive, but not one where they feel ashamed, moment of passion when they've been denying their feelings in public and depriving themselves of who they want.

Penelope and Colin are the only ones who've known each other for such a long period of time. In season 3, they get engaged and immediately sleep together. When they have their moment in the mirror, they become fully exposed. Their story is all about seeing each other and accepting one another in full. The scene dedicates a portion to Colin undoing Pen's corset for her and Colin essentially gives Pen a strip tease while she watches on the sofa. These are two people that are comfortable with each other. This, as much as other parts of their journey, is representative of them knowing one another, fully learning who the other one is, seeing and loving them anyway.

[elephantlovemedleys]

anne boleyn week (day six): favourite family dynamic

anne and her daughter elizabeth

With Anne Boleyn and her daughter Elizabeth, we can be sure of the facial resemblance, less sure whether the daughter’s taste for things scholarly and musical was inherited or was the product of careful education and the atmosphere at the Tudor court. The parallels, however, are there. It is clear that in dress sense and wardrobe Anne Boleyn anticipated Elizabeth I’s acute awareness of the politics of ostentation. Each had more than a love of mere finery, rather a recognition that in order to play the part one must dress the part. – Eric Ives, The Life and Death of Anne Boleyn

[toppamplemousse]

not ENTIRELY sebchal but you know how seb is going to be in australia in March for roc? and you know how ausgp is just a week after? and how mark webber is also in australia? anyways i think there's something great about the tension of having your somewhat toxic ex lover, your (gestures at sebchal) whatever that is, and possibly even mick if you're into that. all rancid dynamics all of them after one middle aged twink I think there's just a lot of potential

thank u for this thought. there are many sebchal scenarios to address but while waiting for my flight i was struck by inspiration:

there’s not even anything to tag here like. sebchal. real (to me).

—

“Don’t look at him like that.”

Seb snaps his head, recognizing that gravelly voice anywhere. Mark walks over to the railing, leaning out over the track next to Sebastian.

“Don’t look at who like what?” He asks back. Mark was always fucking annoying. Sebastian’s older now, more relaxed, able to put the fire of his past behind him. But Mark was annoying when they were teammates, during races, on podiums, even when he had his dick shoved halfway down Sebastian’s throat.

“It doesn’t suit you, Seb,” he says, continuing to look below them.

Sebastian’s not stupid. He knows Mark is talking about the red figures below them, milling about before practice. One red figure, in particular. The one that haunted him for a decade, bright eyed and eager and bashful and naive. Everyone read into everything back then, fabricating stories from nothing. From bad moves on track, from misunderstood translations of second, third languages. From weddings and girlfriends and wives.

“Why are you here again?” Sebastian taunts. “Surprised Red Bull security let you through, now that you’re fraternizing with the opposition.”

“I could ask you the same thing,” Mark cuts back. “You’ll always be Red Bull’s golden boy, but don’t act like you don’t have eyes for the red garage.”

Charles looks up at them at that moment. His bright green eyes lighting up the moment he catches Sebastian. It’s the same horrible, star struck smile he carries every time he sees Sebastian. Always trying to talk with him during Sebastian’s environmental events, pretending like he gets some special pass as the only remaining teammate of Sebastian.

He knows Charles waits for scraps, would still get on his knees for an ounce of recognition. He knows Charles waited after Abu Dhabi three years ago, wondering if he was going to receive a text, a call, anything that said congratulations for doing what you were meant to do, what everyone thought I could do, until you came along.

Mark waves at him. Sebastian does too. Charles’ cheeks flush pink, visible from up on the balcony. Years have passed; Charles has more facial hair, more lines around his eyes, less of the baby fawn face that everyone fell for. Next to Charles stands Ollie, Ferrari’s latest victim. Lanky, boyish, stuck to Charles’ side. It leaves a bad taste in Sebastian mouth. The gold band on his finger burns.

Sebastian pushes away from the railing. Years of therapy, years of a happy marriage, has helped simmer the emotions that used to overcome him. The wrath, the ire, the way Charles would get under every crevice of Sebastian’s skins. He would drive, get pole, outperform Sebastian as a fucking first year Ferrari driver, and then he’d turn to him at the end of the race, doe eyes big and wide and eager for feedback.

Or worse — the days where he felt robbed. Because that’s how Charles works: the win is always his, unless you pry it from his hands. Those days, where Charles would get out of the car, icy and silent and seething, giving this textbook answers to the press and then self-combusting behind closed doors. Talk to him, Mattia had always said, like it was Sebastian’s fucking fault that he wanted to win too. That he could win too. And there the media would be, gushing over Charles, fawning over him, placing his photo first, placing it bigger.

Sebastian takes a deep breath.

“Thought you were over all the ire from racing?” Mark quips. Sebastian is going to bash his head in.

“Yes, well, not all of us fuck our protoges about it,” he spits back. Mark visibly stutters, brain coming to a halt behind his weathered eyes.

“It’s not— that’s— that’s not the same,” Mark whispers, grabbing Sebastian’s hand. As if it’s some secret, as though Oscar doesn’t walk around the paddock with Mark following him like a lost puppy. Like an old dog on a limping leg, days numbered. Sebastian has caught glimpses of milky thighs photographed on Mark’s phone, of skirts and lingerie left lingering in his room.

“You’re married,” Mark reminds him, like it wasn’t at the forefront of his mind every day in 2019 and 2020. “Oscar just— he’s— I don’t need to explain it to you.”

Sebastian huffs. There’s a reason he avoids coming to races these days. Mark is just one of them. The green-eyed siren outside is another.

There’s no avoiding him for too long. World Champions have this unspoken duty, pass on their wisdom, all that bullshit. Charles stands in the middle of the group, looking up at Sebastian with stars in his eyes.

It’s tempting, really, to see how far Sebastian could push it. To find out once and for all if Charles was willing to give everything for Ferrari, to fall to his knees for it, take what Sebastian had to give him. Ten years ago, there would have been no question. Charles would have looked so beautiful like that, red-faced and whimpering and cheeks streaked with tears. The thought haunted Sebastian every fucking day of their time together, to know how it would feel to truly put him in his place, surrendering completely to Sebastian.

But he knows, Sebastian would not have come out on top. No, Charles would have squirmed his way into every crack Sebastian had and held all the power. Would have begged for it, pathetic and needy and desperate, and would still come out ahead of Sebastian.

He shakes his head. Sebastian doesn’t need it anymore, he doesn’t. And Charles doesn’t need Sebastian for that now — there’s a more than willing participant glued to his side, the same wide-eyed admiration oozing out of his pores. If Charles wants to feel power, to feel like he’s in control, dominating — he has his own rookie to torture. It’s not Sebastian’s business anymore.

[pmamtraveller]

ALEXANDRE-MARIE COLIN, "THE THREE WITHES FROM MACBETH", 1827

This oil painting portrays famous characters from a Shakespearean play. The witches are in a striking yet spooky setting, which highlights their mystical attributes. Colin's depiction is in line with the witches'roles as harbingers of fate and chaos, showcasing their enigmatic presence within the narrative.

Colin emphasizes their supernatural abilities by portraying them in a dark, foreboding landscape, which enhances the sense of mystery and danger associated with their character. The witches are shown in dynamic poses, indicating their power over destiny and nature, as they handle forces such as thunder and lightning. Their facial expressions and body movements demonstrate a creepy level of certainty, highlighting their understanding of what's to come and their control over human events.

One major challenge Colin encountered when creating this piece was getting approval from the Salon juries, as his early works were often rejected due to their painting style, which was unpopular at the time. Additionally, Colin struggled to achieve the same level of fame as contemporaries like Delacroix, potentially impacting his self-assurance and recognition in the art world.

Currently, this painting remains in a privately owned collection, and information about its current ownership is not made public. Over the years, it has not been widely exhibited, which contributes to its limited accessibility and visibility in the art world. The fact that the painting is privately owned implies that it may not have been passed through many different owners since it was created.

[brightvelvet]

Does anyone else imagine scenarios where Sauron had been able to infiltrate Eregion successfully? I'm watching S1E8 of Rings of Power and it's all I can think about. Halbrand has always been a subdued character, wary and introverted, and yet his arrival in Celebrimbor's city spells a complete 180 in personality. He's not hiding anymore. His gait changes, his accent comes through more as his voice grows demanding, and he isn't waiting for others to come to him. He hunts Galadriel down twice to where she hides from him (however unintentionally), and their dynamic is new and unsettling. It's throwing Galadriel off too, which makes sense since we as viewers see from her persepective. All this to say, why reveal himself now, so close to the end?

What does he stand to gain from burning the "gifts" he had so generously given Galadriel? To ruin Halbrand's face, to leave her last memory of a friend who had seemingly understood her plight in ruins as he digs through her mind. Is he panicking and reacting to a situation he wasn't prepared for? Playing tough? When Galadriel confronts him, he doesn't back down. Even as her facial expression sinks into something devasted, he keeps pushing. The pieces of his facade have been rapidly falling for a while now so it can't have been a total surprise. If you consider him revealing the truth as an act of respect or care for Galadriel, it doesn't fit with the sheer disrespect he shows in using the memory of her brother. He knew he would be found out, I think he even knew it would be Galadriel given his subtle threat in the courtyard. And yet despite anticipating, he doesn't lift a finger to hide evidence or argue for himself. There's just so many possibilities for Sauron's motives and not enough screentime to narrow them down.

If, IF, Sauron had decide to hide a little longer, had decided to manipulate Celebrimbor into making the rings from the shadows, had asked permission to see documentation of his family history and tampered with the evidence, who would have stopped him? Sauron wanted to hurt her and I want to know why. A tactic to weaken her mind? It makes me wonder if there was any kind of genuine goodwill between the two or if was just a kind of fascinated recognition of vulnerability from his side. An ego boost and new servant. But still, no way he could have expected his mind games to work. I once again circle to the thought that maybe he panicked and made a shit argument.

My final thoughts are: I think emotion over logic was the root cause for Sauron's reveal and attack on Galadriel. Whether that emotion was impatience or fear, I have no idea. Had Sauron stayed undetected, I wonder how he would have approached converting Galadriel.

[flowery-laser-blasts]

*inhale* 🗣 Okay, listen, I'm going to rant over this moment again, but this time in a post so the world can read about it 🗣

It doesn't matter how many times I've watched Graduation part 2... But THIS HERE.

THIS IS MY FAVOURITE MOMENT. THIS IS WHAT THE ENTIRETY OF THIS SERIES HAS BEEN BUILDING UP TO FOR DRAKKEN AND SHEGO AND I JUST--

HE'S SO VULNERABLE IN THIS MOMENT. Look at that FACE. YOU KNOW WHAT I LOVE ABOUT THIS?! YOU CAN SEE SO MANY THOUGHTS GOING ON BEHIND THOSE EYES. THE EYES ARE THE WINDOW TO THE SOUL AND OH MY GODS IS IT FRAGILE NOW.

THE MAN FEELS INSECURITIES, DOUBTS, WORRIES, A HINT OF BASHFULNESS BUT HE'S ALSO SCARED, ASHAMED, TERRIFIED EVEN; HE WANTS TO RUN AWAY, BE ANYWHERE BUT HERE! his face SCREAMS: "What am I doing here?" and/or "Do I even deserve this?"

BUT MOST OF ALL: "What will others think of me now?"

And then ALL of his questions get answered in the form of his partner in crime's expression: A genuine heartfelt and sincere smile that says "You deserve this."

Shego, the femme fatale who is wanted in 11 countries. The villain who insisted by all means necessary that she's evil through and through and will NEVER be a hero or want to be associated with heroes STILL stands by his side. Do you know what the most important aspect of this very moment is? Shego doesn't stand on 'equal' grounds as him and she doesn't mind it, she lets it happen.

Shego and Drakken's dynamic throughout the story has been Boss-and-Sidekick for the longest of times. Both of them fought: Drakken for wanting to feel superior over EVERYONE and Shego wanting as much power (and/or more) as Drakken would have when they had taken over the world.

However, the happenings in graduation changed everything and now the world recognizes Drakken as a hero, a world savior, and a protector of peace. But if it weren't for Shego flying all the way with Ron to the Lorwardian ship, Drakken couldn't have possibly stopped the invasion.

Look at Shego's expression. She genuinely feels happy for Dr. D. She could've stepped in at ANY point before or during this (press)conference, demanding her own medal and telling everyone that it was in fact her who helped Drakken save them all. But she doesn't. Shego knows how important this moment is for Dr. Drakken. After years of hearing his stories and knowing how much recognition means to him; she lets him have his moment in the limelight, the sun, and she's going to let him bask in all of it for as long as he needs to. Because the most important thing is that she knows what she did and that's enough: She went into space to bring back the man she wanted to rule the world together with. Never ever again would she let Dr. Drakken think, for even a second, that she'd abandon him.

Again, look at the distance between them in this shot.

Yes, the distance is closer but then

As close as they can possibly get in public

They're on even grounds now. Drakken wants to let the world and most importantly Shego KNOW that they are a team and that they saved the world together.

I once saw someone pointing out that they looked very uncomfortable in the last image, but let me put it like this: - Prior in the episode Shego and Drakken almost flew into each other's arms but became VERY reluctant, why??? Because Kim and Ron were there! What must those brats think of them!? Certainly, they cannot show any weaknesses in front of their arch nemeses!

And now let me show this again:

They're embracing each other... in FRONT OF THE WORLD LEADERS. OF COURSE IT'S A BIT AWKWARD, YOU'D BE AWKWARD TOO, but the KEY here is that They're NOT looking away from each other like they did before.

In the previous scenario, they avoided each other's eyes: no connection, desperately trying to show no weaknesses, trying to change the subject matter at all costs.

Now they lock eyes, and they read each other. How I read it (both facial expression as body language): Drakken: Hopeful, nervous, apologetic "Did I hurt you? I hope I did not", kind of embarrassed because his foliage acted out so assertively by his thoughts of wanting Shego to be at least on the same level as him for the world to know. Shego: Surprised but not at all distressed, disgusted or upset about this sudden change. Most of all, I think she's deeply moved: Drakken always called her a 'sidekick', but now? She's recognized by him and the world as his partner. If you look at her face, those eyes seem to be on the verge of tearing up and that smile, how shy and embarrassed it may look holds warmth and happiness.

Both of them acknowledge each other's worth and in a certain way, they took over each other's world.

[silverview]

i want to share some highlights from this very detailed & glowing review of reece's performance in the dresser (2016-17) – wish i could have seen it, but this person's descriptions almost make me feel like i did

also makes me wonder if urban was in any way drawn from this character. he sounds like a total heartbreaker

He anchors Norman’s multifarious elements (his fastidiousness, discretion, waspishness and campness, the role of confidant and carer) and his manifesting emotions (bitterness, resentment, anger and despair) in the finely detailed, choreographed physicality of his performance, with beautifully precise gestures, posture and changing countenance. Each fleeting facial expression gives something away and the “soulful eyes” of Norman are reflected in the twin pools of sadness that Shearsmith summons from his own eyes.

[...]

There are many traits to this man and one elicited from the dualism in Shearsmith’s performance is Norman’s need to conceal, to be in control, closed-in, guarded. This can be seen in the physical detail of his slicked down short hair, in the bib apron that sheaths him, in the fastidious way he mans his domain and serves his master and in those glimpsed moments in the dressing room and as he stands in the wings silently watching Sir on stage, where Norman seems to shut down, momentarily lost in his own thoughts. These carefully delineated components in Shearsmith’s portrayal produce a feeling of a life having always been lived on the periphery and in the shadows.

[...]

Shearsmith’s creative decision to foreground Norman’s campness in his portrayal – through gesture, a fluidity in his body language and an exaggerated tone to his voice – reinforces the idea that performance is a form of protection for Norman. Camp is heightened behaviour, in which ostentatiousness and artifice are used to form an impression of command and being in control. There is a dynamism and energy associated with camp which Norman uses to bolster his position and own sense of usefulness and importance. Amplified energetic endeavours –  he keeps himself busy and immersed in activity – are a distraction from his fraying inner doubts and done to try and convince himself that he is indispensable to Sir. There is such energy and drive to Reece Shearsmith’s performance in Act I – the liveliness and forced cheerfulness (“It’s a disease…hopefulness” as Madge terms it) he gives Norman is discernible and striking. You really get a sense of the desperation behind it and the feeling that the dresser is not only trying to rescue Sir but also save himself.

[...]

Norman has the full spectrum of co-dependency symptoms: Seeing oneself as indispensable to the care receiver; a tendency to become hurt when their efforts aren’t recognised; an exaggerated sense of responsibility; an extreme need for approval and recognition; a fear of being abandoned; chronic anger and feelings of inadequacy. These elements resonate powerfully as the dresser increasingly falls apart during the second act.

[...]

Over the course of the play Sir censures Norman harshly several times, reminding him of his lowly status, that theirs is a master-servant relationship based on the dresser’s servitude. When Sir fails to praise or even thank him backstage during the interval breaks between his performance of King Lear, when the dresser is desperately seeking it the most, the audience watches as Shearsmith (as Norman) almost visibly crumbles, his face registering desolation. The climax of the play unleashes a deluge of emotion from Norman. It is what the relationship between Sir and his dresser has been leading up to. Shearsmith’s performance scales new heights of artistic brilliance as the crushed dresser’s fragile facade shatters and a torrent of feelings – anger, pain, bitterness, outrage, regret, distress – come pouring out. There is such a truthful, natural force to the way he expresses Norman’s damaged, broken sense of self that it is truly devastating to watch. One is hushed, mesmerised and completely transfixed – it feels like a cry from the heart that speaks to anyone who has given everything to someone and had nothing back in return. The intensity of emotional commitment from Shearsmith is so grounded in honesty, sincerity and pure truthfulness that there’s not a trace of actorly artifice on show. It is as if he is experiencing Norman’s pain for real as he faces the traumatic realisation that he has given sixteen years of his life and is now alone and left with nothing. So forceful is that final, emotionally gut-wrenching scene in the dressing room that it becomes Norman’s storm – to match and equal the one in King Lear – such is the outpouring of rage, emotional potency and heartbreaking poignancy in Shearsmith’s acting. The first time I saw him perform this scene it left me feeling overwhelmed and completely stunned. It was simply an extraordinary moment in the theatre for me, witnessing an actor give of himself to that extent.

i am leaving in some extremely high praise here because i find it very evocative, but i'm cutting out even more, which you can read in the original post. this author is definitely biased by being a fan and clearly in love with reece, but i also 1000% believe that his performance was that good. (because i too am a fan and in love with him)

[kandisheek]

FIC REC WEEK 25 - KIDFIC

Play Date by Akira_of_the_Twilight

Pairing: Bucky/Tony Rating: T Words: 27,186 Tags: De-Aged Tony, Domestic Avengers, Howard Stark's A+ Parenting

Summary: “Forgive me, Captain," FRIDAY said. "I needed a moment to be certain I hadn’t erred, but based on my facial recognition systems, I can safely say that Mr. Barnes and Mr. Wilson have located Tony.” “What the fuck?” Bucky rose to his feet. The kid tried to run, but Sam caught the rugrat and restrained him. “Let me go!” The kid struggled. “My dad isn’t going to pay any ransom. You’re just wasting your time.” Ransom? Facial recognition? Bucky stared at the kid—really looked at his face. Amber eyes, oval face, olive skin, strong but narrow chin, a slightly larger than normal forehead, and a nose somewhere between small and medium in size. “Oh, fuck. Tony?” The tears were back in Tony’s eyes. “Fuck you, you assholes!” He wiggled one arm free and punched Sam in the kneecap.

Reasons why I love it: It's a Winteriron weddiiiiing! I love the team feels in this fic, and kid Tony's hero worship for Steve is so fucking cute. The way he reacts to Bucky at first but slowly comes to trust him is so satisfying to read because it feels completely organic. And Tony's whole backstory with Howard just tears at my heartstrings. Generally, this fic is super well-written, especially the dialogue. I love it so much, and I bet you will too, so go ahead and read it!

Childhood is the Kingdom Where Nobody Dies by MemoryDragon

Pairing: Steve/Tony Rating: M Words: 31,765 Tags: De-Aged Tony, Missions, Avengers Family

Summary: Seven-year-old Tony Stark wakes up on a Hydra base, lost, afraid, and alone. He has to overcome his fears before it's too late for the Avengers and Captain America.

Reasons why I love it: The team is so fucking adorable in how they handle Tony. And of course, even when he's de-aged, Tony is a BAMF genius. I especially loved the scene with Coulson and the suits, it's so subtle and yet so impactful. And the aftermath of the mission is so charged with emotion that it stuck with me for a while after I finished the fic. It's incredible, and I hope you give it a shot, if you haven't read it already!

Treading Desire Lines by fohatic

Pairing: Steve/Tony Rating: T Words: 43,749 Tags: Selectively Mute Morgan, Post-Canon Fix-It, Babysitter Steve

Summary: Tony knows that his daughter can be difficult, but he really needs someone to do him a solid when an important opportunity arises. Unfortunately, word is already out: Morgan Stark is a real handful. Never one to shrink from a challenge, Steve steps in, hoping to shift the strained dynamic between him and Tony and having no idea how the course of his life is about to change.

Reasons why I love it: Oh my god, Steve is such husband material in this one. I love the whole set-up with Morgan, and the way Steve handles her is just fantastic. The trust that grows between them is nothing short of beautiful. And how it all leads into Steve and Tony mending their bridges is so sweet. I love this fic so much, and I bet you will too!

[magicalgirlfia]

I know this is going to sound silly but how intelligent sheep, like the animal, actually are makes me like. Really emotional.

Similar to humans, are very social animals, so they like to stick in groups! They create different “cliques”, have different social dynamics, and make best friends.

They have a very strong memory, being able to recognize up to 50 sheep faces for two years and can recognize familiar human faces (even from photographs). They have problem solving abilities and there’s even some evidence that they can self-medicate. Their facial recognition and executive functions are overall on par with some species of primate.

They are also emotionally intelligent! They’re able to read emotions on the faces of both humans and other sheep. And when I say “emotions” I mean that they even experience more complex emotions like boredom, empathy, and grief. As well as that, their experience of judgment bias (they can be optimists or pessimists) which ties into how they form individual personalities.

Basically the fact that sheep are considered to be “stupid” by the general populace is a gross misunderstanding of their abilities and conflating an animals with naturally social nature as a means of survival with stupidity.

They are my favorite animal and always have been I love them oh so very much.

[pixelizes]

How AI & Machine Learning Are Changing UI/UX Design

Artificial Intelligence (AI) and Machine Learning (ML) are revolutionizing UI/UX design by making digital experiences more intelligent, adaptive, and user-centric. From personalized interfaces to automated design processes, AI is reshaping how designers create and enhance user experiences. In this blog, we explore the key ways AI and ML are transforming UI/UX design and what the future holds.

For more UI/UX trends and insights, visit Pixelizes Blog.

AI-Driven Personalization

One of the biggest changes AI has brought to UI/UX design is hyper-personalization. By analyzing user behavior, AI can tailor content, recommendations, and layouts to individual preferences, creating a more engaging experience.

How It Works:

AI analyzes user interactions, including clicks, time spent, and preferences.

Dynamic UI adjustments ensure users see what’s most relevant to them.

Personalized recommendations, like Netflix suggesting shows or e-commerce platforms curating product lists.

Smart Chatbots & Conversational UI

AI-powered chatbots have revolutionized customer interactions by offering real-time, intelligent responses. They enhance UX by providing 24/7 support, answering FAQs, and guiding users seamlessly through applications or websites.

Examples:

Virtual assistants like Siri, Alexa, and Google Assistant.

AI chatbots in banking, e-commerce, and healthcare.

NLP-powered bots that understand user intent and sentiment.

Predictive UX: Anticipating User Needs

Predictive UX leverages ML algorithms to anticipate user actions before they happen, streamlining interactions and reducing friction.

Real-World Applications:

Smart search suggestions (e.g., Google, Amazon, Spotify).

AI-powered auto-fill forms that reduce typing effort.

Anticipatory design like Google Maps estimating destinations.

AI-Powered UI Design Automation

AI is streamlining design workflows by automating repetitive tasks, allowing designers to focus on creativity and innovation.

Key AI-Powered Tools:

Adobe Sensei: Automates image editing, tagging, and design suggestions.

Figma AI Plugins & Sketch: Generate elements based on user input.

UX Writing Assistants that enhance microcopy with NLP.

Voice & Gesture-Based Interactions

With AI advancements, voice and gesture control are becoming standard features in UI/UX design, offering more intuitive, hands-free interactions.

Examples:

Voice commands via Google Assistant, Siri, Alexa.

Gesture-based UI on smart TVs, AR/VR devices.

Facial recognition & biometric authentication for secure logins.

AI in Accessibility & Inclusive Design

AI is making digital products more accessible to users with disabilities by enabling assistive technologies and improving UX for all.

How AI Enhances Accessibility:

Voice-to-text and text-to-speech via Google Accessibility.

Alt-text generation for visually impaired users.

Automated color contrast adjustments for better readability.

Sentiment Analysis for Improved UX

AI-powered sentiment analysis tools track user emotions through feedback, reviews, and interactions, helping designers refine UX strategies.

Uses of Sentiment Analysis:

Detecting frustration points in customer feedback.

Optimizing UI elements based on emotional responses.

Enhancing A/B testing insights with AI-driven analytics.

Future of AI in UI/UX: What’s Next?

As AI and ML continue to evolve, UI/UX design will become more intuitive, adaptive, and human-centric. Future trends include:

AI-generated UI designs with minimal manual input.

Real-time, emotion-based UX adaptations.

Brain-computer interface (BCI) integrations for immersive experiences.

Final Thoughts

AI and ML are not replacing designers—they are empowering them to deliver smarter, faster, and more engaging experiences. As we move into a future dominated by intelligent interfaces, UI/UX designers must embrace AI-powered design methodologies to create more personalized, accessible, and user-friendly digital products.

Explore more at Pixelizes.com for cutting-edge design insights, AI tools, and UX trends.

[cherry-dr0p]

I WISH TO RAMBLE!! IM NOT GONNA INCLUDE IMAGES BECAUSE I DONT WANNA BUT HERE WE GO

HUGE TWF4 SPOILERS

I HAVE SO MUCH TO SAY!!!

Im not gonna lie, the start kinda had me like "This is what I waited ages for?" But then when the animatronic testing came around, thats when my interest truly started to pick up.

First of all, WHY WOULD YOU TGINK THAT FACIAL RECOGNITION FOR ANIMATRONICS IS A GOOD IDEA??? GENUINELY DID NO ONE HAVE THE COMMON SEMSE TO GO "HM, THIS MAY END NOT GOOD". Like I kind of understand the appeal for it because they may want the kids to feel,, more connected to the animatronics?? I dunno. But like?? I can understand for that time period the desire to have the animatronics interact with the audience (Not saying its a good idea but at least I can understand with this one why they may think it is in my head), but cmon..

Then from what I remember, the sprites came. And Good god did they creep me out slightly when I first saw them, especially Edd and Molly. I dunno, there was something extra creepy in my eyes seeing kids' faces messed up like that. Crazy. I also screamed when I finally saw "Bon" because Ive been keeping up with the Twitter TWF community somewhat, which means I already technically knew about "Bon". It was pretty cool to have him finally introduced in the actual story himself. Also Charles and Susan talking about Felix's addiction and if they should tell Rosemary and Jack(?) is crazy.

Aaaahhh but then the scene with Jack came around. Was rooting for him ngl. I honestly thought he died at the well scene but I dont see any correlation to that quite yet,, mayhaps. Felix almost jumping did make me feel a tiny bit bad for him bit like,, still. Fuck you Felix. I still hate him and 100% think hes getting what hes deserving. He feels guilty? Good. He should.

I cant remember if the Susan scene comes after this or not but I erm uh,,, That was VERY well done!! It gave me chills how you could still hear her breathe. Genuinely. The blood as well and Rocket closing their eyes?? Crazy. The jittery animation drove me insane, it was such an amazing detail that made things far more uncomfortable.

I cant remember where abouts the other Felix scene came but,, HE DOESNT KNOW WHAT TO DO WITH ROCKET. I DUNNO,, DO ANYTHING OTHER THAN TAKE IT WITH YOU?? PUT IT IN YOUR HOME OR RESTAURANT?? WHY DID YOU THINK THAT WAS A GOOD IDEA. I SWEAR, MY GUY HAS NEGATIVE BRAINCELLS... But I also think we all know why he's so attached,, him getting haunted by the kids is wild.

The last scene very much makes me think "Bon" is Jack. I unno, very much could be wrong but just the way he talks and is dressed makes me think he is. The fact that he knows so well of what hes talking about and the voice,, maybe the general face shape too. Me thinks its either Brian(Ive saw that theory floating around) or Jack, but Im more leaning towards Jack. It also freaked me out slightly the way Susan came on all deformed too, that was freaky. The voices of all the characters in this new afterlife were very VERY cool too. And the whole mask being given and "Bon" talking about making her "beautiful" too? That was cool. The scene with Edd and Molly debating whether to save Susan too filled my heart with a weird sort of awe. They have a great relationship as siblings together imo, I do very much love their dynamic.

It'd be cool to see the other two episodes for the finale which I think are coming out very soon!! Which is very exciting!! I 100% reccomend TWF4, it's phenomenal and the wait was 200% worth it in my eyes. You can definitely see the developers heart and soul being put into this project, which is very nice to see. In my eyes, you dont see it often. I dunno if I missed out a scene or two from my rant but overall? I adored watching this (Ive already told some of my friends to watch it >:3).

Rant over anyways, buh bye for now :3

[honouredsnakeprincess]

Righto, it's time for another collection of thoughts on Mr Robot, under the cut as always! Will Angela stop with the creepy affirmations? Don't get your hopes up. These are my thoughts for season 2, episode 5!

So Elliot spent the first part of this episode apparently trapped in the television, which was a very suspicious situation, even if it eventually turned out to be something Mr Robot was doing to protect him from the experience of Ray's gentlemen beating the shit out of him. Honourable-like, to be sure, but I think the fact Tyrell was tied up in the trunk was inauspicious, especially given that that was the moment Mr Robot opted to explain his thoughts about lying to Elliot. I don't think Tyrell is actually dead in real life, since his wife is still in some contact with him, I'm pretty sure.

There's a lot to dig into with the television segment, and with the e-corpmercial cutting into the midsection of it, but I'm not sure what I think there yet. Are we to take Darlene being repeatedly knocked unconscious as evidence for physical abuse, or is that just another manifestation of Elliot getting beaten up?

Angela's still doing the creepy affirmation thing, muttering them under her breath. It's occurred to me that this might be insensitive to people who actually use and derive value from these sorts of affirmations, but for me they bring back fearful memories from elementary school, so they read as horribly inauspicious to me.

She's a pretty cool spy though! I like the dynamic between Angela and Darlene, even if I have to admit that I thought Darlene-in-the-blonde-wig was Angela for a good bit of the episode. Whoops!

I did not like the bit where that guy got stuck underneath the fingernail with the needle. Ugh.

The last part of the episode, with young Elliot and his father riding in the car together, was sweet. I like getting these little flashbacks, but given the unreliable nature of Elliot's perceptions and memories, there's always an element of doubt. Something looked off, too, especially towards the end, as though the actors had been replaced by ps5 game NPCs, pretty high fidelity, but still a little off.

I don't know if this was a deliberate artistic choice or if my facial recognition is just on the fritz.

Ciao ciao~!

[danieldelar562]

Week #7 Blog

With the rise of technology how has race become a technological problem?

With the rise of technology, race has become a technological problem due to the embedded biases in algorithms, data, and digital platforms. These technologies often reinforce racial inequalities by perpetuating discrimination through automated systems, such as hiring algorithms or facial recognition software. Therefore, the digital landscape, shaped by white privilege and colorblind ideologies, frequently marginalizes people of color, making race an issue that must be addressed within technological development and policy.

What are the effects of colorblind privilege that people may not know of?

Colorblind privilege, as discussed in the readings, often leads to the racial disparities and injustices, making it difficult to address systemic racism. People may not realize that color blindness perpetuates inequalities by ignoring the lived experiences of marginalized groups. It prevents meaningful conversations about race and reinforces the status quo of racial privilege, as those with colorblind privilege avoid confronting how race impacts opportunities, resources, and power dynamics in society.

How has white privilege affected community standards? (Behavior, actions, laguage, beauty)

White privilege has shaped community standards by establishing norms that often reflect white, Eurocentric values, as highlighted by Daniels and Benjamin. This affects behavior, language, and beauty standards by positioning white traits as the default. For example, in media and advertising, whiteness is often portrayed as "neutral" or "ideal," marginalizing other racial groups. In turn, behaviors, speech patterns, and physical features that deviate from this norm are often stigmatized, reinforcing white dominance in societal standards.

Is there a relationship between white privilege and meritocracy? If so what is the relationship between them?

Yes, there is a relationship between white privilege and meritocracy. White privilege creates an uneven playing field, where white individuals often have access to better opportunities, networks, and resources, allowing them to succeed within a meritocratic system. Meritocracy, in theory, rewards hard work and talent, but in practice, it overlooks the systemic barriers faced by marginalized groups,therefore maintaining the illusion that success is purely based on individual effort rather than structural advantages.

[skeeyee333]

Blog Post #4 Due 2/27

How does online racial construction influence racial and social dynamics offline?

As argued in the text, race and cyberspace are socially constructed phenomena shaped by what is shown and built online. Films like Strange Days, Hackers, Virtuosity, Johnny Mnemonic, and Jumpin’ Jack Flash present black characters as mediators in the real and virtual, supporting the idea and perception that blackness aligns with physicality and street culture.  This comes from the way that these films represent Blackness through its “authentic, stable, and ‘real’ ” visual and narrative depictions, influencing offline racial relations to see Blackness this way as well and positioning whiteness as the “default” in cyberspaces (Kolko, 10).

2. What ethical responsibilities should creators of AI and other media creators have in representing race in digital spaces and its usages?

Creators of AI and other media creators should make sure that race is considered in their online designs. Ethically, these creators should take into account that race in online interaction affects social interactions as well. For example, as Prof. Lee talked about in class and at the GSS & WRC Speaker Series about Digital Literacy, AI facial recognition contributes to an environment that ignores systematic inequalities where it incorrectly identifies people with darker skin tones. This lack of knowledge in the creation as well as ignorance becomes detrimental to marginalized communities. Similarly, media creators should examine if their platforms are “race neutral” to avoid this in social interactions.  

3. Is there a relationship between today’s American society and video games?

Yes. The phrase “procedural meritocracy” used in the article "Ludo-Orientalism and the Gamification of Race" suggests that there is a relationship since it describes the phrase as a progression system that is dependent on an individual's performance. This shares similarities with video games; for example, advancing through a level requires mastering specific abilities.  This phrase also captures the hierarchical structure of modern American society, in which, for example, a student may start kindergarten and would have to pass the grade in order to advance to the next grade level (pg. 5)

4. How is meritocracy illustrated by race?

According to the article “Ludo-Orientalism and the Gamification of Race”, Asian Americans are part of the "model minority" due to their cultural emphasis on academics. They believed that to prove that race doesn’t define one’s ability to compete, they would have to have economic success (pg. 6). Although meritocracy suggests that factors like race, gender, or social status should not determine success, the lack of resources and opportunities means that some individuals face greater challenges in achieving their goals than others, regardless of these factors. The idea that one has to go to school to receive higher education and a high-paying job to prove this success might not be possible for everyone.

[welcometotheravenclawcommonroom]

The neurodivergent experience of having trouble with social interaction and people’s facial expressions and tone of voice and what that means and what to do if the conversation strays away from the “scripts” you’re familiar with, so you study human behavior and psychology in your free time and you realize, ‘oh, this is just pattern recognition, humans are remarkably predictable in their thoughts and fears and motivations and relationship dynamics.” And suddenly you can break down a coworker’s toxic relationship with their toxic boyfriend or the reason WHY they’re afraid to do this thing that they really want to do, but for the most part you keep this to yourself because you know at least that much, except every once in a while you say some offhand comment or try to offer comfort and encouragement and accidentally let slip that you know just a little bit too much even though you were never told explicitly.

And then you’re just that weirdo who still can’t make small talk but knows too much and people are put off by it even though it’s mostly just pattern recognition and guesswork, unlike reading someone’s tone of voice and facial micro expressions which is very hard and may or may not mean anything at all.

Anyway, don’t study psych to figure out how to do the social interaction, chances are it won’t actually help and will just make you too Wise in a way that is Unsettling.

[ikusayu-no-hana]

chougiwame (includes delusions//

good-natured smiling??? on god???? how did he learn to use his facial muscles like that

he only has one garter thing now (booo!)

this part reminds me of kasens armour and just fits w the dynamics i have for them, namely that kasen is chougi's object of admiration/respect/maybe-crush (ty jiden) and so on some level he wants to emulate him and his elegance. its cute they sorta match now

are these irises? im shit at flower names

letters!

'You ended up sending me out, so I guess I've got no choice. I could take the occasion and kill a mountain crone. What do you think?'

it was presumed that manba's epithet came from yamanbagiri chougi bc duh. but: the tokugawa museum solely labels his blade as 本作長義, and the name registered under the Important Cultural Property is the inscription on his tang - the same inscription that kunihiro made later on. its so ironic that chougi's remembrance is all thanks to the smith whose sword would go on to outshine the original. chougi represents the odyssey of reconciling historical and personal dissonance.

hence this sarcastic, self-deprecating letter. to doubly baptize himself as yamanbagiri in order to set the record straight, even though it's impossible this late, even though the tableau of manba and chougi revolves around the dilemma of the original being defined by the replica, is so typically chougi. who really killed the yamanba first? maybe it really was him. maybe it was manba, who later lost his memories in the kanto earthquake. manba has made it obvious he doesnt care ("the legends told by men are always ambiguous"), and chougi must decide whether he does.

also, no greeting. feels like a text.

I feel I can't get the recognition I deserve no matter where I go. ...No, I suppose there is one person I do have in mind.

this is what truly interests me in chougi as a character. and he finally admits it in his own words - he's starved for recognition. this, despite his designation as an important cultural property (iirc manba and chougi are the only instance of a sword and its replica both being designated imp cultural properties). i don't think he'll ever get over that defining shock of his life where manba manifested before him, because that's impacted his own standards of performance, has made him a perfectionst. and so because everyone, even the government and saniwa, has seen and cherished manba first, there is only one place he can truly return to for recognition. ive read some fusetters that think it might be akinaga or ujimasa but i think it's his creator, nagayoshi. i think that and only that could truly and finally comfort him.

The peerless masterpiece smithed by Chougi, that's me. First came the masterpiece sword, then there were humans whose hearts went out to it, and copied that masterpiece. That's all there is to it. Since I came to the Citadel, I've been observing your movements. I asked myself whether you, as protector of history, as someone who wields Touken Danshi, were a human worthy of being such. My inspection has finished. To Master, I have one request I want to make of you. If I ever fall low enough to grow dull, break me right away. After all, the sword who will give you everything has to be me.

it is easier to be kind to the visibly wounded person who strives to rouse his self-worth, but chougi had to quietly grapple with that idea of being a less-than-ideal victim of his own complex, and come to his own conclusion - thankfully the same as that of manba's. his name is only part of who he is.

I like the theory that chougi observing the saniwa was a directive given by the government, rather than mere personal curiosity. six long years of inspection. it isnt really that outlandish i think bc hakusan pretty much confirms they keep a keen eye on the saniwa, his fox being one method of doing so.

and a random theory i have that ties in to the one above: since it's the first ever time chougi addresses the saniwa as 主, i think it has some significance beyond his acceptance of the saniwa. since his previous letters are sent without a greeting i think he knew that the government would be able to take a look at what he was writing, and so theyre all sarcastic and distant and irreverent. his last letter (before the greeting) is just about his inspection. but (and this is unfounded) i think the simple fact that at the end of his third letter he Does address the saniwa, means in some way its only meant for the saniwa's eyes, and not to keep up the ruse for the government. simply because its the most passionate thing he has expressed in relation to the saniwa. maybe swords manifested at the government arent meant to develop strong attachments to the saniwa at all. and so maybe he added some sort of secret panel to the letter before sending it that the government couldnt detect, but the saniwa could. maybe 'to the master' is a sort of magic enchantment itself.

anyway. just my interpretation. the time government can be a little sinister as a treat.

he's more comfortable being sarcastic w the saniwa now i like this i really like this. i wish theyd have given us a recollection w kiwame manba too tho.

btw kiwame manba responds the same way as kiwame chougi on being appointed as team captain. okayyyyy blowjob brothers.

I am disappointed that there was no mention of chougi's shortening from a tachi/ootachi. he used to be something else. maybe he remembers that existence and feels strange in the presence of the longer swords. maybe hes forgotten it but in that case i wouldve liked a mention of his disorientation with that part of his legend (like manba had in his journey). oh well i guess canon cant address all the legends.