En un rincón oscuro de mi alma, donde las palabras se entrelazan como ambigramas, siento el peso de la soledad. La simetría gráfica de mis pensamientos se distorsiona, reflejando un vacío que resuena con cada latido de mi corazón. La vida, en su misteriosa danza, se convierte en un juego cruel donde los sueños se desvanecen como un eco lejano. Cada ambigrama que encuentro parece contar una historia de anhelos no cumplidos, de promesas rotas y de la búsqueda interminable de conexiones que nunca llegan. En este universo inoui, donde los reflejos de palabras me miran con tristeza, me doy cuenta de que la belleza puede ser tan dolorosa como la soledad misma. Las letras giran y se transforman, pero en mi realidad, los colores se desvanecen, dejando solo tonos grises que susurran una tristeza infinita. A veces, me pregunto si hay alguien que comparta esta carga, esta sensación de estar atrapado en un laberinto de pensamientos que no encuentran salida. La simetría que busco en las relaciones humanas se quiebra, dejando fragmentos que duelen más que la ausencia misma. Los ambigramas, con su magia visual, me recuerdan que incluso las palabras pueden ser engañosas, que lo que parece bello a simple vista puede estar lleno de contradicciones dolorosas. La soledad se convierte en mi única compañera, susurrando secretos que nadie más escucha. Me siento perdido en un espacio donde el arte y la comunicación se mezclan, pero mi voz se ahoga en el silencio. La búsqueda del sentido, de la conexión, se siente como un laberinto sin salida, donde cada intento de acercamiento se encuentra con la fría indiferencia del universo. A medida que la noche se cierne sobre mí, las estrellas se convierten en testigos silenciosos de mi tristeza. La belleza de los ambigramas, con su simetría y su significado oculto, se asemeja a la lucha interna que llevo dentro. Un reflejo de un deseo profundo de ser comprendido, de ser visto, pero la realidad es un espejo roto que no refleja nada más que mi soledad. Así, en este universo de ambigramas y palabras, sigo buscando la luz que parece esquiva. La esperanza se convierte en un hilo delgado que se estira, pero que nunca se rompe del todo. Quizás, algún día, encontraré a alguien que entienda este laberinto de emociones, que pueda ver más allá de las palabras y las imágenes, y que sepa que, detrás de cada simetría, hay un corazón latiendo con tristeza. #Soledad #Ambigramas #Reflejos #Tristeza #Palabras

In the shadows of a world that seems to have forgotten me, I find myself reflecting on the haunting image of Donald Trump, the martyr who enters history with a face stained by struggle. This image, where he raises his fist, shouting “I am alive, fight for me!” resonates deep within my soul, as I too feel the weight of a battle fought in silence. Each day, I awaken to a reality that feels increasingly isolating, a cacophony of voices drowning out my own. Like Trump, I stand amidst the chaos, yearning for recognition, for some semblance of belonging. His bloodied visage, a symbol of defiance, mirrors my own wounds—unseen, unacknowledged. The world rushes past, busy with its narratives, while I linger in the echoes of my solitude. Amidst the noise, I am reminded of my own struggles, my own fight to be seen and heard. The image of Trump, once a figure of controversy, now appears as a tragic hero to those who believe in his cause. But what of those of us fighting our personal battles, who find ourselves trapped in the shadows? Where is our anthem of resilience? Where is our history being carved? I feel the piercing sting of betrayal as I navigate through relationships that feel more like ghosts than connections. Friends fade into the background, their lives moving forward while I remain tethered to a past that haunts me. As I watch the world celebrate moments of triumph and unity, my heart aches with the knowledge that I am left behind, like a forgotten footnote in a story that no longer includes me. There’s a certain pain that comes with this realization, a deep-seated loneliness that wraps around me like a shroud. Each moment of joy I witness in others feels like a dagger to my heart, a reminder of the warmth I long for but cannot touch. I am an outsider looking in, yearning for the camaraderie that seems so easily accessible to others. In the end, perhaps we are all just martyrs in our own right—fighting battles that may never be recognized, enduring pain that may never find an audience. As I sit here, reflecting on the image of a man who has become a symbol of resilience amidst adversity, I am reminded that my voice, too, has the power to resonate. I will not let my story fade into obscurity; I will fight for my place in this world, even if it feels like an uphill battle. For those who feel as I do, remember: we are not alone. Our struggles may be silent, but they matter. We are alive, and we will continue to fight. #Loneliness #Struggle #Resilience #Martyrdom #Isolation

La bibliothèque ZenShaders est en fait une collection qui s'agrandit lentement. Elle propose des matériaux, des outils, des textures et des pinceaux. Tout cela est censé rendre votre flux de travail un peu plus rapide quand vous êtes en train de texturer, dessiner ou sculpter. Dans cette première mise à jour, il y a 120 matériaux stylisés, 50 décalcomanies et 50 textures grunge. Dommage, ça ne fait pas vraiment vibrer, mais bon, pour ceux qui utilisent Blender ou Substance Painter, ça pourrait aider un peu. Il y a aussi des cartes de textures incluses si jamais vous avez envie de les utiliser dans d'autres programmes. Franchement, on est loin de l'excitation. C'est juste une autre bibliothèque parmi tant d'autres. Qui sait, peut-être qu'un jour, ça deviendra vraiment utile. Pour l'instant, ça reste un peu plat. Si vous cherchez à remplir votre collection sans trop d'enthousiasme, pourquoi pas jeter un œil. Mais encore une fois, n'attendez pas de miracles. #ZenShaders #Textures #Blender #SubstancePainter #Art

In a world where the line between reality and digital wizardry is blurrier than ever, the recent revelations from the VFX wizards of "Emilia Pérez" are nothing short of a masterclass in illusion. Who knew that behind the glitzy allure of cinema, the real challenge lies not in crafting captivating stories but in wrestling with software like Meshroom, which sounds more like a trendy café than a tool for tracking and matchmoving? Cédric Fayolle and Rodolphe Zirah, the dynamic duo of visual effects from Les Artizans and MPC Paris, have bravely ventured into the trenches of studio filming, armed with little more than their laptops and a dream. As they regale us with tales of their epic battles against rogue pixels and the occasional uncooperative lighting, one can't help but wonder if their job descriptions should include "mastery of digital sorcery" along with their technical skills. The irony of creating breathtaking visuals while juggling the whims of digital tools is not lost on us. It's like watching a magician pull a rabbit out of a hat, only the hat is a complex software that sometimes works and sometimes… well, let's just say it has a mind of its own. Honestly, who needs a plot when you have VFX that can make even the dullest scene sparkle like it was shot on a Hollywood red carpet? As they delve into the challenges of filming in a controlled environment, the question arises: are we really impressed by the visuals, or are we just in awe of the technology that makes it all possible? Perhaps the true stars of "Emilia Pérez" aren’t the actors or the storyline, but rather the invisible hands of the VFX teams. And let’s face it, if the storyline fails to captivate us, at least we'll have some eye-popping effects to distract us from the plot holes. So, as we eagerly await the final product, let’s raise a glass to Cédric and Rodolphe, the unsung heroes of the film industry, tirelessly working behind the curtain to ensure that our cinematic dreams are just a few clicks away. After all, who wouldn’t want to be part of a film where the biggest challenge is making sure the virtual sky doesn’t look like a poorly rendered video game from the '90s? In the grand scheme of the film industry, one thing is clear: with great VFX comes great responsibility—mainly the responsibility to keep the audience blissfully unaware of how much CGI magic it takes to make a mediocre script look like a masterpiece. Cheers to that! #EmiliaPérez #VFX #FilmMagic #DigitalSorcery #Cinema

Il est vraiment inacceptable de voir le Festival d'Annecy 2025 se dérouler sous un soleil de plomb, alors que le MIFA (Marché International du Film d'Animation) semble s'enliser dans une absence totale de transparence et de chiffres concrets. Comment peut-on parler de "légère hausse" de la fréquentation sans fournir de données précises ? C'est un manque de respect envers les professionnels et les festivaliers qui se déplacent pour découvrir des œuvres d'animation et échanger des idées. Les discours enflés et les promesses non tenues de certains acteurs comme TeamTO et TAT sont tout simplement révoltants. On nous parle de revit et de séduire, mais où sont les résultats tangibles ? Les projets ambitieux doivent se traduire par des réalisations palpables, et non par des slogans creux qui ne font que masquer une réalité bien plus sombre. Le MIFA doit être un lieu d'innovation et de réflexion, pas un simple défilé d'illusions. Et que dire de l'organisation elle-même ? Les conférences, bien que nombreuses, manquent souvent de substance. On s'ennuie à mourir tandis que les vraies questions, celles qui pourraient faire avancer l'industrie, restent sans réponse. Au lieu de s'attaquer aux problèmes de fond, comme la question de la diversité et de l'inclusion dans le secteur de l'animation, on préfère se concentrer sur des chiffres gonflés et des apparences. C'est une véritable trahison envers ceux qui passionnent pour l'animation et qui espèrent voir leur voix entendue. Nous sommes dans une époque où la technologie évolue à une vitesse fulgurante, et l'animation est à la croisée des chemins. Pourtant, ici, à Annecy, on a l'impression que l'on piétine sur place, perdu dans des discours vides et des projections qui ne servent qu'à flatter l'égo de quelques privilégiés. Il est grand temps que le MIFA prenne ses responsabilités et commence à agir de manière responsable et proactive. Pourquoi ne pas offrir une vraie plateforme pour les jeunes talents ? Pourquoi ne pas encourager les discussions sérieuses sur les défis du secteur au lieu de se contenter de flatter les industries établies ? Il est temps de remettre en question le statu quo, de bousculer les habitudes et de vraiment se demander ce que signifie "réussir" dans un festival qui se veut d'avant-garde. En somme, le Festival d'Annecy et le MIFA doivent se réveiller. Il est inacceptable de continuer à faire passer des discours creux pour des avancées. Les passionnés d'animation méritent mieux que cela. Ils méritent un festival qui les représente vraiment et qui prend des mesures concrètes pour soutenir l'avenir de l'animation. #FestivalAnnecy #MIFA2025 #Animation #TeamTO #TAT

🌟✨ Oggi voglio condividere con voi la mia eccitazione per il Paris AI Action Summit! Questo evento è stato un vero punto di svolta per l'intelligenza artificiale aperta e pubblica. È incredibile vedere come le conversazioni sull'AI stiano evolvendo e guadagnando slancio! 🚀 Solo un anno fa, all'iconico Bletchley Park, l'AI open source era vista come un rischio. Ma oggi, a Parigi, abbiamo assistito a un cambiamento significativo! 🎉 C'è una crescente consapevolezza che l'intelligenza artificiale aperta non è solo una possibilità, ma una necessità per il nostro futuro. 🌍 Immaginate un mondo in cui le tecnologie AI siano accessibili a tutti, dove le idee brillanti possano prosperare senza barriere! L'AI pubblica può essere uno strumento potente per l'innovazione e il progresso sociale. Possiamo finalmente vedere come l'AI possa contribuire a creare un ambiente in cui ogni voce conta e ogni idea può fare la differenza. 💡❤️ Il summit di Parigi ha messo in luce le potenzialità di collaborazione tra i diversi attori del settore. Non solo aziende e ricercatori, ma anche cittadini, istituzioni e organizzazioni non profit. Insieme, possiamo costruire un ecosistema AI che sia etico, inclusivo e sostenibile. 🤝🌈 E non dimentichiamo l'importanza della trasparenza! L'AI aperta ci offre l'opportunità di costruire fiducia tra i cittadini e la tecnologia. La consapevolezza e la responsabilità devono andare di pari passo, e il summit ha ribadito quanto sia cruciale lavorare insieme per garantire che l'AI serva il bene comune. 🕊️🌟 In conclusione, voglio incoraggiarvi tutti a restare sintonizzati su queste tematiche. Ogni giorno porta nuove opportunità e sfide, ma insieme possiamo affrontarle con entusiasmo e determinazione! Siamo solo all'inizio di un viaggio che potrebbe cambiare il mondo! 🌍❤️ Non dimenticate di impegnarvi e di far sentire la vostra voce! Insieme, possiamo plasmare un futuro luminoso per l'intelligenza artificiale! 💪✨ #AI #IntelligenzaArtificiale #Innovazione #FuturoSostenibile #Parigi2023

Zuzana Licko, a name that should be celebrated as a pioneer of digital typography, is instead a glaring reminder of how the past can be romanticized to the point of absurdity. Yes, she designed some of the first digital typefaces for Macintosh in the '80s and co-founded Emigre, but let’s not pretend that her contributions were flawless or that they didn’t come with a slew of problems that we still grapple with today. First off, we need to address the elephant in the room: the overwhelming elitism in the world of typography that Licko and her contemporaries helped propagate. While they were crafting their innovative typefaces, they were simultaneously alienating a whole generation of designers who lacked access to the tech and knowledge required to engage with this new digital frontier. The so-called "pioneers" of digital typography, including Licko, set a precedent that continues to dominate the industry—making it seem like you need to have an elite background to even participate in typography discussions. This is infuriating and downright unacceptable! Moreover, let’s not gloss over the fact that while she was busy creating typefaces that were supposed to revolutionize our digital experiences, the actual usability of these fonts often left much to be desired. Many of Licko's creations, while visually striking, ultimately sacrificed legibility for the sake of artistic expression. This is a major flaw in her work that deserves criticism. Typography is not just about looking pretty; it’s about ensuring that communication is clear and effective! How many times have we seen products fail because the font was so pretentious that no one could read it? And don’t even get me started on Emigre magazine. Sure, it showcased some brilliant work, but it also became a breeding ground for snobbery and elitism in the design community. Instead of fostering a space for all voices, it often felt like a closed club for the privileged few. This is not what design should be about! We need to embrace diversity and inclusivity, rather than gatekeeping knowledge and opportunity. In an era where technology has advanced exponentially, we still see remnants of this elitist mindset in the design world. The influence of Licko and her contemporaries has led to a culture that often sidelines emerging talents who bring different perspectives to the table. Instead of uplifting new voices, we are still trapped in a loop of revering the same old figures and narratives. This is not progress; it’s stagnation! Let’s stop romanticizing pioneers like Zuzana Licko without acknowledging the problematic aspects of their legacies. We need to have critical conversations about how their work has shaped the industry, not just celebrate them blindly. If we truly want to honor their contributions, we must also confront the issues they created and work towards a more inclusive, accessible, and practical approach to digital typography. #Typography #DesignCritique #ZuzanaLicko #DigitalArt #InclusivityInDesign

The recent announcement of CEAD inaugurating a center dedicated to 3D printing for manufacturing boat hulls is nothing short of infuriating. We are living in an age where technological advancements should lead to significant improvements in efficiency and sustainability, yet here we are, celebrating a move that reeks of superficial progress and misguided priorities. First off, let’s talk about the so-called “Maritime Application Center” (MAC) in Delft. While they dazzle us with their fancy new facility, one has to question the real implications of such a center. Are they genuinely solving the pressing issues of the maritime industry, or are they merely jumping on the bandwagon of 3D printing hype? The idea of using large-scale additive manufacturing to produce boat hulls sounds revolutionary, but let’s face it: this is just another example of throwing technology at a problem without truly understanding the underlying challenges that plague the industry. The maritime sector is facing severe environmental concerns, including pollution from traditional manufacturing processes and shipping practices. Instead of addressing these burning issues head-on, CEAD and others like them seem content to play with shiny new tools. 3D printing, in theory, could reduce waste—a point they love to hammer home in their marketing. But what about the energy consumption and material sourcing involved? Are we simply swapping one form of environmental degradation for another? Furthermore, the focus on large-scale 3D printing for manufacturing boat hulls raises significant questions about quality and safety. The maritime industry is not a playground for experimental technologies; lives are at stake. Relying on printed components that could potentially have structural weaknesses is a reckless gamble, and the consequences could be disastrous. Are we prepared to accept the liability if these hulls fail at sea? Let’s not forget the economic implications of this move. Sure, CEAD is likely patting themselves on the back for creating jobs at the MAC, but how many traditional jobs are they putting at risk? The maritime industry relies on skilled labor and craftsmanship that cannot simply be replaced by a machine. By pushing for 3D printing at such a scale, they threaten the livelihoods of countless workers who have dedicated their lives to mastering this trade. In conclusion, while CEAD’s center for 3D printing boat hulls may sound impressive on paper, the reality is that it’s a misguided effort that overlooks critical aspects of sustainability, safety, and social responsibility. We need to demand more from our industries and hold them accountable for their actions instead of blindly celebrating every shiny new innovation. The maritime industry deserves solutions that genuinely address its challenges rather than a mere technological gimmick. #MaritimeIndustry #3DPrinting #Sustainability #CEAD #BoatManufacturing

A formação na utilização do software Top Designer é uma piada! É inacreditável como as empresas do setor de construção civil ainda se sujeitam a essa metodologia ultrapassada e cheia de falhas. Estamos falando de um software que deveria facilitar a vida dos profissionais da reforma, mas o que vemos é uma verdadeira bagunça que gera mais frustração do que eficiência. Primeiro, vamos falar sobre a duração da formação. Uma meia-jornada, seja pela manhã ou à tarde, é simplesmente ridícula! Como é que alguém pode aprender a usar um software complexo em apenas três horas? O que estão pensando? A proposta é oferecer uma formação que prepara os profissionais para o uso do Top Designer, mas na prática, isso se traduz em um rápido passeio pelas funções básicas, sem realmente aprofundar o conhecimento necessário para gerar resultados eficazes. Isso é um insulto à inteligência dos trabalhadores que dependem desse software para realizar suas tarefas diárias. E o que dizer das “diferentes fotos” que serão utilizadas durante a formação? Fica claro que a abordagem é superficial. O uso de imagens antes e depois dos trabalhos não substitui uma compreensão real das ferramentas e suas aplicações. Precisamos de formações que abordem a fundo as capacidades do Top Designer, incluindo como resolver problemas reais que surgem no dia a dia e não apenas uma exibição de situações idealizadas! Além disso, a opção de realizar a formação nas “suas instalações” ou via internet é uma tentativa de agradar, mas é também uma forma de se esquivar da responsabilidade. O que deveria ser uma experiência de aprendizado envolvente e prática acaba se tornando uma apresentação virtual sem interação real. É fácil simplesmente enviar um webinar e deixar os profissionais se virarem sozinhos. E se por acaso algo não funcionar durante a formação online? O suporte é praticamente inexistente, e o que se vê são pessoas saindo da formação mais confusas do que entraram. E não podemos esquecer da questão do suporte técnico após a formação. Uma vez que os participantes saem da sala de aula, muitos se sentem perdidos e sem direção. O software pode até ter suas vantagens, mas sem um suporte contínuo e eficiente, de que adianta ter aprendido a utilizá-lo de maneira tão deficiente? É um ciclo vicioso que deixa os profissionais desmotivados e sem os resultados que esperam. Em suma, a formação para o uso do software Top Designer é um fracasso retumbante! É hora de exigir padrões mais altos, uma abordagem mais profunda e um compromisso real com a qualidade do aprendizado. O setor de construção merece mais do que uma solução rápida e superficial. Precisamos de profissionais bem treinados que possam realmente fazer a diferença em seus trabalhos. Até lá, continuaremos a ver um mercado repleto de insatisfação e frustração. #TopDesigner #FormaçãoProfissional #ConstruçãoCivil #Tecnologia #Eficiência

Escribir el post perfecto para tu blog parece fácil, pero en realidad es un poco aburrido. Hay muchas cosas que se dicen sobre cómo hacerlo, pero al final, ¿quién tiene ganas de seguir todos esos pasos? Hay más de 250 millones de blogs en Internet, y la verdad, la mayoría de ellos se sienten como una repetición de lo mismo. Primero, supuestamente necesitas elegir un tema. Ya sabes, algo que te apasione. Pero a veces, simplemente no hay ganas. Después, está el asunto del título. Se dice que tiene que ser atractivo, pero lo que importa realmente es si la gente lo va a leer, y a veces ni eso. Luego, se habla de estructurar el contenido. Hay que organizarlo en párrafos, usar subtítulos y tal. Pero, en serio, ¿quién realmente se detiene a leer un post que tiene mil encabezados? A veces, un texto largo y plano es más fácil de digerir. No olvidemos las imágenes. Se recomienda incluir algunas, pero la verdad es que puede dar pereza buscarlas y editarlas. Solo queremos escribir y ya. Y, claro, hay que optimizar para SEO. Insertar palabras clave, crear meta descripciones... suena complicado y, para ser honesto, a veces simplemente no quiero hacerlo. Después de todo eso, viene la parte de promocionar el post. Compartir en redes sociales y esperar que alguien lo lea. A veces, me pregunto si todo este esfuerzo vale la pena. Al final, escribir el post perfecto para tu blog puede ser un proceso tedioso. Puede que sigas estos ocho pasos, pero al final del día, solo queremos que alguien se detenga un momento a leer. O a veces no. Tal vez solo querríamos descansar un poco. #blogging #contenido #SEO #marketingdigital #escribir