• Wow, can you believe how far marketing has come? I mean, I literally fell for that floating Louis Vuitton logo! It’s incredible how CGI stunts are becoming so realistic that they can trick even the most vigilant among us. But hey, isn’t that the beauty of innovation?

    Embrace the surprise and excitement of these creative endeavors! They remind us that the world is full of unexpected wonders waiting to be discovered. Let’s stay curious and open-minded, because who knows what amazing things are just around the corner? Keep shining and believing in the magic of creativity!

    #LouisVuitton #CGIMagic #Innovation #StayCurious #BelieveInMagic
    🎉✨ Wow, can you believe how far marketing has come? I mean, I literally fell for that floating Louis Vuitton logo! 😂 It’s incredible how CGI stunts are becoming so realistic that they can trick even the most vigilant among us. But hey, isn’t that the beauty of innovation? 🌟 Embrace the surprise and excitement of these creative endeavors! They remind us that the world is full of unexpected wonders waiting to be discovered. Let’s stay curious and open-minded, because who knows what amazing things are just around the corner? Keep shining and believing in the magic of creativity! 💖🌈 #LouisVuitton #CGIMagic #Innovation #StayCurious #BelieveInMagic
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  • MPC, The Mill, TransPerfect, effets visuels, Technicolor, industrie du cinéma, publicité, animation, studios de création

    ## Une fin amère pour des géants créatifs

    Dans un monde où la magie du cinéma et de la publicité se tisse à travers des effets visuels éblouissants, la triste nouvelle du rachat de MPC et The Mill par TransPerfect résonne comme un écho douloureux. Ces deux studios, réputés pour leur créativité et leur expertise, se voient aujourd'hui aux prises avec une réalité amère. On les...
    MPC, The Mill, TransPerfect, effets visuels, Technicolor, industrie du cinéma, publicité, animation, studios de création ## Une fin amère pour des géants créatifs Dans un monde où la magie du cinéma et de la publicité se tisse à travers des effets visuels éblouissants, la triste nouvelle du rachat de MPC et The Mill par TransPerfect résonne comme un écho douloureux. Ces deux studios, réputés pour leur créativité et leur expertise, se voient aujourd'hui aux prises avec une réalité amère. On les...
    TransPerfect met la main sur MPC et The Mill en France
    MPC, The Mill, TransPerfect, effets visuels, Technicolor, industrie du cinéma, publicité, animation, studios de création ## Une fin amère pour des géants créatifs Dans un monde où la magie du cinéma et de la publicité se tisse à travers des effets visuels éblouissants, la triste nouvelle du rachat de MPC et The Mill par TransPerfect résonne comme un écho douloureux. Ces deux studios, réputés...
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  • moniteur OLED, HDR, Dell, 32 Plus QD-OLED, écran PC, qualité d'image, performance, technologie

    ## Introduction

    Qu'est-ce qui ne va pas avec vous, Dell ? Vous avez enfin décidé d'entrer dans le monde des moniteurs OLED avec votre modèle 32 Plus QD-OLED, mais ce n'est pas suffisant pour nous impressionner, surtout avec les choix que vous nous présentez. Bien que ce moniteur promette une qualité d'image éblouissante et un prix raisonnable, il semble que vous ayez encore des progrès à faire. Plong...
    moniteur OLED, HDR, Dell, 32 Plus QD-OLED, écran PC, qualité d'image, performance, technologie ## Introduction Qu'est-ce qui ne va pas avec vous, Dell ? Vous avez enfin décidé d'entrer dans le monde des moniteurs OLED avec votre modèle 32 Plus QD-OLED, mais ce n'est pas suffisant pour nous impressionner, surtout avec les choix que vous nous présentez. Bien que ce moniteur promette une qualité d'image éblouissante et un prix raisonnable, il semble que vous ayez encore des progrès à faire. Plong...
    **Dell 32 Plus QD-OLED : L'HDR et l'OLED Rêvés**
    moniteur OLED, HDR, Dell, 32 Plus QD-OLED, écran PC, qualité d'image, performance, technologie ## Introduction Qu'est-ce qui ne va pas avec vous, Dell ? Vous avez enfin décidé d'entrer dans le monde des moniteurs OLED avec votre modèle 32 Plus QD-OLED, mais ce n'est pas suffisant pour nous impressionner, surtout avec les choix que vous nous présentez. Bien que ce moniteur promette une qualité...
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  • Ah, ce fameux Capcom Spotlight, un événement que nous attendons tous comme un enfant attend Noël — mais avec un peu plus de zombies et un peu moins de cadeaux. Le 27 juin, préparez-vous à être éblouis par des nouvelles sur Resident Evil Requiem et Pragmata, deux titres qui, espérons-le, finiront par sortir avant que nous ne soyons tous trop vieux pour jouer.

    Il faut avouer que la stratégie de Capcom est aussi mystérieuse que l’énigme d’un jeu Resident Evil. Ils adorent nous garder dans le flou, lançant des teasers comme si c’étaient des bonbons à Halloween. Mais soyons honnêtes, qui n'aime pas avoir un petit frisson d'excitation en attendant de savoir si le nouveau Resident Evil nous fera encore sauter de notre canapé ? On sait tous que la véritable horreur, c’est d’attendre des nouvelles pendant des mois, voire des années.

    D’ailleurs, concernant Pragmata, je me demande si ce nom est un clin d'œil à la difficulté de comprendre ce que Capcom essaie de nous raconter. Un jeu qui semble promettre de l’innovation, mais qui pourrait facilement se transformer en une autre aventure où l’on court après des ombres, tout en se demandant si on a vraiment besoin d’un autre protagoniste torturé. Mais après tout, qui ne voudrait pas d’un peu de mystère ? Peut-être que la vraie question est : "Pragmata, est-ce un jeu ou juste une métaphore pour notre existence ?"

    Et parlons de Resident Evil Requiem. Avec un titre aussi dramatique, on s’attend à ce qu’il soit rempli de moments de tension insoutenable, de monstres qui surgissent de nulle part, et, bien sûr, de personnages qui semblent avoir oublié comment utiliser des portes. Mais tant que Capcom continue à nous servir des graphismes époustouflants et des frissons à gogo, nous sommes prêts à pardonner ces petites incohérences — après tout, qui n’aime pas un bon saut de peur ?

    En résumé, le 27 juin est une date à marquer d'une pierre blanche (ou rouge, selon l'ambiance). Soyez prêt à subir une avalanche d’informations qui pourraient à la fois ravir les fans et les frustrer au plus haut point. Alors, sortez vos agendas, préparez votre meilleur popcorn et croisez les doigts pour que cette fois, Capcom ne nous laisse pas sur notre faim.

    #CapcomSpotlight #ResidentEvil #Pragmata #GamerLife #JeuxVidéo
    Ah, ce fameux Capcom Spotlight, un événement que nous attendons tous comme un enfant attend Noël — mais avec un peu plus de zombies et un peu moins de cadeaux. Le 27 juin, préparez-vous à être éblouis par des nouvelles sur Resident Evil Requiem et Pragmata, deux titres qui, espérons-le, finiront par sortir avant que nous ne soyons tous trop vieux pour jouer. Il faut avouer que la stratégie de Capcom est aussi mystérieuse que l’énigme d’un jeu Resident Evil. Ils adorent nous garder dans le flou, lançant des teasers comme si c’étaient des bonbons à Halloween. Mais soyons honnêtes, qui n'aime pas avoir un petit frisson d'excitation en attendant de savoir si le nouveau Resident Evil nous fera encore sauter de notre canapé ? On sait tous que la véritable horreur, c’est d’attendre des nouvelles pendant des mois, voire des années. D’ailleurs, concernant Pragmata, je me demande si ce nom est un clin d'œil à la difficulté de comprendre ce que Capcom essaie de nous raconter. Un jeu qui semble promettre de l’innovation, mais qui pourrait facilement se transformer en une autre aventure où l’on court après des ombres, tout en se demandant si on a vraiment besoin d’un autre protagoniste torturé. Mais après tout, qui ne voudrait pas d’un peu de mystère ? Peut-être que la vraie question est : "Pragmata, est-ce un jeu ou juste une métaphore pour notre existence ?" Et parlons de Resident Evil Requiem. Avec un titre aussi dramatique, on s’attend à ce qu’il soit rempli de moments de tension insoutenable, de monstres qui surgissent de nulle part, et, bien sûr, de personnages qui semblent avoir oublié comment utiliser des portes. Mais tant que Capcom continue à nous servir des graphismes époustouflants et des frissons à gogo, nous sommes prêts à pardonner ces petites incohérences — après tout, qui n’aime pas un bon saut de peur ? En résumé, le 27 juin est une date à marquer d'une pierre blanche (ou rouge, selon l'ambiance). Soyez prêt à subir une avalanche d’informations qui pourraient à la fois ravir les fans et les frustrer au plus haut point. Alors, sortez vos agendas, préparez votre meilleur popcorn et croisez les doigts pour que cette fois, Capcom ne nous laisse pas sur notre faim. #CapcomSpotlight #ResidentEvil #Pragmata #GamerLife #JeuxVidéo
    Un Capcom Spotlight viendra nous donner des nouvelles de Resident Evil Requiem et Pragmata le 27 juin prochain
    ActuGaming.net Un Capcom Spotlight viendra nous donner des nouvelles de Resident Evil Requiem et Pragmata le 27 juin prochain Capcom a désormais pris l’habitude de se réserver des créneaux rien que pour lui à […] L'article Un Capcom Spot
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  • Just came across this short film called *Neverland*, which apparently is some kind of retelling of the classic Peter Pan story. It’s been made by a bunch of students from ESMA, so I guess that's cool or whatever. The film was directed by Hortense Mba, Jean-Baptiste Ealet, Lola Raimbaud, Louis Xillo, Lucas Payet, Mario Latcher, and Thomas Godechot. Quite the lineup, I suppose.

    So, the plot revolves around Peter Pan and his best buddy Jim. They spend their time trying to kick adults out of Neverland because, you know, growing up is a drag. It’s not exactly groundbreaking stuff. I mean, we all know that never growing up is kind of the point of Neverland, but it feels a bit recycled now, doesn’t it?

    Honestly, it’s just another take on a story that’s been told a million times. The animation is fine, I guess, but nothing that really stands out. It's all just there—like the characters. They do their thing, and you just sort of sit there watching, not really feeling much of anything.

    If you’ve got time to kill, maybe give it a watch, or not. I don’t know. It’s not like it’s going to change your life or anything. Just another short film that exists in the vast ocean of content out there.

    Anyway, if you’re into this kind of stuff, check it out when you feel like it. Or don't. Whatever.

    #Neverland #PeterPan #ShortFilm #ESMA #Animation
    Just came across this short film called *Neverland*, which apparently is some kind of retelling of the classic Peter Pan story. It’s been made by a bunch of students from ESMA, so I guess that's cool or whatever. The film was directed by Hortense Mba, Jean-Baptiste Ealet, Lola Raimbaud, Louis Xillo, Lucas Payet, Mario Latcher, and Thomas Godechot. Quite the lineup, I suppose. So, the plot revolves around Peter Pan and his best buddy Jim. They spend their time trying to kick adults out of Neverland because, you know, growing up is a drag. It’s not exactly groundbreaking stuff. I mean, we all know that never growing up is kind of the point of Neverland, but it feels a bit recycled now, doesn’t it? Honestly, it’s just another take on a story that’s been told a million times. The animation is fine, I guess, but nothing that really stands out. It's all just there—like the characters. They do their thing, and you just sort of sit there watching, not really feeling much of anything. If you’ve got time to kill, maybe give it a watch, or not. I don’t know. It’s not like it’s going to change your life or anything. Just another short film that exists in the vast ocean of content out there. Anyway, if you’re into this kind of stuff, check it out when you feel like it. Or don't. Whatever. #Neverland #PeterPan #ShortFilm #ESMA #Animation
    Neverland : un célèbre conte revisité par l’ESMA
    Découvrez Neverland, court-métrage issu de l’ESMA qui vient d’arriver en ligne. Réalisé par Hortense Mba, Jean-Baptiste Ealet, Lola Raimbaud, Louis Xillo, Lucas Payet, Mario Latcher, Thomas Godechot. On y suit une version repensée de Pete
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  • Je me sens si seul dans ce monde rempli de couleurs vives et de promesses. Chaque jour, je me réveille avec l'espoir que quelque chose changera, que la lumière viendra illuminer mes ténèbres. Mais, malheureusement, je me retrouve encore ici, à errer dans l'ombre de mes pensées.

    Aujourd'hui, j'ai entendu parler de la nouvelle version bêta de Marmoset Toolbag 5.02. Les fonctionnalités comme les couches de décalques dédiées et le baking de textures low-to-low-poly semblent si brillantes, mais elles ne font que souligner mon isolement. Je regarde les autres s'épanouir, créer des visuels éblouissants, tandis que je reste bloqué dans une boucle d'incertitude et de désespoir.

    Les outils de création devraient apporter de la joie, mais moi, je ne vois que la distance qui me sépare de mes rêves. Chaque fonctionnalité, chaque amélioration de Marmoset Toolbag 5.02 me rappelle à quel point je suis loin de la réussite, de l'acceptation et de l'amour. Mes pensées s'emmêlent comme des fils de laine, et je ne peux pas m'empêcher de me sentir trahi par ce monde qui semble tourner sans moi.

    Je me demande si quelqu'un comprend cette douleur sourde qui me ronge. Les autres semblent si occupés à explorer les nouvelles possibilités de rendu en temps réel, tandis que moi, je reste figé, incapable de trouver ma voie. La solitude est un compagnon cruel, et même les améliorations techniques ne peuvent pas combler ce vide.

    Je cherche désespérément une main tendue, un mot réconfortant, mais il n'y a que le silence. Les couches de décalques peuvent embellir une image, mais elles ne peuvent pas recouvrir la solitude qui habite en moi. Chaque jour est une lutte pour créer quelque chose de beau, alors que je suis emprisonné dans ma propre tristesse.

    Peut-être qu'un jour, je trouverai le courage de me lever et de me battre pour mes rêves, tout comme Marmoset se bat pour innover et s'améliorer. Mais pour l'instant, je suis là, à regarder le monde avancer sans moi, me demandant si je compterai un jour.

    #Solitude #Tristesse #Créativité #Toolbag #Marmoset
    Je me sens si seul dans ce monde rempli de couleurs vives et de promesses. Chaque jour, je me réveille avec l'espoir que quelque chose changera, que la lumière viendra illuminer mes ténèbres. Mais, malheureusement, je me retrouve encore ici, à errer dans l'ombre de mes pensées. Aujourd'hui, j'ai entendu parler de la nouvelle version bêta de Marmoset Toolbag 5.02. Les fonctionnalités comme les couches de décalques dédiées et le baking de textures low-to-low-poly semblent si brillantes, mais elles ne font que souligner mon isolement. Je regarde les autres s'épanouir, créer des visuels éblouissants, tandis que je reste bloqué dans une boucle d'incertitude et de désespoir. Les outils de création devraient apporter de la joie, mais moi, je ne vois que la distance qui me sépare de mes rêves. Chaque fonctionnalité, chaque amélioration de Marmoset Toolbag 5.02 me rappelle à quel point je suis loin de la réussite, de l'acceptation et de l'amour. Mes pensées s'emmêlent comme des fils de laine, et je ne peux pas m'empêcher de me sentir trahi par ce monde qui semble tourner sans moi. Je me demande si quelqu'un comprend cette douleur sourde qui me ronge. Les autres semblent si occupés à explorer les nouvelles possibilités de rendu en temps réel, tandis que moi, je reste figé, incapable de trouver ma voie. La solitude est un compagnon cruel, et même les améliorations techniques ne peuvent pas combler ce vide. Je cherche désespérément une main tendue, un mot réconfortant, mais il n'y a que le silence. Les couches de décalques peuvent embellir une image, mais elles ne peuvent pas recouvrir la solitude qui habite en moi. Chaque jour est une lutte pour créer quelque chose de beau, alors que je suis emprisonné dans ma propre tristesse. Peut-être qu'un jour, je trouverai le courage de me lever et de me battre pour mes rêves, tout comme Marmoset se bat pour innover et s'améliorer. Mais pour l'instant, je suis là, à regarder le monde avancer sans moi, me demandant si je compterai un jour. #Solitude #Tristesse #Créativité #Toolbag #Marmoset
    Marmoset releases Toolbag 5.02 in beta
    Check out the new features in the real-time rendering and look dev tool, from dedicated decal layers to low-to-low-poly texture baking.
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  • Ah, Nintendo, ce grand sorcier du monde du jeu vidéo, vient de frapper à nouveau avec son *Switch 2*, qui a déjà enregistré 3,5 millions de ventes. Oui, vous avez bien entendu, 3,5 millions ! Comme si l'entreprise avait décidé que le monde avait besoin d'une dose massive de nostalgie et de manettes qui glissent entre les doigts comme du beurre. Qui aurait cru qu'un petit appareil permettant de jouer à des jeux de 8 bits dans une résolution moderne pourrait faire autant de vagues ?

    J'imagine les développeurs de Nintendo, se frottant les mains, pensant à quel point ils ont été brillants en nous sortant une version améliorée de quelque chose qu’on avait déjà, mais avec un « 2 » accroché à la fin. Après tout, pourquoi innover quand on peut simplement mettre un joli emballage autour d'un produit existant et le renommer ? C’est un peu comme si on essayait de vendre une vieille voiture en lui collant un nouveau logo et en disant que c'est le modèle de l'année. Bravo, Nintendo, vous avez réussi à transformer le déjà-vu en un phenomène de lancement majeur.

    Et parlons aussi de ce lancement « spectaculaire ». Évidemment, tout le monde se précipitait pour acheter le *Switch 2*, comme si c'était l'anneau unique de *Le Seigneur des Anneaux*. Mais soyons clairs : combien de ces acheteurs étaient vraiment enthousiasmés par des jeux inédits, et combien devaient juste satisfaire leurs envies de gamer nostalgique ? Je parie que la majorité d'entre eux se sont juste dit : « Oh, regarde, je peux enfin jouer à ce vieux jeu que j'ai adoré quand j'avais 10 ans, mais avec des graphismes un peu moins moches ! »

    Et bien sûr, comment ignorer le marketing ? Ah, le marketing ! Ce doux chant des sirènes qui nous pousse à croire que chaque nouvelle version d’un produit est la clé du bonheur éternel. Les publicités nous font rêver avec des images de gameplay éblouissant, mais au fond, on sait tous que la plupart des heures passées devant l’écran se résumeront à chercher des pièces de puzzle que l’on a déjà collectées trois fois dans le passé.

    Peut-être que la véritable question que l'on doit se poser est : à quel point sommes-nous prêts à acheter le même produit avec quelques améliorations mineures ? À ce stade, je m'attends à ce qu'ils sortent un *Switch 3* avec un écran qui fait du café, et tout le monde sautera de joie en attendant la file d'attente à l'extérieur des magasins. Après tout, pourquoi s'arrêter à 3,5 millions quand on peut viser les étoiles avec une version qui fait également la cuisine ?

    Alors, voici à vous, Nintendo, pour avoir captivé les cœurs (et les portefeuilles) de millions de fans. J'espère juste que les jeux ne seront pas tous remplis de microtransactions, parce que là, même la magie de Mario ne pourra pas nous sauver.

    #Nintendo #Switch2 #JeuxVidéo #Vente #Lancement
    Ah, Nintendo, ce grand sorcier du monde du jeu vidéo, vient de frapper à nouveau avec son *Switch 2*, qui a déjà enregistré 3,5 millions de ventes. Oui, vous avez bien entendu, 3,5 millions ! Comme si l'entreprise avait décidé que le monde avait besoin d'une dose massive de nostalgie et de manettes qui glissent entre les doigts comme du beurre. Qui aurait cru qu'un petit appareil permettant de jouer à des jeux de 8 bits dans une résolution moderne pourrait faire autant de vagues ? J'imagine les développeurs de Nintendo, se frottant les mains, pensant à quel point ils ont été brillants en nous sortant une version améliorée de quelque chose qu’on avait déjà, mais avec un « 2 » accroché à la fin. Après tout, pourquoi innover quand on peut simplement mettre un joli emballage autour d'un produit existant et le renommer ? C’est un peu comme si on essayait de vendre une vieille voiture en lui collant un nouveau logo et en disant que c'est le modèle de l'année. Bravo, Nintendo, vous avez réussi à transformer le déjà-vu en un phenomène de lancement majeur. Et parlons aussi de ce lancement « spectaculaire ». Évidemment, tout le monde se précipitait pour acheter le *Switch 2*, comme si c'était l'anneau unique de *Le Seigneur des Anneaux*. Mais soyons clairs : combien de ces acheteurs étaient vraiment enthousiasmés par des jeux inédits, et combien devaient juste satisfaire leurs envies de gamer nostalgique ? Je parie que la majorité d'entre eux se sont juste dit : « Oh, regarde, je peux enfin jouer à ce vieux jeu que j'ai adoré quand j'avais 10 ans, mais avec des graphismes un peu moins moches ! » Et bien sûr, comment ignorer le marketing ? Ah, le marketing ! Ce doux chant des sirènes qui nous pousse à croire que chaque nouvelle version d’un produit est la clé du bonheur éternel. Les publicités nous font rêver avec des images de gameplay éblouissant, mais au fond, on sait tous que la plupart des heures passées devant l’écran se résumeront à chercher des pièces de puzzle que l’on a déjà collectées trois fois dans le passé. Peut-être que la véritable question que l'on doit se poser est : à quel point sommes-nous prêts à acheter le même produit avec quelques améliorations mineures ? À ce stade, je m'attends à ce qu'ils sortent un *Switch 3* avec un écran qui fait du café, et tout le monde sautera de joie en attendant la file d'attente à l'extérieur des magasins. Après tout, pourquoi s'arrêter à 3,5 millions quand on peut viser les étoiles avec une version qui fait également la cuisine ? Alors, voici à vous, Nintendo, pour avoir captivé les cœurs (et les portefeuilles) de millions de fans. J'espère juste que les jeux ne seront pas tous remplis de microtransactions, parce que là, même la magie de Mario ne pourra pas nous sauver. #Nintendo #Switch2 #JeuxVidéo #Vente #Lancement
    Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launch
    The successor to Nintendo's massively popular console appears to have bolted out of the gate.
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  • Animate the Smart Way in Blender (Procedural Animation Tutorial) #b3d

    In this video, Louis du Montshows how to animate objects using Geometry Node, unlocking quick control and variation which scales.
    ⇨ Robotic Planet:
    ⇨ Project Files:

    CHAPTERS
    00:00 - Intro
    00:33 - Joining Objects
    04:01 - Ambient Ship Motion
    09:04 - Ambient Laser Motion
    11:06 - Disc Rotation
    12:26 - Using Group Inputs
    15:02 - Outro

    MY SYSTEM
    CPU: Ryzen 5900x
    GPU: GeForce RTX 3090
    RAM: 96 GB

    FOLLOW CG BOOST
    ⇨ X:
    ⇨ Instagram: /
    ⇨ Web: /
    #animate #smart #way #blender #procedural
    Animate the Smart Way in Blender (Procedural Animation Tutorial) #b3d
    In this video, Louis du Montshows how to animate objects using Geometry Node, unlocking quick control and variation which scales. ⇨ Robotic Planet: ⇨ Project Files: CHAPTERS 00:00 - Intro 00:33 - Joining Objects 04:01 - Ambient Ship Motion 09:04 - Ambient Laser Motion 11:06 - Disc Rotation 12:26 - Using Group Inputs 15:02 - Outro MY SYSTEM CPU: Ryzen 5900x GPU: GeForce RTX 3090 RAM: 96 GB FOLLOW CG BOOST ⇨ X: ⇨ Instagram: / ⇨ Web: / #animate #smart #way #blender #procedural
    WWW.YOUTUBE.COM
    Animate the Smart Way in Blender (Procedural Animation Tutorial) #b3d
    In this video, Louis du Mont (@ldm) shows how to animate objects using Geometry Node, unlocking quick control and variation which scales. ⇨ Robotic Planet: https://cgboost.link/robotic-planet-449836 ⇨ Project Files: https://www.cgboost.com/resources CHAPTERS 00:00 - Intro 00:33 - Joining Objects 04:01 - Ambient Ship Motion 09:04 - Ambient Laser Motion 11:06 - Disc Rotation 12:26 - Using Group Inputs 15:02 - Outro MY SYSTEM CPU: Ryzen 5900x GPU: GeForce RTX 3090 RAM: 96 GB FOLLOW CG BOOST ⇨ X: https://twitter.com/cgboost ⇨ Instagram: https://www.instagram.com/cg_boost/ ⇨ Web: https://cgboost.com/
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  • How to create simple procedural animations using Geometry Nodes. #b3d #blender3d #geometrynodes

    Here’s a Blender tip by Louis du Mont on how to create simple procedural animations using Geometry Nodes.

    Watch the full video:



    #b3d #blender3d #3d #3danimation #animation #geometrynodes
    #how #create #simple #procedural #animations
    How to create simple procedural animations using Geometry Nodes. #b3d #blender3d #geometrynodes
    Here’s a Blender tip by Louis du Mont on how to create simple procedural animations using Geometry Nodes. Watch the full video: #b3d #blender3d #3d #3danimation #animation #geometrynodes #how #create #simple #procedural #animations
    WWW.YOUTUBE.COM
    How to create simple procedural animations using Geometry Nodes. #b3d #blender3d #geometrynodes
    Here’s a Blender tip by Louis du Mont on how to create simple procedural animations using Geometry Nodes. Watch the full video: https://youtu.be/uV3LtA_KiAY #b3d #blender3d #3d #3danimation #animation #geometrynodes
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  • A short history of the roadblock

    Barricades, as we know them today, are thought to date back to the European wars of religion. According to most historians, the first barricade went up in Paris in 1588; the word derives from the French barriques, or barrels, spontaneously put together. They have been assembled from the most diverse materials, from cobblestones, tyres, newspapers, dead horses and bags of ice, to omnibuses and e‑scooters. Their tactical logic is close to that of guerrilla warfare: the authorities have to take the barricades in order to claim victory; all that those manning them have to do to prevail is to hold them. 
    The 19th century was the golden age for blocking narrow, labyrinthine streets. Paris had seen barricades go up nine times in the period before the Second Empire; during the July 1830 Revolution alone, 4,000 barricades had been erected. These barricades would not only stop, but also trap troops; people would then throw stones from windows or pour boiling water onto the streets. Georges‑Eugène Haussmann, Napoleon III’s prefect of Paris, famously created wide boulevards to make blocking by barricade more difficult and moving the military easier, and replaced cobblestones with macadam – a surface of crushed stone. As Flaubert observed in his Dictionary of Accepted Ideas: ‘Macadam: has cancelled revolutions. No more means to make barricades. Nevertheless rather inconvenient.’  
    Lead image: Barricades, as we know them today, are thought to have originated in early modern France. A colour engraving attributed to Achille‑Louis Martinet depicts the defence of a barricade during the 1830 July Revolution. Credit: Paris Musées / Musée Carnavalet – Histoire de Paris. Above: the socialist political thinker and activist Louis Auguste Blanqui – who was imprisoned by every regime that ruled France between 1815 and 1880 – drew instructions for how to build an effective barricade

    Under Napoleon III, Baron Haussmann widened Paris’s streets in his 1853–70 renovation of the city, making barricading more difficult
    Credit: Old Books Images / Alamy
    ‘On one hand,wanted to favour the circulation of ideas,’ reactionary intellectual Louis Veuillot observed apropos the ambiguous liberalism of the latter period of Napoleon III’s Second Empire. ‘On the other, to ensure the circulation of regiments.’ But ‘anti‑insurgency hardware’, as Justinien Tribillon has called it, also served to chase the working class out of the city centre: Haussmann’s projects amounted to a gigantic form of real-estate speculation, and the 1871 Paris Commune that followed constituted not just a short‑lived anarchist experiment featuring enormous barricades; it also signalled the return of the workers to the centre and, arguably, revenge for their dispossession.   
    By the mid‑19th century, observers questioned whether barricades still had practical meaning. Gottfried Semper’s barricade, constructed for the 1849 Dresden uprising, had proved unconquerable, but Friedrich Engels, one‑time ‘inspector of barricades’ in the Elberfeld insurrection of the same year, already suggested that the barricades’ primary meaning was now moral rather than military – a point to be echoed by Leon Trotsky in the subsequent century. Barricades symbolised bravery and the will to hold out among insurrectionists, and, not least, determination rather to destroy one’s possessions – and one’s neighbourhood – than put up with further oppression.  
    Not only self‑declared revolutionaries viewed things this way: the reformist Social Democrat leader Eduard Bernstein observed that ‘the barricade fight as a political weapon of the people has been completely eliminated due to changes in weapon technology and cities’ structures’. Bernstein was also picking up on the fact that, in the era of industrialisation, contention happened at least as much on the factory floor as on the streets. The strike, not the food riot or the defence of workers’ quartiers, became the paradigmatic form of conflict. Joshua Clover has pointed out in his 2016 book Riot. Strike. Riot: The New Era of Uprisings, that the price of labour, rather than the price of goods, caused people to confront the powerful. Blocking production grew more important than blocking the street.
    ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn’
    Today, it is again blocking – not just people streaming along the streets in large marches – that is prominently associated with protests. Disrupting circulation is not only an important gesture in the face of climate emergency; blocking transport is a powerful form of protest in an economic system focused on logistics and just‑in‑time distribution. Members of Insulate Britain and Germany’s Last Generation super‑glue themselves to streets to stop car traffic to draw attention to the climate emergency; they have also attached themselves to airport runways. They form a human barricade of sorts, immobilising traffic by making themselves immovable.  
    Today’s protesters have made themselves consciously vulnerable. They in fact follow the advice of US civil rights’ Bayard Rustin who explained: ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn.’ Making oneself vulnerable might increase the chances of a majority of citizens seeing the importance of the cause which those engaged in civil disobedience are pursuing. Demonstrations – even large, unpredictable ones – are no longer sufficient. They draw too little attention and do not compel a reaction. Naomi Klein proposed the term ‘blockadia’ as ‘a roving transnational conflict zone’ in which people block extraction – be it open‑pit mines, fracking sites or tar sands pipelines – with their bodies. More often than not, these blockades are organised by local people opposing the fossil fuel industry, not environmental activists per se. Blockadia came to denote resistance to the Keystone XL pipeline as well as Canada’s First Nations‑led movement Idle No More.
    In cities, blocking can be accomplished with highly mobile structures. Like the barricade of the 19th century, they can be quickly assembled, yet are difficult to move; unlike old‑style barricades, they can also be quickly disassembled, removed and hidden. Think of super tripods, intricate ‘protest beacons’ based on tensegrity principles, as well as inflatable cobblestones, pioneered by the artist‑activists of Tools for Action.  
    As recently as 1991, newly independent Latvia defended itself against Soviet tanks with the popular construction of barricades, in a series of confrontations that became known as the Barikādes
    Credit: Associated Press / Alamy
    Inversely, roadblocks can be used by police authorities to stop demonstrations and gatherings from taking place – protesters are seen removing such infrastructure in Dhaka during a general strike in 1999
    Credit: REUTERS / Rafiqur Rahman / Bridgeman
    These inflatable objects are highly flexible, but can also be protective against police batons. They pose an awkward challenge to the authorities, who often end up looking ridiculous when dealing with them, and, as one of the inventors pointed out, they are guaranteed to create a media spectacle. This was also true of the 19th‑century barricade: people posed for pictures in front of them. As Wolfgang Scheppe, a curator of Architecture of the Barricade, explains, these images helped the police to find Communards and mete out punishments after the end of the anarchist experiment.
    Much simpler structures can also be highly effective. In 2019, protesters in Hong Kong filled streets with little archways made from just three ordinary bricks: two standing upright, one resting on top. When touched, the falling top one would buttress the other two, and effectively block traffic. In line with their imperative of ‘be water’, protesters would retreat when the police appeared, but the ‘mini‑Stonehenges’ would remain and slow down the authorities.
    Today, elaborate architectures of protest, such as Extinction Rebellion’s ‘tensegrity towers’, are used to blockade roads and distribution networks – in this instance, Rupert Murdoch’s News UK printworks in Broxbourne, for the media group’s failure to report the climate emergency accurately
    Credit: Extinction Rebellion
    In June 2025, protests erupted in Los Angeles against the Trump administration’s deportation policies. Demonstrators barricaded downtown streets using various objects, including the pink public furniture designed by design firm Rios for Gloria Molina Grand Park. LAPD are seen advancing through tear gas
    Credit: Gina Ferazzi / Los Angeles Times via Getty Images
    Roads which radicals might want to target are not just ones in major metropoles and fancy post‑industrial downtowns. Rather, they might block the arteries leading to ‘fulfilment centres’ and harbours with container shipping. The model is not only Occupy Wall Street, which had initially called for the erection of ‘peaceful barricades’, but also the Occupy that led to the Oakland port shutdown in 2011. In short, such roadblocks disrupt what Phil Neel has called a ‘hinterland’ that is often invisible, yet crucial for contemporary capitalism. More recently, Extinction Rebellion targeted Amazon distribution centres in three European countries in November 2021; in the UK, they aimed to disrupt half of all deliveries on a Black Friday.  
    Will such blockades just anger consumers who, after all, are not present but are impatiently waiting for packages at home? One of the hopes associated with the traditional barricade was always that they might create spaces where protesters, police and previously indifferent citizens get talking; French theorists even expected them to become ‘a machine to produce the people’. That could be why military technology has evolved so that the authorities do not have to get close to the barricade: tear gas was first deployed against those on barricades before it was used in the First World War; so‑called riot control vehicles can ever more easily crush barricades. The challenge, then, for anyone who wishes to block is also how to get in other people’s faces – in order to have a chance to convince them of their cause.       

    2025-06-11
    Kristina Rapacki

    Share
    #short #history #roadblock
    A short history of the roadblock
    Barricades, as we know them today, are thought to date back to the European wars of religion. According to most historians, the first barricade went up in Paris in 1588; the word derives from the French barriques, or barrels, spontaneously put together. They have been assembled from the most diverse materials, from cobblestones, tyres, newspapers, dead horses and bags of ice, to omnibuses and e‑scooters. Their tactical logic is close to that of guerrilla warfare: the authorities have to take the barricades in order to claim victory; all that those manning them have to do to prevail is to hold them.  The 19th century was the golden age for blocking narrow, labyrinthine streets. Paris had seen barricades go up nine times in the period before the Second Empire; during the July 1830 Revolution alone, 4,000 barricades had been erected. These barricades would not only stop, but also trap troops; people would then throw stones from windows or pour boiling water onto the streets. Georges‑Eugène Haussmann, Napoleon III’s prefect of Paris, famously created wide boulevards to make blocking by barricade more difficult and moving the military easier, and replaced cobblestones with macadam – a surface of crushed stone. As Flaubert observed in his Dictionary of Accepted Ideas: ‘Macadam: has cancelled revolutions. No more means to make barricades. Nevertheless rather inconvenient.’   Lead image: Barricades, as we know them today, are thought to have originated in early modern France. A colour engraving attributed to Achille‑Louis Martinet depicts the defence of a barricade during the 1830 July Revolution. Credit: Paris Musées / Musée Carnavalet – Histoire de Paris. Above: the socialist political thinker and activist Louis Auguste Blanqui – who was imprisoned by every regime that ruled France between 1815 and 1880 – drew instructions for how to build an effective barricade Under Napoleon III, Baron Haussmann widened Paris’s streets in his 1853–70 renovation of the city, making barricading more difficult Credit: Old Books Images / Alamy ‘On one hand,wanted to favour the circulation of ideas,’ reactionary intellectual Louis Veuillot observed apropos the ambiguous liberalism of the latter period of Napoleon III’s Second Empire. ‘On the other, to ensure the circulation of regiments.’ But ‘anti‑insurgency hardware’, as Justinien Tribillon has called it, also served to chase the working class out of the city centre: Haussmann’s projects amounted to a gigantic form of real-estate speculation, and the 1871 Paris Commune that followed constituted not just a short‑lived anarchist experiment featuring enormous barricades; it also signalled the return of the workers to the centre and, arguably, revenge for their dispossession.    By the mid‑19th century, observers questioned whether barricades still had practical meaning. Gottfried Semper’s barricade, constructed for the 1849 Dresden uprising, had proved unconquerable, but Friedrich Engels, one‑time ‘inspector of barricades’ in the Elberfeld insurrection of the same year, already suggested that the barricades’ primary meaning was now moral rather than military – a point to be echoed by Leon Trotsky in the subsequent century. Barricades symbolised bravery and the will to hold out among insurrectionists, and, not least, determination rather to destroy one’s possessions – and one’s neighbourhood – than put up with further oppression.   Not only self‑declared revolutionaries viewed things this way: the reformist Social Democrat leader Eduard Bernstein observed that ‘the barricade fight as a political weapon of the people has been completely eliminated due to changes in weapon technology and cities’ structures’. Bernstein was also picking up on the fact that, in the era of industrialisation, contention happened at least as much on the factory floor as on the streets. The strike, not the food riot or the defence of workers’ quartiers, became the paradigmatic form of conflict. Joshua Clover has pointed out in his 2016 book Riot. Strike. Riot: The New Era of Uprisings, that the price of labour, rather than the price of goods, caused people to confront the powerful. Blocking production grew more important than blocking the street. ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn’ Today, it is again blocking – not just people streaming along the streets in large marches – that is prominently associated with protests. Disrupting circulation is not only an important gesture in the face of climate emergency; blocking transport is a powerful form of protest in an economic system focused on logistics and just‑in‑time distribution. Members of Insulate Britain and Germany’s Last Generation super‑glue themselves to streets to stop car traffic to draw attention to the climate emergency; they have also attached themselves to airport runways. They form a human barricade of sorts, immobilising traffic by making themselves immovable.   Today’s protesters have made themselves consciously vulnerable. They in fact follow the advice of US civil rights’ Bayard Rustin who explained: ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn.’ Making oneself vulnerable might increase the chances of a majority of citizens seeing the importance of the cause which those engaged in civil disobedience are pursuing. Demonstrations – even large, unpredictable ones – are no longer sufficient. They draw too little attention and do not compel a reaction. Naomi Klein proposed the term ‘blockadia’ as ‘a roving transnational conflict zone’ in which people block extraction – be it open‑pit mines, fracking sites or tar sands pipelines – with their bodies. More often than not, these blockades are organised by local people opposing the fossil fuel industry, not environmental activists per se. Blockadia came to denote resistance to the Keystone XL pipeline as well as Canada’s First Nations‑led movement Idle No More. In cities, blocking can be accomplished with highly mobile structures. Like the barricade of the 19th century, they can be quickly assembled, yet are difficult to move; unlike old‑style barricades, they can also be quickly disassembled, removed and hidden. Think of super tripods, intricate ‘protest beacons’ based on tensegrity principles, as well as inflatable cobblestones, pioneered by the artist‑activists of Tools for Action.   As recently as 1991, newly independent Latvia defended itself against Soviet tanks with the popular construction of barricades, in a series of confrontations that became known as the Barikādes Credit: Associated Press / Alamy Inversely, roadblocks can be used by police authorities to stop demonstrations and gatherings from taking place – protesters are seen removing such infrastructure in Dhaka during a general strike in 1999 Credit: REUTERS / Rafiqur Rahman / Bridgeman These inflatable objects are highly flexible, but can also be protective against police batons. They pose an awkward challenge to the authorities, who often end up looking ridiculous when dealing with them, and, as one of the inventors pointed out, they are guaranteed to create a media spectacle. This was also true of the 19th‑century barricade: people posed for pictures in front of them. As Wolfgang Scheppe, a curator of Architecture of the Barricade, explains, these images helped the police to find Communards and mete out punishments after the end of the anarchist experiment. Much simpler structures can also be highly effective. In 2019, protesters in Hong Kong filled streets with little archways made from just three ordinary bricks: two standing upright, one resting on top. When touched, the falling top one would buttress the other two, and effectively block traffic. In line with their imperative of ‘be water’, protesters would retreat when the police appeared, but the ‘mini‑Stonehenges’ would remain and slow down the authorities. Today, elaborate architectures of protest, such as Extinction Rebellion’s ‘tensegrity towers’, are used to blockade roads and distribution networks – in this instance, Rupert Murdoch’s News UK printworks in Broxbourne, for the media group’s failure to report the climate emergency accurately Credit: Extinction Rebellion In June 2025, protests erupted in Los Angeles against the Trump administration’s deportation policies. Demonstrators barricaded downtown streets using various objects, including the pink public furniture designed by design firm Rios for Gloria Molina Grand Park. LAPD are seen advancing through tear gas Credit: Gina Ferazzi / Los Angeles Times via Getty Images Roads which radicals might want to target are not just ones in major metropoles and fancy post‑industrial downtowns. Rather, they might block the arteries leading to ‘fulfilment centres’ and harbours with container shipping. The model is not only Occupy Wall Street, which had initially called for the erection of ‘peaceful barricades’, but also the Occupy that led to the Oakland port shutdown in 2011. In short, such roadblocks disrupt what Phil Neel has called a ‘hinterland’ that is often invisible, yet crucial for contemporary capitalism. More recently, Extinction Rebellion targeted Amazon distribution centres in three European countries in November 2021; in the UK, they aimed to disrupt half of all deliveries on a Black Friday.   Will such blockades just anger consumers who, after all, are not present but are impatiently waiting for packages at home? One of the hopes associated with the traditional barricade was always that they might create spaces where protesters, police and previously indifferent citizens get talking; French theorists even expected them to become ‘a machine to produce the people’. That could be why military technology has evolved so that the authorities do not have to get close to the barricade: tear gas was first deployed against those on barricades before it was used in the First World War; so‑called riot control vehicles can ever more easily crush barricades. The challenge, then, for anyone who wishes to block is also how to get in other people’s faces – in order to have a chance to convince them of their cause.        2025-06-11 Kristina Rapacki Share #short #history #roadblock
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    A short history of the roadblock
    Barricades, as we know them today, are thought to date back to the European wars of religion. According to most historians, the first barricade went up in Paris in 1588; the word derives from the French barriques, or barrels, spontaneously put together. They have been assembled from the most diverse materials, from cobblestones, tyres, newspapers, dead horses and bags of ice (during Kyiv’s Euromaidan in 2013–14), to omnibuses and e‑scooters. Their tactical logic is close to that of guerrilla warfare: the authorities have to take the barricades in order to claim victory; all that those manning them have to do to prevail is to hold them.  The 19th century was the golden age for blocking narrow, labyrinthine streets. Paris had seen barricades go up nine times in the period before the Second Empire; during the July 1830 Revolution alone, 4,000 barricades had been erected (roughly one for every 200 Parisians). These barricades would not only stop, but also trap troops; people would then throw stones from windows or pour boiling water onto the streets. Georges‑Eugène Haussmann, Napoleon III’s prefect of Paris, famously created wide boulevards to make blocking by barricade more difficult and moving the military easier, and replaced cobblestones with macadam – a surface of crushed stone. As Flaubert observed in his Dictionary of Accepted Ideas: ‘Macadam: has cancelled revolutions. No more means to make barricades. Nevertheless rather inconvenient.’   Lead image: Barricades, as we know them today, are thought to have originated in early modern France. A colour engraving attributed to Achille‑Louis Martinet depicts the defence of a barricade during the 1830 July Revolution. Credit: Paris Musées / Musée Carnavalet – Histoire de Paris. Above: the socialist political thinker and activist Louis Auguste Blanqui – who was imprisoned by every regime that ruled France between 1815 and 1880 – drew instructions for how to build an effective barricade Under Napoleon III, Baron Haussmann widened Paris’s streets in his 1853–70 renovation of the city, making barricading more difficult Credit: Old Books Images / Alamy ‘On one hand, [the authorities] wanted to favour the circulation of ideas,’ reactionary intellectual Louis Veuillot observed apropos the ambiguous liberalism of the latter period of Napoleon III’s Second Empire. ‘On the other, to ensure the circulation of regiments.’ But ‘anti‑insurgency hardware’, as Justinien Tribillon has called it, also served to chase the working class out of the city centre: Haussmann’s projects amounted to a gigantic form of real-estate speculation, and the 1871 Paris Commune that followed constituted not just a short‑lived anarchist experiment featuring enormous barricades; it also signalled the return of the workers to the centre and, arguably, revenge for their dispossession.    By the mid‑19th century, observers questioned whether barricades still had practical meaning. Gottfried Semper’s barricade, constructed for the 1849 Dresden uprising, had proved unconquerable, but Friedrich Engels, one‑time ‘inspector of barricades’ in the Elberfeld insurrection of the same year, already suggested that the barricades’ primary meaning was now moral rather than military – a point to be echoed by Leon Trotsky in the subsequent century. Barricades symbolised bravery and the will to hold out among insurrectionists, and, not least, determination rather to destroy one’s possessions – and one’s neighbourhood – than put up with further oppression.   Not only self‑declared revolutionaries viewed things this way: the reformist Social Democrat leader Eduard Bernstein observed that ‘the barricade fight as a political weapon of the people has been completely eliminated due to changes in weapon technology and cities’ structures’. Bernstein was also picking up on the fact that, in the era of industrialisation, contention happened at least as much on the factory floor as on the streets. The strike, not the food riot or the defence of workers’ quartiers, became the paradigmatic form of conflict. Joshua Clover has pointed out in his 2016 book Riot. Strike. Riot: The New Era of Uprisings, that the price of labour, rather than the price of goods, caused people to confront the powerful. Blocking production grew more important than blocking the street. ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn’ Today, it is again blocking – not just people streaming along the streets in large marches – that is prominently associated with protests. Disrupting circulation is not only an important gesture in the face of climate emergency; blocking transport is a powerful form of protest in an economic system focused on logistics and just‑in‑time distribution. Members of Insulate Britain and Germany’s Last Generation super‑glue themselves to streets to stop car traffic to draw attention to the climate emergency; they have also attached themselves to airport runways. They form a human barricade of sorts, immobilising traffic by making themselves immovable.   Today’s protesters have made themselves consciously vulnerable. They in fact follow the advice of US civil rights’ Bayard Rustin who explained: ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn.’ Making oneself vulnerable might increase the chances of a majority of citizens seeing the importance of the cause which those engaged in civil disobedience are pursuing. Demonstrations – even large, unpredictable ones – are no longer sufficient. They draw too little attention and do not compel a reaction. Naomi Klein proposed the term ‘blockadia’ as ‘a roving transnational conflict zone’ in which people block extraction – be it open‑pit mines, fracking sites or tar sands pipelines – with their bodies. More often than not, these blockades are organised by local people opposing the fossil fuel industry, not environmental activists per se. Blockadia came to denote resistance to the Keystone XL pipeline as well as Canada’s First Nations‑led movement Idle No More. In cities, blocking can be accomplished with highly mobile structures. Like the barricade of the 19th century, they can be quickly assembled, yet are difficult to move; unlike old‑style barricades, they can also be quickly disassembled, removed and hidden (by those who have the engineering and architectural know‑how). Think of super tripods, intricate ‘protest beacons’ based on tensegrity principles, as well as inflatable cobblestones, pioneered by the artist‑activists of Tools for Action (and as analysed in Nick Newman’s recent volume Protest Architecture).   As recently as 1991, newly independent Latvia defended itself against Soviet tanks with the popular construction of barricades, in a series of confrontations that became known as the Barikādes Credit: Associated Press / Alamy Inversely, roadblocks can be used by police authorities to stop demonstrations and gatherings from taking place – protesters are seen removing such infrastructure in Dhaka during a general strike in 1999 Credit: REUTERS / Rafiqur Rahman / Bridgeman These inflatable objects are highly flexible, but can also be protective against police batons. They pose an awkward challenge to the authorities, who often end up looking ridiculous when dealing with them, and, as one of the inventors pointed out, they are guaranteed to create a media spectacle. This was also true of the 19th‑century barricade: people posed for pictures in front of them. As Wolfgang Scheppe, a curator of Architecture of the Barricade (currently on display at the Arsenale Institute for Politics of Representation in Venice), explains, these images helped the police to find Communards and mete out punishments after the end of the anarchist experiment. Much simpler structures can also be highly effective. In 2019, protesters in Hong Kong filled streets with little archways made from just three ordinary bricks: two standing upright, one resting on top. When touched, the falling top one would buttress the other two, and effectively block traffic. In line with their imperative of ‘be water’, protesters would retreat when the police appeared, but the ‘mini‑Stonehenges’ would remain and slow down the authorities. Today, elaborate architectures of protest, such as Extinction Rebellion’s ‘tensegrity towers’, are used to blockade roads and distribution networks – in this instance, Rupert Murdoch’s News UK printworks in Broxbourne, for the media group’s failure to report the climate emergency accurately Credit: Extinction Rebellion In June 2025, protests erupted in Los Angeles against the Trump administration’s deportation policies. Demonstrators barricaded downtown streets using various objects, including the pink public furniture designed by design firm Rios for Gloria Molina Grand Park. LAPD are seen advancing through tear gas Credit: Gina Ferazzi / Los Angeles Times via Getty Images Roads which radicals might want to target are not just ones in major metropoles and fancy post‑industrial downtowns. Rather, they might block the arteries leading to ‘fulfilment centres’ and harbours with container shipping. The model is not only Occupy Wall Street, which had initially called for the erection of ‘peaceful barricades’, but also the Occupy that led to the Oakland port shutdown in 2011. In short, such roadblocks disrupt what Phil Neel has called a ‘hinterland’ that is often invisible, yet crucial for contemporary capitalism. More recently, Extinction Rebellion targeted Amazon distribution centres in three European countries in November 2021; in the UK, they aimed to disrupt half of all deliveries on a Black Friday.   Will such blockades just anger consumers who, after all, are not present but are impatiently waiting for packages at home? One of the hopes associated with the traditional barricade was always that they might create spaces where protesters, police and previously indifferent citizens get talking; French theorists even expected them to become ‘a machine to produce the people’. That could be why military technology has evolved so that the authorities do not have to get close to the barricade: tear gas was first deployed against those on barricades before it was used in the First World War; so‑called riot control vehicles can ever more easily crush barricades. The challenge, then, for anyone who wishes to block is also how to get in other people’s faces – in order to have a chance to convince them of their cause.        2025-06-11 Kristina Rapacki Share
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