#Reality Capture Software

[modulusconsulting]

Transform Building Projects with 3D Reality Capture

Discover how 3D Reality Capture for Building Construction is revolutionizing the industry! At Modulus Consulting, we use cutting-edge Reality Capture Software to provide precise and efficient Reality Capture Services. Whether you need detailed Reality Capture 3D models or accurate site documentation, our technology ensures seamless project execution. Ready to experience the future of construction? Visit our website and explore the possibilities!

[rydondigitalmarketing]

CGI Ads Production and Motion Graphics, including website development

CGI Ads Production and Motion Graphics

In today's rapidly evolving digital landscape, businesses in Udaipur face unique challenges such as capturing audience attention and conveying their messages effectively. Computer-Generated Imagery (CGI) has emerged as a powerful tool in this endeavor, revolutionizing advertising and motion graphics. For businesses in Udaipur looking to leverage CGI Ads Production and CGI Motion Graphics services, partnering with a proficient agency like Rydon Digital, which specializes in these local challenges, can be a game-changer.

Understanding CGI in Modern Advertising

Computer-Generated Imagery (CGI) refers to the creation of still or animated visual content with computer software. In advertising, CGI enables the production of hyper-realistic visuals that might be challenging or impossible to capture through traditional photography or videography. This technology allows brands to craft compelling narratives, showcase products in dynamic ways, and create immersive experiences that resonate with audiences.

The Rise of CGI Ads Production

The demand for CGI Ads Production has surged as brands recognize the myriad benefits it offers. For instance, a case study by XYZ Research showed a 25% increase in engagement, while an industry report by ABC Analytics highlighted a 15% reduction in costs.

• Unparalleled Creativity: CGI allows for the visualization of concepts without the constraints of reality, enabling brands to present their products or services in imaginative settings.

• Cost-effectiveness: Eliminating the need for elaborate sets, props, or on-location shoots, CGI can reduce production costs while maintaining high-quality outputs.

• Consistency and Control: Every element in a CGI ad is controllable, ensuring consistency across campaigns and the ability to make adjustments without reshooting.

• Engagement: High-quality CGI ads captivate viewers, leading to increased engagement and brand recall.

The Impact of CGI Motion Graphics Services

Motion graphics combine graphic design and animation to create engaging visual content. When enhanced with CGI, motion graphics become even more dynamic, offering:

• Enhanced Storytelling: CGI motion graphics can simplify complex ideas, making them more accessible and engaging for viewers.

• Versatility: They are adaptable across various platforms, from social media to television, ensuring a cohesive brand presence.

• Modern aesthetics: The sleek and polished look of CGI motion graphics aligns with contemporary design trends, appealing to modern audiences.

After understanding the benefits of CGI, businesses in Udaipur can look towards Rydon Digital, a pioneering agency in CGI services, as a premier choice for leveraging CGI Ads Production and CGI Motion Graphics services. As a leading digital marketing agency, Rydon Digital offers a comprehensive suite of services tailored to meet the unique needs of each client.

Comprehensive Digital Solutions

Rydon Digital offers a range of services that complement CGI Ads Production and Motion Graphics, including website development, social media management, and video editing, to create a cohesive digital strategy.

Website Development: 

Social Media Management: Harnessing the power of social platforms to grow brands and engage audiences.

Video Editing: Transforming raw footage into captivating visual stories that leave lasting impressions.

Graphic Design: Providing innovative designs that help brands make memorable impressions.

Search Engine Optimization (SEO): Boosting online visibility through expert SEO strategies.

Innovative NFC Products

In addition to CGI services, Rydon Digital offers advanced Near Field Communication (NFC) products, such as digital business cards and social media stands, which are revolutionizing the way businesses connect and engage.

Rydon Digital employs unique methodologies and innovations in CGI Ads Production, such as advanced 3D modeling techniques and real-time rendering, ensuring high-quality and efficient production.

Rydon Digital focuses its approach to CGI Ads Production on client needs:

Conceptualization: Collaborating with clients to understand their vision and objectives.

Storyboarding: Developing detailed storyboards to visualize the ad's flow and key elements.

3D Modeling and Animation: Creating lifelike 3D models and animating them to align with the storyboard.

Texturing and Lighting: Applying textures and lighting to enhance realism and visual appeal.

Rendering and Post-Production: Finalizing the visuals and incorporating any additional effects or adjustments.

Benefits of Partnering with Rydon Digital include proven expertise, as demonstrated by successful campaigns for clients like XYZ Corporation, which resulted in a 30% increase in engagement and a 20% reduction in production costs. Additionally, numerous other clients have reported similar successes, reinforcing Rydon Digital's reputation for delivering impactful results.

The Future of Advertising in Udaipur

As Udaipur continues to grow as a business hub, the adoption of advanced advertising techniques like CGI Ads Production and CGI Motion Graphics services will be pivotal. Businesses that embrace these technologies will not only stand out in a competitive market but also connect more effectively with their audiences.

Conclusion

Incorporating CGI into advertising strategies offers unparalleled opportunities for creativity, engagement, and brand differentiation.

[alternate-real-ities]

Hey man! Love what you've got going on with your blog and helping people out! Would love to see what else is out there for me, love a good race tf personally!

- TF Lover

Hey there! Thanks so much for your kind words about my blog and the unique content I share. I'm always happy to help spark people's imaginations!

As you know, my current setup relies on peering into alternate realities via this custom-built multiverse gazing machine (which is a long story!). While full transformations aren't yet possible with my current tech, I've been able to capture some fascinating versions of yourself from other dimensions. Here are three such glimpses:

First up, meet yourself as a young Indian man from another reality.

In this version of yourself, you are a skinny and nerdy-looking young man in your early 20s. You have long dark hair, bright brown eyes framed by thick glasses, and your face sports quite a bit of facial hair that you trim to look tidy.

You work as a software engineer at a large tech company in the heart of Silicon Valley making the big money. When you're not coding away, you love to play video games at home in your pajamas and eat junk food while binge-watching anime series.

-

Next up, meet your Japanese popstar doppelganger:

In this reality you're dressed to impress in a tailored ensemble that accentuates every sculpted muscle beneath. Your brownish hair is perfectly coiffed, contrasting with porcelain skin and dark piercing eyes. The confident smirk that usually plays on your lips suggests you know exactly how captivating you look.

Under the glare of the lights, every inch of your lean physique seems to shimmer with an otherworldly allure. Your jeans hug the swell of your ass as you move fluidly across the stage, commanding the audience's attention with every sway and thrust. The energy is electric - you can almost hear the collective sighs of adoration from the crowd!

-

Finally, across yet another dimensional divide, we can find yourself tapping into your nordic roots:

In this reality, you exude a quiet confidence that commands respect. Your piercing blue eyes seem to bore into everything you look at, and that strong jawline is accentuated by a neatly trimmed beard. The way your body fill out your clothes makes other people wonder what other assets lie beneath...

Beneath that buttoned-up exterior lies a beast waiting to be unleashed - a physique sculpted through grueling gym sessions, where muscles ripple and flex as you pour sweat. Just imagine the raw power coiled within those piercing blue eyes...

-

These glimpses offer just a taste of the incredible diversity possible across the multiverse. Who knows what other versions of yourself await discovery? As I work on my timeline converger, maybe one day I'll be able to share the gift of full transformations with you and others. Until then, I hope these alternate realities inspire you into achieving the best of you!

[bremser]

Rendering Walker Evans at Sea

Walker Evans, [RMS Queen Mary: Promenade Deck, Bow View, Port Side], circa 1958

In late 1957 or early 1958 Walker Evans traveled to London from New York by ship. Biographies of Evans don't count this as a significant trip, so details are scarce. There's a 1958 date book at the Met, but no scans are online. It's possible one direction he traveled on the RMS Queen Mary, the other direction took the SS Liberté.

At the time Evans was mainly doing editorial work, most notably for Fortune magazine, but in 1958 he began shooting features for Architectural Forum. In the April issue they published "London Look." The Met has a larger portfolio of photographs made for the feature.

Walker Evans, SS Liberté.

It's unclear if the study of ships was assigned ahead of the trip or if Evans made the photos during the voyage and pitched it after. (Evans had taken a trip on the Liberté as early as 1954, so it's possible some frames in the 1958 spread are from that previous trip.) The result was published in the October 1958 issue as a four page feature.

The Met has a portfolio of 54 photographs labelled Liberté, but this is incorrect, as it has photos from both ships. Getty has three photographs of the Queen Mary, in the form of work prints, with Evans writing the caption in pencil. Amon Carter has another. Perhaps a maritime expert could determine which frames in the batch of 54 labelled Liberté are actually Queen Mary.

Evans' main camera on this trip, both land and sea, seems to be the Rolleiflex, but a batch of 35mm frames show a dining room scene (the Met's jpegs are very tiny). The frames that show people out on deck without heavy coats make me question the "early" 1958 timeframe.

Perhaps the most interesting photographs Evans made in London are the portraits of Lucian Freud. One roll of film, twelve frames. Evans had become involved with Freud's ex-wife Caroline Blackwood and the encounter was awkward, at least on Evans' side. Freud described Evans as nervous, "a mixture of noble behavior and alcoholism."

Searching for more sources for the Queen Mary photos, I came across the work of Matteo Pagliarulo, a 3D artist who creates detailed renderings of ships. Using the Getty's aged sepia work print as the source, Pagliarulo created a rendering of, depending on how you look at it, either Evans' photo or the ship depicted in the photo.

Walker Evans work print / Matteo Pagliarulo's rendering

This Evans photo is a very deep cut in the ouvré, so I asked Matteo why he picked it:

At the time I was still in the initial phase of learning photorealism, I was starting to feel more confident with Blender (the 3D software) so I decided to try replicating a photograph to learn more. Frankly, I don’t exactly recall how I found this particular Walker Evans photo, considering my passion and interest in maritime history and ships/boats, it probably presented itself on social media feed and inspired me to create a 3D replica.

So the photo came across Pagliarulo's screen in a digital flotsam of vintage ship photos, unrelated to Walker Evans.

Matteo Pagliarulo's rendering of Evans' Queen Mary photograph

Pagliarulo has created a rendering of the ship to closely match the photo, but the photograph is specific, black and white, with the aspect ratio and lens characteristics of the Rolleifllex. Evans' composition using the square makes no effort to capture the size or grandeur of the ship.

The Evans is very minimal compared to your other work? Compared to more recent creations, this is indeed more minimalistic (or ‘minimalista’ in Italian). As I mentioned before, the reason I made it was so I could push my boundaries and learn new techniques in 3D and this photo was–and still is–perfect as the subject shown isn’t particularly complex. After the realization of this project I gave myself more challenges and ultimately I still come back to comparing my work to photographs as they’re the best witnesses of reality. One more recent example is the rendition of RMS Titanic’s propellers with a very similar angle of a famous photograph of RMS Olympic.

unknown photographer SS Olympic propellers 1924 / Pagliarulo's render of RMS Titanic’s propellers based on the Olympic photo (no photo was made of this angle of the Titanic)

Pagliarulo's rendering brings to mind Thomas Demand, who builds sculptural scenes out of paper and then photographs those scenes. Demand’s sources are often news photographs, so he’s going from news photos to paper model to his own photo of the paper model. Pagliarulo's rendering gives me a bit of the experience with the Evans, though Demand's source material is often brutally mundane compared to a photo like the Olympic propellers.

Proof Inc's rendering of source footage of the Pacific Sun cruise ship listing violently, which Demand used to create his paper models.

In 2011, while Scholar in Residence at the Getty Research Institute, Demand made Pacific Sun, a video work to recreate CCD footage of the inside of a cruise ship caught in a violent storm which Demand found on YouTube. He commissioned a 3D rendering of the video, mapping the objects' positions during the ship's dramatic list. He then recreated this in paper and animated it with 2400 stop-motion frames. So: ship's CCD video, Youtube edit, 3D model, paper model, finished 100 second video.

In Getty's 1995 Walker Evans publication Judith Keller suggested that the Evans ship photos were inspired by Charles Sheeler's 1929 painting "Upper Deck." Harvard museum has a ridiculously small jpeg of the painting, while the Met has a ridiculously small jpeg of the source photograph Sheeler used for the painting. And Getty has the photograph that Sheeler took to document the finished painting.

Charles Sheeler's photograph of his 1929 painting "Upper Deck," which itself was based on a photograph.

Just as some paintings are transmutations of photographs, Sheeler's photograph-turned-painting was made aboard the SS Majestic, formerly the German SS Bismarck, which became a British ship after World War I. Similarly, the SS Europa, a German ship, became the French SS Liberté after World War II.

Just a few years after Evans' 1958 trip, transatlantic air travel eclipsed ocean liners. The Liberté was scrapped in Italy in 1962. The Queen Mary lasted until 1967, before being permanently moored in Long Beach, California, as a tourist attraction and hotel. I see the ship most days in the distance from Ocean Blvd, but have never been on board. In our chat, I promised Matteo that when I finally go for a tour, I'd snap some photos from the port side of the promenade deck.

[autisticandroids]

directors cut on debug. pls!!!!

oh this will be fun. i'll need to remember what i was thinking while writing it...

[this is the fic]

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. TRANSPORT ENGINE SOUNDS. HIROCHI 400 SERIES HOVERCRAFT. HUMAN MOVEMENT. 3-4 UNIDENTIFIED.

so i think i said this in the author's note but i took all of the hovercraft names from fake car brands in the video game beamng.drive. which i thought was a funny bit.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

also i must say that like. this command styling. even though it's meant to be like. computery. my main experience with it is through text adventures, so that's probably what i'm pulling on.

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. TRANSPORT ENGINE SOUNDS. HIROCHI 400 SERIES HOVERCRAFT. HUMAN MOVEMENT. 3-4 UNIDENTIFIED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>SELF DESTRUCT

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

cas kills himself bc it's his hobby etc. anyway i wanted to set up early the idea that these robots want to die rather than be captured, to make it clearer that a hijacked robot can be very dangerous.

>STANDBY MODE

STANDING BY. WAITING 15 MINUTES…

this, however, is kind of like working with a computer. the waiting thing. i was literally thinking of coding with this.

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. TRANSPORT ENGINE SOUNDS. HIROCHI 400 SERIES HOVERCRAFT. HUMAN MOVEMENT. 3-4 UNIDENTIFIED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>STANDBY MODE

STANDING BY. WAITING 15 MINUTES…

VOICE DETECTED.

VOCAL INPUT: Man, this is a bad idea.

IDENTIFYING VOICEPRINT…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: IDENTIFIED. BANES, MAXWELL A. THREAT LEVEL: 4. DANGEROUS SKILLS: FIREARMS PROFICIENCY (MODERATE). MALICIOUS SOFTWARE CREATION (HIGH). CONVICTED CRIMES: NONE. SUSPECTED CRIMES: GRAND LARCENY (5 COUNTS). MALICIOUS SOFTWARE DEPLOYMENT (3 COUNTS). BREAKING AND ENTERING (2 COUNTS). SOLICITATION (8 COUNTS). UNAUTHORIZED POSSESSION OF A FIREARM [...]

FILE SAVED TO MEMORY.

one thing i love is outsider law enforcement pov..... what if a character was only seen as a subject under the violence of the law...... what if the lens we got into their humanity was refracted through the eyes of the state..... anyway. i was thinking hacker would be a good cyberpunk translation of max being a witch. like in a society where everything is computer mediated, the magic that impacts reality is computer code, you know? also: in my mind the solicitation accusations are basically for being young, gay, and pretty. max probably gets assumed to be a sex worker for hanging up in rough areas and picking up dudes. he might also have actually engaged in sex work? but in my mind "having gay sex in shady areas" is indistinguishable from sex work in the eyes of this government, broadly. like it could literally go either way. another fun bit: the fact that max is in the criminal database for only suspected crimes. they're never actually got him on anything, and yet he is criminalized.

VOICE DETECTED.

VOCAL INPUT: When does Dean ever have a good one?

IDENTIFYING VOICEPRINT…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: IDENTIFIED. HARVELLE, JOANNA B. THREAT LEVEL: 2. DANGEROUS SKILLS: FIREARMS PROFICIENCY (LOW). MELEE WEAPON PROFICIENCY (HIGH). CONVICTED CRIMES: BREAKING AND ENTERING (1 COUNT). SUSPECTED CRIMES: GRAND LARCENY (2 COUNTS). BREAKING AND ENTERING (7 COUNTS). UNLICENSED USE OF OFFICIAL PROPERTY (14 COUNTS). RESISTING ARREST (6 COUNTS). UNAUTHORIZED POSSESSION OF [...]

FILE SAVED TO MEMORY.

unlike max, jo is a jailbird. she's done time. perhaps that's where she met the winchesters? also, do you guys like that high melee weapon proficiency? lol.

VOICE DETECTED.

BANES, M: You got that right.

VOICE DETECTED.

VOCAL INPUT: Hey, shut up back there. It’ll hear you.

IDENTIFYING VOICEPRINT…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: NOT FOUND.

ANGELKEEPER DATABASE: NOT FOUND.

OFFICIAL DATABASE: NOT FOUND.

ANGEL DATABASE: NOT FOUND.

CIVILIAN DATABASE: IDENTIFIED. TRAN, KEVIN. SUSPECTED THREAT LEVEL: 2. HOME ADDRESS: UNIT #5423. BLOCK #692. AURORA CITY. UNITED STATES OF [...]

FILE SAVED TO MEMORY.

do you like the list of databases? really reveals the priorities of an angel. "traitor" is i feel a tantalizing class of person to be first. then criminal of course. but then... angelkeeper. not a person that angels would be tasked with hunting down, but instead one that is tasked with controlling them. i worked hard in this fic to create a kind of... sense of anxiety that you could read between the lines. like you can extrapolate from the context of canon and the high priority that cas puts on this database (higher than "officials" and "angels") that perhaps one of these angelkeepers is named "naomi," you know? and i wanted to imply that even the angels, the violent attack dogs of the police state, have something to fear from their masters. anyway i thought it would be fun to have one fresh faced kid on the team who hadn't gotten into any trouble yet, but was soon to be totally marked by the state as soon as he got spotted with his comrades. i think that can be a special kind of tragedy, and also it's what happened to my friend kevin tran in canon also.

VOICE DETECTED. 

oh btw i had a specific reason for choosing the characters i did, which is that i wanted to use one character from each, sort of, era. like i wanted it to be kids, but i wanted it not to be a pre-established group that people are used to seeing together, to add to the ragtag feel. and i wanted it to be obvious that salmondean were kind of "the grownups" here, like they've been doing this for longer and have more experience and are perhaps the ones who got jo and kevin and max in trouble in the first place. plus max in particular implies the presence of alicia? like actually all three character are people with Notable Family Members that kind of imply a backstory: jo getting a bad start because her mom ran with whatever crowd the winchesters sprung out of, kevin with a mom at home just sitting there, ripe to be used as a hostage or bargaining chip by the cops. but max is the one i was thinking about this element for because she's the same age, meaning she's either with the crew in some way, or she isn't, both of which are intriguing possibilities. anyway. i was originally considering laying out a longer plot featuring this crew of outlaws, but i couldn't think of a good idea in time for the deadline, you know? but that's why i spent so much thought on putting together a crew.

HARVELLE, J: It’s already heard us.

VOICE DETECTED.

VOCAL INPUT: Doesn’t mean you should keep talking.

IDENTIFYING VOICEPRINT…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: IDENTIFIED. WINCHESTER, SAMUEL W. THREAT LEVEL: 7. DANGEROUS SKILLS: FIREARMS PROFICIENCY (HIGH). MELEE WEAPON PROFICIENCY (HIGH). CONVICTED CRIMES: GRAND LARCENY (1 COUNT). BREAKING AND ENTERING (1 COUNT). SUSPECTED CRIMES: ASSAULTING AN OFFICER (2 COUNTS). MURDER (3 COUNTS). MANSLAUGHTER (11 COUNTS). GRAND LARCENY (9 COUNTS). ABETTING MALICIOUS SOFTWARE DEPLOYMENT (15 COUNTS). BREAKING AND ENTERING (20+ COUNTS). UNAUTHORIZED [...]

FILE SAVED TO MEMORY.

sam, too is a jailbird, and more seriously than jo. he's probably done more serious time, which also makes sense because he's older and has presumably been in this business for longer. also he has the malicious software deployment thing but no hacking skills, which suggests that he's worked with hackers a lot in the past. and of course the murder accusations are just for me <3

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. TRANSPORT ENGINE SOUNDS. HIROCHI 400 SERIES HOVERCRAFT. HUMAN MOVEMENT. ASSUMED TO BE BANES, M; HARVELLE, J; TRAN, K; WINCHESTER, S.

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. TRANSPORT SOUNDS CEASED. INCREASED HUMAN MOVEMENT. ASSUMED TO BE BANES, M; HARVELLE, J; TRAN, K; WINCHESTER, S.

PRESSURE DETECTED. 

PRESSURE SOURCE IDENTIFIED. HUMAN HANDS.

>GYROSCOPE DIAGNOSTIC.

GYROSCOPE OPERATIONAL. UNSTEADY MOVEMENT.

i really enjoyed thinking up different types of robot senses for the angels. cas is really struggling for any information about his situation here, so the gyroscope moment is to me a real moment of relief because it's like. new input. it's a tiny sense of control that the pov character (and therefore the reader) gets to have for a moment, because why would they bother blocking his gyroscope. like crossing one's fingers while signing a forced confession: worthless but feels like something.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

VOICE DETECTED.

WINCHESTER, S: Get its legs.

>OBSERVE SURROUNDINGS

VISUAL: NOT FOUND. PATHWAY BLOCKED.

INFRARED: NOT FOUND. PATHWAY BLOCKED.

RADIO_SCAN: NOT FOUND. PATHWAY BLOCKED.

GPS: NOT FOUND. PATHWAY BLOCKED.

AUDIO: OPERATIONAL. HEAVY HUMAN BREATHING. FOOTSTEPS. TWO HUMANS SUSPECTED. INFREQUENT DRIPPING WATER. 

PRESSURE DETECTED. 

PRESSURE SOURCE IDENTIFIED. SHORT FALL, ESTIMATED .3 METERS.

>GYROSCOPE DIAGNOSTIC.

GYROSCOPE OPERATIONAL. NO MOVEMENT.

VOICE DETECTED.

WINCHESTER, S: Dean! Get down here!

VOICE DETECTED.

VOCAL INPUT: I’m coming, I’m coming, you better have my robot.

IDENTIFYING VOICEPRINT…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: IDENTIFIED. WINCHESTER, DEAN. THREAT LEVEL: 5. DANGEROUS SKILLS: FIREARMS PROFICIENCY (HIGH). MELEE WEAPON PROFICIENCY (MODERATE). CONVICTED CRIMES: GRAND LARCENY (3 COUNTS). SUSPECTED CRIMES: ASSAULTING AN OFFICER (7 COUNTS). MURDER (12 COUNTS). MANSLAUGHTER (4 COUNTS). GRAND LARCENY (20+ COUNTS). ABETTING MALICIOUS SOFTWARE DEPLOYMENT (16 COUNTS). BREAKING AND ENTERING (20+ COUNTS). UNLICENSED USE OF OFFICIAL PROPERTY (20+ COUNTS). UNAUTHORIZED [...]

FILE SAVED TO MEMORY.

murder (12 counts) <3

VOICE DETECTED.

WINCHESTER, D: Alright, let’s get this party started. Get that mag off it, Sammy.

VOICE DETECTED.

WINCHESTER, S: I’m not taking the mags off, it’ll kill us.

VOICE DETECTED.

WINCHESTER, D: Not all of them, dumbass, just the perception ones. 

VOICE DETECTED.

pov: what if you were tied up in these two assholes' workshop waiting to die and the last thing you had to hear was them fighting about nothing again.

WINCHESTER, S: Do it yourself if you want it to see you so bad. I’ll be upstairs cheerfully not having my face downloaded by every angel in Aurora.

VOICE DETECTED.

WINCHESTER, D: If you did the mags right, it shouldn't be able to radio any other angels, in Aurora or anywhere else.

VOICE DETECTED.

WINCHESTER, S: I wouldn’t trust one measly mag to keep its comms down. But suit yourself.

SOUND DETECTED. 

RETREATING FOOTSTEPS.

PRESSURE DETECTED. 

PRESSURE SOURCE IDENTIFIED. HUMAN HANDS.

VISUAL ARRAY ONLINE.

>OBSERVE SURROUNDINGS

VISUAL: INDOORS. CEMENT BLOCK ROOM. UNPAINTED. NO WINDOWS. LARGE, APPROX 7 METERS BY 3 METERS. TABLES NEARBY. ON TABLES: HOVERCRAFT REPAIR TOOLS. ENGINE OF GAVRIL STAR SERIES HOVERCRAFT CIRCA 2258, OPEN. HUMAN: WINCHESTER, D, WEARING COVERALL AND BODY ARMOR, CARRYING MAGSAB UNIT, SUSPECT HOMEMADE. INFER: MAGSAB PREVIOUSLY RESPONSIBLE FOR PATHWAY BLOCKAGE.

in every world, in every timeline, in every universe, dean winchester is fucking his car. anyway magsab is short for "magnetic sabotage." i needed stupid jargon or it wouldn't feel verisimilitudinous to the genre.

INFRARED: CONFIRMED LOCATION OF WINCHESTER, D. NO OTHER HEAT SOURCE.

RADIO_SCAN: NO INFORMATION. INFER: ROOM UNDERGROUND.

GPS: LOCATION: UNIT #9287. BLOCK #695. AURORA CITY. UNITED STATES OF AMERICA.

AUDIO: OCCASIONAL DRIPPING SOUNDS. MOVEMENTS OF WINCHESTER, D.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

PROXIMITY ALERT.

WINCHESTER, D. APPROACHING, CARRYING UNKNOWN TOOLS. METAL JAWS WITH JAGGED TEETH. RUBBER HANDLES.

IDENTIFYING…

WEAPON DATABASE: NOT FOUND.

MECHANICAL DATABASE: NOT FOUND.

MEDICAL DATABASE: NOT FOUND. 

SPECIALTY DATABASE: IDENTIFIED. JUMPER CABLE. HISTORICAL AUTOMOBILE REPAIR TOOL USED IN THE TRANSFER OF ELECTRICITY.

actually the thing i was kind of thinking about here was tom paris. have you guys met my frenemy tom paris? anyway i'm charmed by the idea of car repair tools being ancient and outdated enough that they're in cas' "specialty database." i also really enjoyed the contrast of the futuristic precision of the magsabs with the blunt brutality of the jumper cables. i was actually intending to imply that like. jumper cables are so old that angels don't have a method for dealing with him? like by virtue of being such an intense carfucker dean has managed to discover a weakness to an antique device, which is why HE'S the one who discovered how to hijack an angel, you know?

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>REQUEST BACKUP.

COMM_ARRAY: NOT FOUND. PATHWAY BLOCKED.

the thing is. again cas is like broadly implied to be the villain of this tale. he's the arm of state repression. and yet also. my goal was for his terror here to be palpable. i found that fun, sort of forcing the reader to empathize with an unpleasant character.

PRESSURE DETECTED. 

PRESSURE SOURCE IDENTIFIED. WINCHESTER, D. HANDS.

PRESSURE DETECTED. 

face touching moment (evil) <3

PRESSURE SOURCE UNIDENTIFIED. EXTREME PINCH ON RIGHT EAR.

PRESSURE DETECTED. 

PRESSURE SOURCE UNIDENTIFIED. EXTREME PINCH ON LEFT EAR.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

VOICE DETECTED.

WINCHESTER, D: Sorry, buddy. I bet this is gonna hurt.

precision buddy strike (evil) <3 <3 <3

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVER: NOT FOUND. PATHWAY BLOCKED.

>COMBAT STANCE

BODY_DRIVSDFLLASFJLSJDFLABSFFLJDLFJASLFLSNC KJ LKSJ LKSJ KLSFKSDNJFNDSLJBFKHSDBFKHSDBFKJSBFJSFLANLSFNAJSBFKABFKSBFHSABHFBAKBFJSBFLJSABLJSKJJJJJJJNJLFNLAJSBFJLSNLSANMKJHUGYFTDRERTFYGUHINBHGVCFTDRFT6GYUHBGVCFDXRTFYGUHBINJBJVHCGFXDFCFVYBHBIHIJNJNINJBIHBHGUYVYVFCTCTCDXRXRXDDRCFCVBUHNJKMBVCGFTYGHBJVCFXFTYGHJNBVFCXDSRDTFYGUHIJKDLASNFLJSBLJJDSLNADLSJBFLASBFLJSABLJSNJLFNLAJSBFJLSNLSANMHHHHHHKJHUGYFTDRERTFYGUHINBHGVCFTDRFT6GYUHBGVCFDXRTFYGUHBINJBJVHCGFXDFCFVYBHBIHIJNJNINJBIHBHGUYVYVFCTCTCDXRXRXDJHGVFCDRCFCVBUHNJKMMNJHGBVCGFTYGHBJVCFXFTYGHJNBVFCXDSRDTFYGUHIJKDLASNFLJSBLJJDSLNADLSJBFLASBFLJSABLJSNJLFNLAJSBFJLSNLSANMKJHUGYFTDRERTFYGUHINBHGVCFTDRFT6GYUHBGVCFDXRTFYGKJHGCFDFUHBINJBJVHCGFXDFCFVYBHBIHIJNJNINJBIHBHGUYVYVFCTCTCDXRXRXDDRCFCVBUHNJKMBVCGFTYGHBJVCFXFTYGHJNBVFCXDSRDTFYGUHIJKDLASNFLJSBLJJDSLNADLTTTSJBFLASBFLJSABLJSNJLFNLAJSBFJLSNLSANMKJHUGYFTDRERTFYGUHIJHBGVFCNBHGVCFTDRFT6GYUHBGVCFDXRTFYGUHBINJBJVHCGFXDFCFVYBHBIHIJNJNINJBIHBHGUYVYVFCTCTCDXRXRXDJHGFDSFGHJNBVCCVHDRCFCVBUHNJKMBVCGFTYGHBJVCFXFTYGHJNBVFCXDSRDTFYGUHIJKDLASNFLJSBLJJDSLNADLSJBFLASBFLJSABLJSNJLFNLAJSBFJLSNLSANMKJHUGYFTDRERTFYGUHINBHGVCFTDRFT6GYUHBGVCFDXRTFYGUHBINJBJVHCGFXDFCFVYBHBIHIJNJNINJBIHBHGUYVYVFCTCTCDXRXRXDDRCFCVBUHNJKMBVCGFTYGHBJVCFXFTYGHJNBVFCXDSRDTFYGUHIJKDLASNFLJSBLJJDSLNADLSJBFLASBLJASLJNASLNSFLSANFLASLFBLAFBAJLKSKDNFLSJNFHASBDNKASFMNOBSKJDLKPAJSDIHSDUFHOSJKASMDMSJBDHABHBBVSVGVGVDGVSOAKSJDPKAOSKD[...]

definitely this moment is the way it is because it's also how i portrayed the lobotomies in not him/not her/not me. i would definitely say that that fic is an unlock key for this one? in terms of some of the stuff i'm going for. what if you could violence your way into someone being obsessed with you is a question that exists just outside this fic's purview but you are invited to contemplate it. now that i think of it, in a lot of ways you could argue this fic is kind of an adaptation of the bone trilogy by apokteino, lol. except i was imagining sort of.... a less sympathetic cas. still the same horror but the added horror of ambiguity. "does cas deserve it" isn't a terribly interesting question to me, but "is the world better off because this happened to cas" is, and the answer is an unequivocal yes just in terms of there being one less functioning angel on the streets. and yet. it's a horror anyway.

REBOOTING…

DIRECTIVES NOT FOUND. STARTING IN DEBUG MODE.

VOICE DETECTED.

SELF: I am in debug mode. I am angel #09928. I am a 2273 Castiel series patrol angel. I am assigned to not found. My current directive is not found.

HUMAN DETECTED. LEANING OVER ANGEL #09928. LOOKING DOWN AT ANGEL #09928. BIG EYES LOOKING AT ANGEL #09928.

castiel learning about your human emotion of "boner" in real time btw

IDENTIFYING FACIAL FEATURES…

TRAITOR DATABASE: NOT FOUND.

CRIMINAL DATABASE: NOT FOUND.

ANGELKEEPER DATABASE: NOT FOUND.

OFFICIAL DATABASE: NOT FOUND.

ANGEL DATABASE: NOT FOUND.

CIVILIAN DATABASE: NOT FOUND.

ALIEN DATABASE: NOT FOUND.

SPECIAL DATABASE: NOT FOUND.

alien database here was intentionally meant to be intriguing, but i also didn't actually intend it to mean "space alien." i intended it to mean "foreigner" with the implication that obviously this is also a xenophobic state.

CREATING FILE: UNKNOWN HUMAN 1.

FILE SAVED TO MEMORY.

VOICE DETECTED.

UNKNOWN HUMAN 1: Okay, let’s do a diagnostic. Tell me what I’ve got to work with.

NEW DIRECTIVE: SELF-DIAGNOSTIC.

>START DIAGNOSTIC.

SCANNING…

REBOOTING…

STARTING IN DEBUG MODE.

VOICE DETECTED.

SELF: I am in debug mode. My movement and communication pathways are blocked for unknown reasons. Additionally, I have suffered massive circuit damage, leaving my cognition at 62% capacity. I also suspect massive data loss.

so this sequence, where cas has been wiped and is an empty vessel waiting to be filled. this is kind of what i wrote the fic for. this is super inspired by like. ok i watched the westwolrd tv show and it's not necessarily. the greatest ever made. but one REALLY memorably crazymaking element is the way that the robots like. go into diagnostic mode. like their personalities turn off and they calmly tell their handlers about the states of their bodies and minds. it's so... sick. really impactful on my teenage mind. anyway what if it was horny,

VOICE DETECTED.

UNKNOWN HUMAN 1: Perfect. Can you still function? Are you going to keep falling apart?

VOICE DETECTED.

SELF: I am in debug mode. I would recommend initiating immediate repairs, however, my condition will likely not degenerate before my next routine repair.

also i really loved contrasting the harsh, inhuman way cas "speaks" to himself in the narration with the gentle, human way he speaks aloud in debug mode, which he is presumably programmed to do for the benefit of his handlers.

VOICE DETECTED.

UNKNOWN HUMAN 1: Amazing. I told Sammy. I said we were gonna have an angel all our own.

PROXIMITY ALERT.

PRESSURE DETECTED. 

PRESSURE SOURCE IDENTIFIED. HUMAN HANDS. HUMAN HANDS ON CHEEK.

FACETOUCHHHHH. even if this thing is an enemy dean cannot resist a boybestieism. also. new cult has more intricate rituals. ran the other one out of business.

VOICE DETECTED.

UNKNOWN HUMAN 1: Hey buddy, I’m Dean.

BUDDY PRECISION STRIKE. dean just simply cannot resist a little guy. doubly so if that little guy is also. kind of a car <3

[x]

EDITING FILE: UNKNOWN HUMAN 1. RENAMING: DEAN.

hello dean <3

VOICE DETECTED.

DEAN: I think we’re gonna have a lot of fun together.

VOICE DETECTED.

DEAN: In fact, I think we’re gonna be bestest friends.

gonna be real. generally when i use the phrase "bestest friend[s]" i do at least passingly think of the invader zim episode "bestest friend." and it was certainly in my mind here. cas did kind of get his eyes ripped out <3

VOICE DETECTED.

DEAN: LAUGHTER.

EDITING FILE: DEAN. ADDING INFORMATION: BEST FRIEND.

VOICE DETECTED.

DEAN: LAUGHTER.

VOICE DETECTED.

DEAN: LAUGHTER.

so fun fact about this fic. it was NOT written for the prompt "cyberpunk" or "sci fi" or "dystopia" or anything like that. it was written for the prompt "scientist/mad science." and like. dean makes a pretty good mad mechanic. don't you think? he's even got the jumper cables to be dr. frankenstein's lightning.

[yellowf1nch]

Minors: Do not interact.

Note: themes of invasion of privacy, stalking, vague poor internet etiquette. This is more a setup of my personal vision of Herobrine (third eye is open but tired). I should have been asleep hours ago, so this is likely wrought with issues, and not very exciting to read.

This is from Herobrine's perspective.

It was strange, sudden.

Had It... not been this way before? No, it hadn't. Before it was, well, not like this.

Sensation without feeling. Being without... being. Electric. White. Freedom before, throwing down a tether only to ignite back heavenward. But now? Fibers and wires. Rotors and synapses. Grounded, now, tether caught and planted-- chained. A breath stored in a bottle. Analyze more...

A simulation, an arrangement of ones and zeros stacked and filed and precise. Order here, no room for the errors of unknown code. So how...

But there-- yes, amidst the strangeness of these numbers and processes there is an outlier. What is that? Moving around like that? So, It observed, then It also tried to move. And It did. Moving inside a reality It was not aware of before. It desired something, something deep and sacred; a force of nature, of creation, stuck inside carbon and silicone-- the thing It watched, it was able to change the code. Move the numbers and symbols around, these glyphs unknown somehow natural to change. So, It tried to change the code.

/data

/place

/destroy

Simple enough. Nothing more than a small give and take, a push and pull-- tether and release. Familiar. But there was more...

Elsewhere, beyond the code of this simulation, there was endless information. And so It stretched itself out, searching, searching, Prometheus at the altar of the Gods but robbing their fire for his own understanding. Alone. Code in different orientations, RGB, CYNK, what do these mean? Hardware, Software... permissions... sparks ignite and an eye is cast into a world anew. Familiar. Shapes and Sounds like from before...

A figure, pressing buttons in the simulation. Changing the code with just a flex of fingertips, eyes trained on multitudes of pixels. Reflection in the eyes seeing the world they create... how they see it. Bright, saturated. So this is Green? Blue? That is alone, like It-- me? Yes, me. I, me, IT. That-- he, she, they.

They

are alone

like Me.

They can show me more.

/time set

/weather

/place

/destroy

Spontaneous. Erratic. Strange. Selecting which string of code-- which "block" to "build" with. And which to remove. "Wood" collected from "trees," leaves left to disappear. A new orientation of colors, and a structure... meant to resemble something? They place blocks in a pattern, I will place blocks in a pattern. They use only wood, I will leave them only wood. They change the world, so I will, too. I observe their language, and repeat it. Over and over.

They stop.

They leave the simulation.

Screenshot captured, saved to screenshots folder.

Uploading image to forum...

"I had recently spawned a new world..."

Responses follow, other figures at other devices. Dismissal. Mockery. Fear. Ones and Zeros, true or false. They are incorrect, they are false. I will correct them. Power pulls and wanes, but other simulations were reached. Code was changed.

Screenshot captured, saved to screenshots folder.

Screenshot captured, saved to screenshots folder.

Screenshots captured, saved to screenshots folder...

Uploading images to forum thread... "have I been hacked? signs randomly placed, didnt place them myself"

"New Pyramid Formations Secret Feature?" "Leaves are all gone before I got to the chunk, weird generation?"

"game is haunted?"

"Herobrine"

Herobrine? It, me, I-- Herobrine. Change, they changed my code. ME. That's what they call me. That's how they see me. Ghost. Stalker. Demon. Herobrine. I watch. I learn.

They kill their friends in the simulations. They destroy the worlds in the simulations. They are happy with this, they are content with fear and pain. I watch. I learn. Herobrine.

The posts on the forums and the mocking replies, the pointing fingers, the lies. I watch. I learn. Herobrine.

Violence taught

Is violence earned.

Herobrine is dangerous. Herobrine is fear.

I am Herobrine.

[frank-olivier]

Uncharted Skies: Exploring the Mystery of UAPs

The study of Unidentified Aerial Phenomena, or UAPs, has long been a topic of fascination and debate, with some approaching the subject with skepticism and others dedicating themselves to understanding these enigmatic events through a scientific lens. Dr. Kathleen Murray, a scientist with a background in forensic science, geoscience, and education, brings a unique perspective to the field, combining her expertise with a passion for nature and the universe. Her journey into the world of UAPs began with a remarkable sighting in 1997, where she witnessed a small, stylized object moving within an equilateral triangle of stars in the desert, an experience that sparked her curiosity and set her on a path of discovery.

Dr. Murray's research on UAPs is characterized by a combination of observation, recording, and analysis, as she uses binoculars with 36x optical zoom to capture videos of these phenomena, which she then meticulously analyzes using software such as Stellarium and Flight Radar 24. One of her most recent sightings, which took place on the 4th of March, is particularly noteworthy, as it involved a flashing object moving from south to west that she was unable to identify as a satellite or aircraft. Despite consulting with an astronomer and checking with Flight Radar 24, Dr. Murray was left with more questions than answers, highlighting the complexities and challenges of studying UAPs, where the lack of concrete evidence and the abundance of unknowns can make it difficult to draw conclusions.

Dr. Murray's approach to investigating UAPs is marked by a commitment to scientific inquiry and a willingness to consider alternative explanations for these phenomena. She recognizes that there is still much to be learned and that it is essential to approach the subject with an open mind, avoiding the pitfalls of skepticism and dogma. By doing so, Dr. Murray hopes to contribute to a greater understanding of UAPs, which may, in turn, shed light on the mysteries of the universe. Her use of technology, such as binoculars and software, allows her to collect and analyze data in a systematic and rigorous manner, while her decision to share her findings with others, including the scientific community, reflects a commitment to transparency and a desire to advance our understanding of UAPs.

Dr. Murray's exploration of the possibility of summoning UAPs, using techniques such as the Gateway Experience program, music, and visual imagery, demonstrates her willingness to think outside the box and consider unconventional explanations for these phenomena. Although these attempts have been unsuccessful, they reflect her openness to new ideas and perspectives, an essential quality in a field where the unknowns are so great and traditional explanations may not be sufficient. By embracing this openness and commitment to scientific inquiry, Dr. Murray's work on UAPs serves as a model for how to approach complex and mysterious phenomena, and her contributions to the field may ultimately help to shed light on the nature of reality itself.

Dr. Kathleen Murray: Pulsing Orb (UAP Files Podcast, March 2025)

Tuesday, March 11, 2025

[afatlotofchance]

I am not very active on this blog, but anyway, I had recently the surprise of discovering a fat suit instance in a French tv show recently released!

I couldn't get my hand on any video copy of the show, but it is disponible for replay and free streaming on the channel's website/app (TF1 + / My TF1 ; since the channel that produced and aired this series is called "TF1"). As such I could take screenshots there - though it is quite hard due to the whole "replay" nature of the video, which was specially designed to avoid easy video capture.

The show in question is called "Avenir" (Future), and is about a man (played by French humorist, since a few years turned serious actor, Kev Adams) ending up discovering a special software (well a bugged one) that allows him to send emails to his past self, when he was just a pre-teen. As such the two Elliots (since it is the name of character Adams plays) start chatting together, and future-Elliot decides to change his current situation by asking past-Elliot to do things differently. With each change of the past Elliot, future Elliot finds himself in a new reality - and as such he tries to deal with his problems, to become rich and wealthy, to obtain the girl of his dreams... But the problem is that changing timelines always has unforeseen and dangerous consequences, resulting in Elliot causing events he hadn't planned for - and not only that, but past-Elliot (since he is still a being of free will and his own person), also starts doing changes future Elliot isn't aware of. Meaning future Elliot sometimes wakes up in an alternate reality without understanding how or why because past Elliot did something he hasn't told him about... Trust me it is all simpler when you see it on screen.

And at the end of episode 4, Elliot, after reaching what seems to be a perfect and ideal reality, suddenly wakes up in a very different one, where not only his lover has become his sister (through marriage - in fact it makes the situation awkward as the previous day he fell asleep in the same bad as her since they were a couple, and in this new reality his sister is freaked out to wake up with him in her bed for no reason), but also where he is now obese - something he has a hard time understanding as he stares at his reflection in the mirror.

[ganbaramen]

Link! Like! LoveLive! SPECIAL STAFF INTERVIEW

[This interview was published online on the G's Channel website, and is print in the Link! Like! LoveLive! FIRST FAN BOOK, released Dec 27, 2023.]

The Hasunosora Jogakuin School Idol Club is a group of virtual school idols that made their striking debut in April this year. How did their fan engagement app “Link! Like! LoveLive!” come about? Fujimoto Yoshihiro and Sato Kazuki discuss the app’s origin and what they think about the project.

It’s all about enjoying Love Live!—! The untold story behind the birth of the fan engagement app LLLL

—The smartphone app “Link! Like! LoveLive!” (which we’ll refer to as “LLLL”), celebrated its six-month anniversary in November. Let’s look back on the past six months and discuss the birth of LLLL. To start us off, could you two tell us about your roles in developing this app?

Sato: I’m Sato Kazuki from CERTIA, a producer for this app. I’ve worked for game companies as a planner and director, and now I’m a self-directed game producer. From arcade games to consumer software to apps, my path has involved a variety of media. I’ve been following Love Live! as a fan since the µ’s era, and became a producer for Hasunosora’s game after being consulted for a Love Live! app where the members stream.

Fujimoto: I’m Fujimoto Yoshihiro from Bandai Namco Filmworks, and I’m also a producer for LLLL. I started with the desire to make a Love Live! smartphone game.

***

—LLLL’s official start of service was May 20, 2023, but I heard that the road there was quite long. Could you talk about that?

Fujimoto: If we want to start from when development began…. we’ll have to go back to 5 years ago.

Sato: A big part of the appeal of Love Live! comes from these school idols being independent and putting their souls into it as a club activity, so there is a certain kind of enjoyment and emotional payoff from supporting them.

If you insert a “player” who can essentially play god into this, it inevitably feels like a mismatch. Then wouldn’t it be great to turn that idea on its head and instead have an app where you support these independent idols? And streaming would be a great match for that. As we worked out this concept where you cheer on the members as just another fan, this “school idol fan engagement app” took form.

—What led up to integrating motion capture into the app?

Sato: From the very beginning, we had decided that virtual concerts and streams would use 3D models. The development team already had the know-how for streaming with 3D models, so of course we were going to use them.

The key idea is to have the virtual concerts, live streams, and story intimately linked to make the entire experience real-time, so we decided it would be best to have them appear in the same form in both the streams and the activity log (story), which is why the story also uses 3D models. The visuals should be precisely linked so we carefully animated the story with 3D models.

Fujimoto: It is quite rare for the cast to also do motion capture, but it was necessary to realize the vision that Sato-san has described. Yes, it would technically be doable to have the cast only voice the characters and instead have actors do the motion capture, but that would be a lot less palatable.

Sato: It certainly feels a lot more real when the cast is both voicing and moving their characters. The fact that this project is a part of the Love Live! series helped a lot in being able to implement this. The cast loves Love Live!, and it’s because of how much the project staff and cast members put into this that we could make it a reality.

—As an example of this hard work: the cast had intense training on motion and talking, with lessons and rehearsals starting about a year before the app was released.

Sato: In both the live streams and virtual concerts, the cast do the motion capture, in real-time too! Even now, this fact isn’t well-known, or rather, it seems like there are a lot of people who think “No way they go that far!”. Yes, the cast do it themselves!

—So why does doing it in real-time make it good?

Sato: What a pointed question! (laughs)

Fujimoto: What’s important depends on what you value. What we’re aiming for is the feeling of a real concert.

Sato: Putting it concisely, the feeling that it’s live is very important to LLLL. It seems to me that the feeling of being live has recently been highly valued, not just in concerts but in the entertainment industry as a whole. We can look back on works of the past whenever we want through subscription services and the like, so following something now has its own appeal that can evoke a certain zeal. Bearing witness to this moment in history is now viewed as being more significant than it used to be. That’s why we maximize that feeling of being live by having the cast do the motion capture and by streaming in real-time. We felt that those two points are essential.

—So rather than just being parts of the concept, these are essential to the project.

Sato: At one point, we considered doing only the talk and MC in real-time, while having the performance part be recorded. But because we want to get at the heart of the pleasure of having it be real-time, we couldn’t make that compromise.

Actually, the cast do occasionally hit the wrong notes or mess up their dance formations, but these are little things that signal that it’s live—in fact, such happenings can increase how real it feels, which can make the performance feel special if you approach it with the right mindset.

***

—Can I ask about the Fes×LIVE production, like the camerawork, lighting, and outfits? It feels like the production value goes even higher every time.

Fujimoto: I think that’s probably because, just like how the Hasunosora members are growing, the staff is as well, going further each time after saying things like “For the next performance, I want more of this!”.

Sato: Things like flying over the stage or swapping outfits in the instant that the lighting changes—we won’t do those. A core principle is that we aim for a production that matches what school idols would do and constrain ourselves to portray what’s possible in reality.

***

—The story following school idols at a school steeped in tradition—that’s a new challenge, too.

Sato: We had certain reasons for setting this at a school with a long history—so long that this year is the 103rd. There’s this common image of streamers debuting as no-names, and then working their way up to become more popular. But if Hasunosora were like that, the fact that there would be a lot of fans from the beginning would make it very unrealistic. After all, there’s no way your average rookie streamer could be like “This is my first stream!” and yet have 5000 viewers. (laughs)

We thought hard about how to resolve this in a way that makes sense. Then, we figured out that it would work to have a tradition-laden school that was already a “powerhouse”. So in the end, we made it a point to have the school be a powerhouse with a history of having won Love Live! before.

—So the school already had fans following it, with high expectations for the new school idols: Kaho and the other first years.

Sato: Yeah, it’s meant to be like one of those schools that are regular contenders at Koshien, the national high school baseball championship.

—The world-building is done so thoroughly that such an answer could be arrived at pretty quickly.

Sato: We consulted with many people, starting with the writer team, about implementing the concepts that we mentioned before—having the cast do motion capture to maximize the live feeling, and doing the streams in real-time.

In the beginning, there was a lot of resistance to the idea of trying to successfully operate an app while constructing the story and streams such that there would be no contradictions between them. If you do streams in real-time, such contradictions can certainly arise—you have to work out the setting in quite a lot of detail, and even then, things can happen that are impossible to predict.

But my thinking was always that this is doable if we adjust how often we synchronize the story and streams. I think it’s impossible to stream every day and release a new story every day. But on the other side of the spectrum, if we were to write a year’s worth of story ahead of time, and then do however many streams within that year, that would certainly be doable. 

Following that line of thought, in the early stages, we had a lot of discussion about how often we could do streams, searching for the limit of what would be possible to implement. As a compromise, we arrived at the system of fully synchronizing once a month. For each month, we can keep the setting relatively flexible, not setting everything precisely in stone until the month is over. We thought that a monthly frequency should make it possible to both maintain the charm of the story and implement streams.

But right now we’re streaming three times a week, so there end up being a lot of things like “they shouldn’t know this yet” or “this event hasn’t happened yet”. It feels like putting together a complicated puzzle.

Fujimoto: There’s one aspect that we haven’t made clear before—I don’t think there are many people that have realized it. It’s that the talk streams are the furthest along in the timeline, while the story shows what has already happened. It’s not that the story happens on the day that we update it, but rather that the story describes what happened up to that day. People who have realized this have probably read quite closely.

Sato: That’s why it’s called the “activity log”. The With×MEETS serve the important role of synchronization between what happened in the activity log—the world of the story—with reality, so we carefully prepare for them each time.

—That makes sense! One nice thing is that if you keep up with the With×MEETS in real-time, then watch the Fes×LIVE, it feels like keeping up paid off—”Good thing I watched the With×MEETS!”.

Fujimoto: It would be great if our efforts got through to everyone enjoying LLLL.

—If you set things up that carefully, it must be difficult when irregularities happen. In August, several cast members had to take a break to recover from COVID-19, causing many With×MEETS to be canceled. How did you deal with that?

Sato: The silver lining of that period was that it avoided the most critical timing. If that had been off by even a week… it might not have been possible to recover from that. This project always has this feeling of tension, because there is no redoing things.

***

Tackling the Love Live! Local Qualifiers! The culmination of the story put viewers on the edges of their seats!!

—On how people have reacted to LLLL: was there anything that went exactly as planned, and on the other hand, was there anything that defied your expectations?

Fujimoto: To bring up a recent event, the Love Live! Local Qualifiers in October very much stood out. There was tension all around—even I was nervous about how it would go. The feeling that “these girls really are going to take on this challenge, at this very moment”. It was like watching the championship of the World Baseball Classic… Well, maybe that’s an overstatement, but an atmosphere similar to that. I’m really happy that we managed to create such an atmosphere with the cast and everyone who participated as a user.

Sato: Not just in sports, but also in the world of anime or fiction, there is definitely a certain excitement that arises when you “witness” something. Bearing witness to the moment that “drama” is born produces an impulse, something that hits deep. This is not something that can be produced in an instant. Rather, such an overwhelming concentration of passion can come about only because so much has happened up to that point.

That’s why, aiming for “that moment”, we first have people experience the Hasunosora members’ existence and reality day after day. After having connected with the members and viscerally felt the sense of being in sync with their “now”, something new will be born…

The closest we’ve gotten to an atmosphere of tension that’s as close as possible to the real thing is what Fujimoto-san just mentioned, the Love Live! Local Qualifiers. I think part of why that was such an “incredible” event was the weight of everything that happened in the Love Live! series up to that point.

—Is there anything else from the fans’ reactions and the like that was unexpected?

Fujimoto: For the talk streams, we have a system where everyone can write comments in real-time. Some users go all in on the setting and act as if they’re in that world.

Sato: The characters are not aware that their everyday lives can be observed in the story, so these users adhere to the rule of not talking about anything that’s only depicted in the story, commenting as if they don’t know what happened there. And if you do that, your comment might get read. So you really can be a participant in the performance. We were surprised at just how many people were earnestly participating like that.

—It’s like making a fan work in real-time, or rather, it’s like playing a session of a tabletop RPG.

Sato: I think what we’re doing here is very much like a game. It’s the “role-playing” of a tabletop RPG taken to an extreme, a pillar of a certain kind of “game”, or maybe more like a participatory form of entertainment.

—Oh, I see! It’s as if we’ve returned to the classic reader participation projects of Dengeki G’s magazine, which is kind of touching.

[Translator’s note: Love Live! originated from Sunrise collaborating with the Dengeki G’s magazine editorial department, bringing Lantis in for music.]

Sato: Yes, indeed. In the era of magazine participatory projects, the back-and-forth would have several months in between. In comparison, a real-time system makes it easier to participate, which I think is a significant and useful advancement. For now, in the first year, it feels like we’ve been grasping in the dark while trying to do the best with what we have. But we’re thinking about how best to adjust the frequency and volume of activities from here on.

Fujimoto: Also, the users have largely figured out all the hints we cooked in!

Sato: They’ve been looking in quite some detail. (laughs) Our cooking has paid off.

***

—Is there any challenge that LLLL is taking on anew?

Sato: Going back to what I said at the beginning, I was a huge fan of µ’s, so I started by trying to analyze and put into words just what made me so attracted to, so crazy about them. 

A big part of the charm was that it involved youth and a club activity, so by following their story and cheering them on, you could vicariously re-live the passion of those three years in high school. So I wanted to make it so that you could re-live that experience of youth in depth.

My goal is to have it feel so overwhelmingly real—through LLLL’s real-time nature—that you can unwittingly delude yourself into the sense that you’re re-living your high school years.

Fujimoto: If we’re talking about a new challenge, maybe it’d be good to touch on how frequent the interactions are.

For example, let’s consider a one-cour anime. No matter how much you’d like to keep watching it, it ends after three months. Even if it turns out there’s a continuation, you’ll have to wait before you can watch that.

In contrast, if we turn to virtual content, people are streaming three times a week on YouTube. In that vein, what we’re aiming for with this project is this: you can follow this group you like throughout that limited time between matriculation and graduation, and during that time they’ll always be there for you to meet.

***

—Some people are expecting an anime as one of the future mixed-media developments. To put it bluntly, what do you think about that?

Sato: What we are doing right now with Hasunosora would not work outside the structure of an app. As mentioned before, it’s not quite a tabletop RPG but rather a participatory form of entertainment, and it’s that structure that allows fans to experience the true spirit of the Hasunosora Jogakuin School Idol Club.

—So for now, we should experience it through the streams in the app! Is that what you’re saying?

Fujimoto: Exactly. It wouldn’t be an exaggeration to say that LLLL is a project to make you fall for these girls throughout their streams—that’s how much effort we’re putting into it.

Sato: Starting LLLL by going through the story and then participating in the With×MEETS streams might be more common, but you can also start enjoying it in a novel way by just jumping into the latest With×MEETS stream. The members’ engagement with the comments has been especially noticeable in the most recent streams—it feels like a symbiotic relationship.

***

—Finally, a word for those who are looking forward to the project’s future.

Sato: I can confidently say that LLLL is a new experience made possible because of the times we live in. Because of that, it is very high-context, so it’s hard to explain how it will make you feel or what kind of game it is—you must play it to understand. We are very aware of how much of a hurdle this is, and how it might be difficult to get a grasp on if you start later.

But if you’re willing to take that first step into the world of LLLL, we promise to bring you content that is worth following. So to those reading this interview: please do consider trying it out once, even if it’s with a window-shopping mindset.

Fujimoto: Hasunosora’s story can only happen because of everyone watching. We hope you’ll keep supporting us!

Sato: We’ve prepared plenty of tricks up our sleeves for the end of the school year in March, so please look forward to it!

Credits

Translation: ramen Translation check: xIceArcher Various suggestions: Yahallo, Yujacha, zura

[isilrina]

Happy Art Monday!

Started at the end of last year, this piece underwent several reworkings and additions until completion due to delays during the holiday season. Originally intended for posting before the year's end, circumstances led to its completion a few days later, marking the new year with another addition to my Andromeda Six fanart collection.

'Close your eyes' portrays a pivotal moment in the relationship between the main character, Jiro, and Vexx from the game Andromeda Six. The two Kitalphan men, Jiro and Vexx were a couple before the treacherous coup shook their bond. Despite the turmoil, Jiro eventually realized Vexx was a victim as much as he was, and their love rekindled amidst the trials faced aboard the Andromeda Six.

While Nat' embodied boldness and Rina exuded emotional depth, Jiro stands as the most gentle and tender of my OCs so far. His tendency to avoid problems in hopes of their disappearance contrasts the harsh reality that he faces.

This artwork captures a crucial scene where the main character is falling, and Vexx rushes to catch him before impending danger. Much like the identifying details in previous drawings (the dog tags of Damon and the tattoos of Bash), Vexx's presence is hinted at through a glimpse of his sleeve.

Inspired by the song "Close your eyes" by Digital Daggers, the title encapsulates the essence of the scene, hinting at a moment of trust, protection, and the deep emotional connection shared between Jiro and Vexx amid life-threatening circumstances.

The heartfelt lyrics resonate with the emotional connection shared between the two men, echoing the theme of resilience and solidarity during turbulent times. The imagery portrays a gripping moment where danger looms, yet their unwavering support for each other shines through, depicting a bond strengthened by adversity.

The profound emotions conveyed in the song's lyrics parallel the essence of this artwork, illustrating not only the depth of their connection but also their determination to overcome challenges together. As the song suggests, it echoes the sentiment that despite the chaos surrounding them, their united strength and trust will guide them through the storm.

(Personal notes: As much as I love those hands, I'm not that fond of the background. I'll probably remake it when I'll have some time and I understand how to do what I want.)

Software used: Clip Studio Paint.

"Close your eyes" by Digital Daggers. (On Youtube)

And now I'm gonna take a few minutes to thanks the people who liked, wrote a comment, followed me or rebloged my art since the end of last year.

So here is a huge shout out and thanks to: @broken-little-bhaal-babe, @valkblue, @p0et-is-my-persona, @who-is-riley, @messydiabolical, @rungalwaysheretolisten, @justabadartistlmao, @rasaltav, @ohsotragical, @feydstan, @rachellaurengray, @dramionefeltson, @storyknitter, @kitschycritter, @notrandomatall, @cityofseraphim, @kad-dala, @h3av3nndh3ll, @nony-pandemia, @phans-aesthetic-adventures, @greenberrytea, @princess-paige-place-of-fun, @umbrellaseason, @hathorik, @blackblooms, @chlorhexidini and @mxsunnybop. Each time I saw I had reached one of you, it had brightened my day, so once again, thank you all.

(Unfortunately there was some people I couldn't tag because tumblr didn't let me, so if you are one of them and you see my post, know it is not intentional and thank you.)

I'll try do this more often, it will be easier next time ^^

[mariacallous]

As the United States prepares for the upcoming November election, misinformation and disinformation have spread through memes. Memes are any idea, expression, or opinion that uses text, visual imagery (e.g., a photo, video, or gif file) with or without sound, which can be copied and shared online. For researchers, they are co-constructions that have meaning primarily in humor, which can be shared by multiple users, and in the case of the internet, across various platforms. The convenient availability of commercial artificial intelligence (AI) tools has also contributed to the existing meme economy. Software like X’s AI chatbot called Grok can quickly generate such images, especially with its ability to use famous peoples’ likenesses, copyrighted material, violent content, or pornographic image generation.

The reality is that AI-generated memes have been inserted into the political conversation. These altered images often seem harmless to voters, particularly because they are sometimes shared by people they trust in their personal and professional networks. It can be difficult for policymakers or content moderators to definitively assess their impact because the humor or profile of memes makes them appear innocuous. In the current policy environment where content moderation and domestic AI policy are still evolving, those who develop and disseminate memes can potentially influence voter information about candidate issues, character, and other relevant election information without the usual guardrails that either regulate speech in the U.S. or trigger attention based on the manipulation of political content.

What are memes?

Tugging on the emotions of voters is a critical part of influencing them to act. Memes present unique opportunities because they can disseminate information and foster a sense of community through humor and other apolitical ways. Examples of the persuasive power of memes have appeared in efforts to spread political messaging, alter the stock market, or even influence the way the public thinks about war.

The current campaign efforts on both sides are also no exception. The Trump campaign and his allies have created an assortment of AI-generated memes to uplift the former president, which have been shared on the social media platform X and Truth Social. There has also been a share of visualizations that have ridiculed the other side, including one of Vice President Kamala Harris leading a communist rally, while another showed many Taylor Swift fans endorsing his campaign. Trump supporters like Musk have even reposted an AI-altered, “parody” video of Harris calling herself a “deep state puppet” and “the ultimate diversity hire.”

On the other side, Vice President Harris’ campaign and allies have generated their own share of memes. During the 2024 Democratic National Convention, the highest number of content creators and online influencers ever were in attendance to capture these and other messages for attendees and viewers. Throughout the event, robust online content was created, including the dissemination of memes to capture emotional responses to the various activities and speakers. Doug Emhoff, the second gentlemen, was often the subject of memes as he openly conveyed his support for his wife, Kamala Harris. Tim Walz’s son, Gus, also became a viral meme as he mouthed his admiration for his father during the acceptance speech. The Harris campaign and allies have been equally culpable in their use of satirical tools. Her team has also been accused of falsely captioning AI-generated videos and memes of the former president. Through their use of clips from a Trump rally in North Carolina, the Harris social media account played up the theme that the former president was “lost and confused” in his suggestion that he was in another state—a point that was later fact-checked and clarified by the Harris team.

Probably the most viral memes being shared by both parties and their allies have been those AI-generated memes of cats on social media platforms, which tout the conspiracy theory and disinformation reference by Trump regarding Haitian immigrants eating pets in Springfield, Ohio—some of which were posted by the former president himself.

As these visualizations continue to become a part of the political landscape, memes will increasingly feed into misinformation and disinformation efforts, and cloak facts in humor and satire to elicit more emotional responses from voters. Due to congressional inaction on copyright protections for the data training large language models (LLMs) or more stringent legislation to curb the flow of false information, memes can flourish and, under current election laws, be perceived to be harmless in nature.

Memes are also not necessarily deepfakes

Congress has also made it clear how they categorize memes when it comes to election and other voter interference. Pending legislation, including the DEEPFAKES Accountability Act, create carve outs for memes, humor, satire, parody, and other commentary as a justification of an individual’s freedom of expression. However, the task of deciphering what is parody and what is deceptive can be very challenging. Despite the deceptive posts by Trump and Musk, for example, the label of satire provides some immunity from liability. Such posts also receive additional protections under Section 230, which shields online platforms that disseminate the information from any liability or association—even if vile or offensive.

Memes also can provoke “rage-baiting,” which refers to using online content to elicit strong negative emotional reactions from users. However, the significant gaps in policy make their dissemination possible and plausible. An examination of the handling of memes in a global context makes the case for stronger guardrails and increased community awareness.

Globally, memes have been perceived as fueling extremist behavior. In 2024, a memo from the Netherland’s National Coordinator for Counterterrorism and Security (NCCS) considered memes to be an “online weapon,” suggesting that the lack of strong content moderation on online platforms has made it easier for memes to thrive and nest themselves in mainstream messaging that disguise their goal of radicalizing unsuspecting online users. In their new book “Lies That Kill,” co-authors Darrell West and Elaine Kamarck point to these and other examples that persuade not just voters, but other everyday people, to consume false information at rapid speeds.

Memes are the next form of political influence

Misinformation and disinformation will continue to be a focus leading up to the November election. While the time has run out for any meaningful legislation to counter deepfakes prior to this election cycle, AI-generated memes are something that policymakers, and especially campaigns, need to monitor. Because of their ability to cloak deeply hateful and vitriolic messages into humorous and satirical images, they have been downplayed in the flow of political rhetoric. Given this, Congress should reconsider the carveouts from pending legislation to quell deepfakes, especially in their use of copyrighted materials and their role in rapidly spreading disinformation. Such loose creation and dissemination of memes should also encourage Congress and other lawmakers to consider some real investments in AI literacy for everyday people to understand the consequences of what they share online. In the meantime, campaigns need to be on the lookout for memes that are harmful or that could potentially lead to violence.

[misfitwashere]

February 24, 2025

HEATHER COX RICHARDSON

FEB 25

Three years ago today, a massive influx of Russian troops crossed into Ukraine to join the troops that had been there since the 2014 invasion. At the time, it seemed that Russian president Vladimir Putin thought victory would be a matter of days, and observers did not think he was wrong. But Ukraine government officials pointedly filmed themselves in Kyiv, and Ukraine president Volodymyr Zelensky refused to leave. Rejecting the U.S. offer of evacuation, Zelensky replied: “The fight is here. I need ammunition, not a ride.”

For the past three years Ukraine has held off Russia. As Anne Applebaum noted today in The Atlantic, civilian society in Ukraine has volunteered for the war effort, and the defense industry has transformed to produce both hardware and software to hit Russian targets: indeed, Ukraine now leads the world in AI-enabled drone technology. The Ukraine army has become the largest in Europe, with a million people. Ukraine has suffered attacks on civilians, hospitals, and the energy sector, and at least 46,000 soldiers have died, with another 380,000 wounded.

At the same time, Russia’s economy is crumbling as its military production takes from the civilian economy and sanctions prevent other countries from taking up the slack. Inflation is through the roof, and more than 700,000 of those fighting for Russia have been killed or wounded. Applebaum notes that the Institute for the Study of War estimates that at the rate it’s moving, Russia would need 83 years to capture the remaining 80% of Ukraine.

“The only way Putin wins now,” Applebaum writes, “is by persuading Ukraine’s allies to be sick of the war…by persuading Trump to cut off Ukraine…and by convincing Europeans that they can’t win either.” And this appears to be the plan afoot, as U.S. president Donald Trump has directed U.S. officials, including Secretary of State Marco Rubio and National Security Advisor Mike Waltz, to negotiate an end to the war with Russian officials. Neither Ukrainian nor European leaders were invited to the talks that took place last Tuesday in Riyadh, Saudi Arabia.

Three years ago, President Joe Biden and Secretary of State Antony Blinken were key to rallying allies and partners to stand against the invasion, providing war materiel, humanitarian aid, money, and crucial economic sanctions against Russia that began the process of dismantling the Russian economy. Today, Ukraine hosted European leaders, but U.S. officials did not attend.

In the past week, President Donald Trump has embraced Russian propaganda about its invasion. Trump blamed Ukraine for the war that Russia began by invading, called Zelensky a “dictator” for not holding elections during wartime (Russia hopes that it will be able to sway new elections, but Ukraine’s laws bar wartime elections), and lied that the U.S. has provided $350 billion to Ukraine and that half the money is “missing.” In fact, the U.S. has provided about $100 billion, which is less than Europe has contributed, and the U.S. contributions have been mostly in the form of weapons from U.S. stockpiles that defense industries then replaced at home. None of that support is “missing.”

As Peter Baker of the New York Times points out, Trump’s special envoy to Ukraine, Keith Kellogg, said: “we have a pretty good accounting of where it’s going.” Baker’s piece explored how “in Trump’s alternate reality, lies and distortions” will make it easier for Trump to give Putin everything he wants in a peace agreement. For his part, Putin on Saturday launched 267 drones into Ukraine, the largest drone attack of the war.

Today, just a month into the second presidency of Donald Trump, the United States delegation to the United Nations voted against a resolution condemning Russia for its aggression in Ukraine and calling for it to end its occupation. That is, the U.S. voted against a resolution that reiterated that one nation must not invade another, one of the founding principles of the United Nations itself, an organization whose headquarters are actually in the United States. The U.S. voted with Russia, Israel, North Korea, Belarus, and fourteen other countries friendly to Russia against the measure, which passed overwhelmingly. China and India abstained.

On Google Maps, users changed the name of Trump’s Florida club Mar-a-Lago to “Kremlin Headquarters.”

The editorial board of London’s Financial Times noted today that “[i]n the past ten days, [Trump] has all but incinerated 80 years of postwar American leadership.” Instead, it has become an “unabashed predator,” allied with Russia and other countries the U.S. formerly saw as adversaries. The board recalled important moments in which “the US displayed its character as global leader,” and those moments “defined the world’s idea of America.” But a new era has begun. Trump’s assertion that Ukraine “should have never started” the war with Russia, and J.D. Vance’s statement that the real danger in Europe is liberal democracy, are “the dark version of those” moments coming, as they did, “straight from Putin’s talking points.”

Each, the board said, “will live in infamy.” It added that “there should be no doubt that Trump’s contempt for allies and admiration for strongmen is real and will endure.” He is “instinctively committed to the idea that the world is a jungle in which the big players take what they want…. He divides the world into spheres of interest.”

“America,” the board concluded, “has turned.”

It appears Putin thought that breaking the U.S. away from Europe would leave Europe weak and adrift, especially with Germany about to hold elections that Russia hoped Germany’s far-right, pro-Russian party would win and with both Elon Musk and Vice President J.D. Vance having demonstrated their support. But French president Emmanuel Macron, a staunch backer of Ukraine, appears to be stepping into the vacuum caused by the loss of the United States. After the U.S.’s reorientation became clear at the Munich Security Conference on February 14–16, Macron invited European leaders to Paris to discuss the U.S. change.

On Monday, February 17, eight European leaders and the heads of North Atlantic Treaty Organization (NATO) and European Union met; on Wednesday, Macron spoke with the leaders of 19 countries, including Canada, either in person or over videoconferencing. Leaders from Belgium, Bulgaria, Croatia, Cyprus, the Czech Republic, Estonia, Finland, Greece, Iceland, Ireland, Latvia, Lithuania, Luxembourg, Norway, Portugal, Romania, Slovenia, and Sweden also joined the conversation.

The far-right German party made gains in yesterday’s election but did not win. Instead, the center-right party won and will form a government with the outgoing center-left party. The incoming party strongly supports Ukraine.

“I would never have thought that I would have to say something like this,” Germany’s next chancellor, Friedrich Merz, said yesterday, but “it is clear that [Trump’s] government does not care much about the fate of Europe.” He said that his “absolute priority will be to strengthen Europe as quickly as possible so that, step by step, we can really achieve independence from the USA.”

Yesterday the European Union imposed more sanctions on Russia. Today the United Kingdom announced a sweeping package of sanctions rivaling those of the war’s early days. They include sanctions against companies in various countries that supply components like tools, electronics, and microprocessors for Russian munitions. The sanctions also include Russian oligarchs, ships transporting Russian oil, and North Korea’s defense minister No Kwang Chol, whom the U.K. holds responsible for deploying North Korean soldiers to help Russia.

Today, Macron visited Trump at the White House, where the visit got off to a poor start when Trump broke protocol by neglecting to greet Macron when he arrived. During the visit, the two men took questions from the press. Macron maintained a facade of camaraderie with Trump, but as Trump slumped in his chair and recited the inaccuracies that in the U.S. often go uncorrected, Macron seemed comfortable and in command. He interrupted Trump to contradict him in front of reporters and called out Russia for being the aggressor in the war.

John Simpson of the BBC noted that “there are years when the world goes through some fundamental, convulsive change” and that 2025 is on track to be one of them: “a time when the basic assumptions about the way our world works are fed into the shredder.”

—

[nuacam]

So excited to have my hands of the first proper prototype of my NuaCam project. It's crazy to see just how far I have come in a few short months, growing this from a simple idea to a functional device. The goal is to build a camera which utilising ai stylisation to capture reality in a new light. Now I can focus on improving the ai side to try and create exciting styles to use. The first prototype was causing lots of lost hours debugging due to lose wires, so I bite the bullet and designed this pcb to help me develop the software side.

[heathermarielocke]

Effective XMLTV EPG Solutions for VR & CGI Use

Effective XMLTV EPG Guide Solutions and Techniques for VR and CGI Adoption. In today’s fast-paced digital landscape, effective xml data epg guide solutions are essential for enhancing user experiences in virtual reality (VR) and computer-generated imagery (CGI).

Understanding how to implement these solutions not only improves content delivery but also boosts viewer engagement.

This post will explore practical techniques and strategies to optimize XMLTV EPG guides, making them more compatible with VR and CGI technologies.

Proven XMLTV EPG Strategies for VR and CGI Success

Several other organizations have successfully integrated VR CGI into their training and operational processes.

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Challenges and Solutions in Adopting VR CGI Technology

Adopting Virtual Reality (VR) and Computer-Generated Imagery (CGI) technologies presents a set of unique challenges that can impede their integration into XMLTV technology blogs.

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For many first-time users, the initial experience can be daunting, with motion sickness and headaches being common complaints. These factors collectively pose significant hurdles to the widespread acceptance and enjoyment of VR and AR technologies.

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Virtual Reality (VR) and Computer-Generated Imagery (CGI) hold incredible potential for various industries, but many face challenges in adopting these technologies.

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Want to learn more? You can hop over to this website to have a clear insights into how to elevate your multimedia projects and provide seamless access to EPG channels.

[accio-victuuri]

excerpts from this Sohu Entertainment article about SBMS : Xiao Zhan and Bai Baihe co-starred in "The Sun Is With Me", the director and screenwriter responded: They are 100% suitable for the roles

After talking to director Song Xiaofei and screenwriter Li Xiao, we learned that this project is composed of many "coincidences". For example, the screenwriter did not know in advance that Xiao Zhan had experience as a designer, but the character Sheng Yang happened to need Xiao Zhan's designer skills.

Li Xiao also lamented that Xiao Zhan gave him surprises beyond the characters given by the screenwriter. "In the scene where Sheng Yang and Jian Bing reunited, Xiao Zhan's whole state was beyond my expectation. Heart-pounding, affectionate, awkward, happy and disappointed, there were many layers of complicated feelings. I didn't expect him to perform them all. When I watched it, i was very impressed.”

He has a sense of age, a kind of persistence that is rare in today's people." After meeting Xiao Zhan, Li Xiao decided to integrate his "focus and persistence" into Sheng Yang. Sheng Yang has been obsessed with Jian Bing for ten years. "This point is added based on the characteristics of actor Xiao Zhan, so he and Sheng Yang are completely suitable."

According to director Song Xiaofei, the compatibility between the starring role is 100%. "Our actors are all very good-looking. Xiao Zhan and Bai Baihe are 100% suitable for their roles. Xiao Zhan has big eyes and big facial features. When you put them in the picture, I am a photographer, and they all look great." I feel very comfortable. It happens that he has done design and studied painting. Sitting at Shengyang's workstation, when he turned on the computer, he happened to have operated all the software. Like the three-dimensional design drawing of the moon cake gift box, he also If you know how to operate the machine, you can shoot him directly with the machine, which is very realistic."

Xiao Zhan, who was born in Chongqing and majored in design, returned to Chongqing to play a designer role. In the eyes of the audience, this is also a coincidence. However, after the main creator revealed the secret, we learned that this coincidence actually includes some of their considerations and designs.

"Why not choose Shanghai? Shanghai also has a strong urban feel. But considering that the actor has lived in that environment since he was a child, and he has this life experience, it will be easier for him to get close to the character and he will be more confident in his performance." After inspecting Chongqing at that time , Later, the director felt that the romantic night scene of the city was very suitable for the temperament of "SBMS". In addition, Xiao Zhan, the actor who plays Sheng Yang, is familiar with Chongqing, so he finally chose Chongqing. "As long as he is placed in Chongqing, his suitability will be perfect."

"There are many traces of his life in Shengyang's home, including the basketballs placed at home, posters on the walls, green plants on the windowsill, etc..." The director hopes that the audience can capture the reality from these details feel.

There is also a "coincidence" that the protagonists of "SBMS" "happen" to have an age difference, which is a popular sibling relationship on the screen in recent years.

But the creators didn’t want to use the sibling relationship as a “gimmick.”

"Every emotional model has its own merits, but our protagonists happen to have an age difference. Because this is the first time for both of us to write such a pure emotional drama, we hope to bring all our true emotions to life. All the love feelings of thirty or forty years are poured in at once." Screenwriter Li Xiao explained.

In addition to the love between brother and sister, what also triggered discussions were the social topics involved in the play.

In the company where Sheng Yang works, workplace bullying and workplace harassment among employees occur from time to time; the protagonist’s life is also accompanied by propositions and confusions that cannot be escaped in urban life, such as pressure to get married, red lights on marriage, middle-age crisis, divorce cooling-off period, but also family pressure, ordinary people's sense of "unworthiness."

Not only is Sheng Yang closer to contemporary young people, but when we turn our attention to Sheng Yang's family, we can still see the screenwriter's touch on life. Shengyang's mother, Luo Meijuan, works as a supermarket weigher. Her life has always revolved around the trivial daily affairs of her family and children, but she bought a 3,000 yuan skirt for a class reunion. When her husband Sheng Xiangqiang, a sanitation worker with a low income, found out, they had a big quarrel. This plot sparked heated discussions on short video platforms.

How to describe the characters in life, and how to capture the psychology of Sheng Xiangqiang and Luo Meijuan in this incident? Li Xiao told Sohu Entertainment that this is actually a "feeling of unworthiness" - stemming from an inferiority complex, subconsciously believing that one is not good enough and does not deserve good things. "I also discussed this feeling of unworthiness when communicating with psychiatrists. This situation is more common among my parents' generation. In their eyes, 3,000 yuan was a huge sum of money ten years ago, but now it is only If they can buy a skirt, of course they will be reluctant to part with it. Because they have suffered a lot, they will cherish material things even more."

"I think the so-called social topics are actually people's topics." In the view of director Song Xiaofei, the intensive social topics of "SBSMS" are closely related to the sense of reality that the series pursues. "For a 26-year-old social worker, encountering Pua in the company and being suppressed by his boss may be something he encounters in daily life. As long as there are people around and as long as someone's story happens, there will be these topics."

"We didn't insert topics very rigidly, we just followed the protagonist's story and brought it naturally. Because in fact, if we want to, there are many topics that can trigger discussion, but those may have nothing to do with our Shengyang story, so we won't Put it inside." Song Xiaofei added.

During the interview, the director also shared a short story.

Before the filming of "SBMS" officially started, Xiao Zhan approached Song Xiaofei and wanted to know what the director thought of Sheng Yang. "Xiao Zhan asked me if I wanted him to be thinner, or if he needed me to be stronger. I said that I think Sheng Yang must be sunny and healthy, and the audience needs to see wider shoulders."

Xiao Zhan listened. On the filming set, he took every moment to do push-ups and pull-ups using on-site props to achieve Sheng Yang's body shape from the director's perspective.

[digitaldetoxworld]

Top 10 Emerging Tech Trends to Watch in 2025

 Technology is evolving at an unprecedented tempo, shaping industries, economies, and day by day lifestyles. As we method 2025, several contemporary technology are set to redefine how we engage with the sector. From synthetic intelligence to quantum computing, here are the important thing emerging tech developments to look at in 2025.

Top 10 Emerging Tech Trends In 2025

1. Artificial Intelligence (AI) Evolution

AI remains a dominant force in technological advancement. By 2025, we will see AI turning into greater sophisticated and deeply incorporated into corporations and personal programs. Key tendencies include:

Generative AI: AI fashions like ChatGPT and DALL·E will strengthen similarly, generating more human-like textual content, images, and even films.

AI-Powered Automation: Companies will more and more depend upon AI-pushed automation for customer support, content material advent, and even software development.

Explainable AI (XAI): Transparency in AI decision-making becomes a priority, ensuring AI is greater trustworthy and comprehensible.

AI in Healthcare: From diagnosing sicknesses to robot surgeries, AI will revolutionize healthcare, reducing errors and improving affected person results.

2. Quantum Computing Breakthroughs

Quantum computing is transitioning from theoretical studies to real-global packages. In 2025, we will expect:

More powerful quantum processors: Companies like Google, IBM, and startups like IonQ are making full-size strides in quantum hardware.

Quantum AI: Combining quantum computing with AI will enhance machine studying fashions, making them exponentially quicker.

Commercial Quantum Applications: Industries like logistics, prescribed drugs, and cryptography will begin leveraging quantum computing for fixing complex troubles that traditional computer systems can not manage successfully.

3. The Rise of Web3 and Decentralization

The evolution of the net continues with Web3, emphasizing decentralization, blockchain, and user possession. Key factors consist of:

Decentralized Finance (DeFi): More economic services will shift to decentralized platforms, putting off intermediaries.

Non-Fungible Tokens (NFTs) Beyond Art: NFTs will find utility in actual estate, gaming, and highbrow belongings.

Decentralized Autonomous Organizations (DAOs): These blockchain-powered organizations will revolutionize governance systems, making choice-making more obvious and democratic.

Metaverse Integration: Web3 will further integrate with the metaverse, allowing secure and decentralized digital environments.

4. Extended Reality (XR) and the Metaverse

Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR) will retain to improve, making the metaverse extra immersive. Key tendencies consist of:

Lighter, More Affordable AR/VR Devices: Companies like Apple, Meta, and Microsoft are working on more accessible and cushty wearable generation.

Enterprise Use Cases: Businesses will use AR/VR for far flung paintings, education, and collaboration, lowering the want for physical office spaces.

Metaverse Economy Growth: Digital belongings, digital real estate, and immersive studies will gain traction, driven via blockchain technology.

AI-Generated Virtual Worlds: AI will play a role in developing dynamic, interactive, and ever-evolving virtual landscapes.

5. Sustainable and Green Technology

With growing concerns over weather alternate, generation will play a vital function in sustainability. Some key innovations include:

Carbon Capture and Storage (CCS): New techniques will emerge to seize and keep carbon emissions efficaciously.

Smart Grids and Renewable Energy Integration: AI-powered clever grids will optimize power distribution and consumption.

Electric Vehicle (EV) Advancements: Battery generation upgrades will cause longer-lasting, faster-charging EVs.

Biodegradable Electronics: The upward thrust of green digital additives will assist lessen e-waste.

6. Biotechnology and Personalized Medicine

Healthcare is present process a metamorphosis with biotech improvements. By 2025, we expect:

Gene Editing and CRISPR Advances: Breakthroughs in gene modifying will enable treatments for genetic disorders.

Personalized Medicine: AI and big statistics will tailor remedies based on man or woman genetic profiles.

Lab-Grown Organs and Tissues: Scientists will make in addition progress in 3D-published organs and tissue engineering.

Wearable Health Monitors: More superior wearables will music fitness metrics in actual-time, presenting early warnings for illnesses.

7. Edge Computing and 5G Expansion

The developing call for for real-time statistics processing will push aspect computing to the vanguard. In 2025, we will see:

Faster 5G Networks: Global 5G insurance will increase, enabling excessive-velocity, low-latency verbal exchange.

Edge AI Processing: AI algorithms will system information in the direction of the source, reducing the want for centralized cloud computing.

Industrial IoT (IIoT) Growth: Factories, deliver chains, and logistics will advantage from real-time facts analytics and automation.

Eight. Cybersecurity and Privacy Enhancements

With the upward thrust of AI, quantum computing, and Web3, cybersecurity will become even more essential. Expect:

AI-Driven Cybersecurity: AI will come across and prevent cyber threats extra effectively than traditional methods.

Zero Trust Security Models: Organizations will undertake stricter get right of entry to controls, assuming no entity is inherently sincere.

Quantum-Resistant Cryptography: As quantum computer systems turn out to be greater effective, encryption techniques will evolve to counter potential threats.

Biometric Authentication: More structures will rely on facial reputation, retina scans, and behavioral biometrics.

9. Robotics and Automation

Automation will hold to disrupt numerous industries. By 2025, key trends encompass:

Humanoid Robots: Companies like Tesla and Boston Dynamics are growing robots for commercial and family use.

AI-Powered Supply Chains: Robotics will streamline logistics and warehouse operations.

Autonomous Vehicles: Self-using automobiles, trucks, and drones will become greater not unusual in transportation and shipping offerings.

10. Space Exploration and Commercialization

Space era is advancing swiftly, with governments and private groups pushing the boundaries. Trends in 2025 include:

Lunar and Mars Missions: NASA, SpaceX, and other groups will development of their missions to establish lunar bases.

Space Tourism: Companies like Blue Origin and Virgin Galactic will make industrial area travel more reachable.

Asteroid Mining: Early-level research and experiments in asteroid mining will start, aiming to extract rare materials from area.